wayne kramer - The I-94 Bar
It’s been years in the making and "LOUDER THAN LOVE", the long-awaited documentary paying tribute to legendary Detroit music venue the Grande Ballroom, is finally available.
The Grande was the birthplace or breeding ground for the likes of the Stooges, the MC5, The Up and The Rationals. It also became a notorious killing field for visiting international bands who had to undergo a "trial by support band" where the locals did their best to blow them off the stage (sometimes succeeding.)
“LOUDER THAN LOVE: The Grande Ballroom Story” is Tony D’Annunzio’s first independent film as a producer and director. His movie chronicles the Detroit music scene in the late 1960s, as told through the eyes of the legendary bands that played there.
Gang War at Second Chance in Ann Arbor in 1979. Sue Rynski photo
It’s said the drummer in a rock and roll band has the best seat in the house. It’s given John Morgan his unique perspective on some of rock and roll’s most talented, fascinating and sometimes flawed characters.
Now living in Ventura, California, John Morgan’s spent half his life as a professional musician, playing with a long list of blues and jazz bands. But it’s his insights into two in particular: Gang War and Sonic's Rendezvous Band - the former as a partcipant, thw latter as an observer - that will hold the most interest for I-94 Bar patrons.
They can't crack it for a place in the Rock and Roll Hall of Fame but the MC5 will be honoured with a 50-year retrospective exhibit and concert in their Detroit-area hometown of Lincoln Park, Michigan, at the Lincoln Park Historical Museum.
An open reception will be held on July 11 with a concert on July 12. The exhibit will run through Labor Day, September 7, with regular museum hours (Wednesdays and Saturdays from 1-6pm.) Admission to all events is free though donations to the Lincoln Park Historical Society are encouraged.
The exhibit highlights iconic photos by Detroit photographer Leni Sinclair and Lincoln Park-raised Emil Bacilla, original psychedelic posters by Carl Lundgren, and Gary Grimshaw (also raised in Lincoln Park) and band memorabilia (including personal artifacts from the Derminer/Tyner family.)
The concert will be held in the Park Band Shell in Memorial Park - one of the earliest sites where the MC5 played – with music from Timmy’s Organism, Rocket 455 and Chatoyant.
Surviving MC5 members Wayne Kramer and Dennis “Machine Gun” Thompson and the families of Rob Tyner, Fred “Sonic” Smith and Michael Davis have been invited. While Kramer is unable to attend, Thompson will be in attendance at both the Saturday and Sunday events.
While the band was the target of establishment harassment during its existence, the afternoon concert will be marked by Lincoln Park Mayor Tom Karnes presenting the keys to the city. Ain't irony grand?
A limited edition of Carl’s Lundgren’s artwork created for the anniversary celebration poster will be available for purchase at the opening night and on the day of the concert. The Lincoln Park Historical Museum website is here.
I was just looking at my review of Bro. Wayne Kramer's reished "Hard Stuff" and I musta been outta my fuckin' mind when I wrote it...that album definitely rates five Rolling Rocks if anything does. Which made me wonder, why am I so hard on Wayne?
Let’s get the clichés out of the way; the show business myths that promise that the cream rises. That living fast and dying young will ensure immortality. It’s all bullshit. Too many artists fall through a crack in the Earth whilst laurels crown the insipid and the banal.
How many great albums and films have vanished to land fill? How many books are lost because libraries can’t afford the storage on their back catalogues? How much blood, sweat and tears has evaporated into the ether? Forgotten whilst the over culture lets us eat dog food. Here is your chance to right that wrong.
He’s back with his first solo album in 13 years (how long?) and no-one could accuse Wayne Kramer of not taking chances. In fact, if you’re a longtime MC5 fan, chances are you might struggle with “Lexington” as it dives headlong into territory that his old band - at least on record - visited without fully casting adrift its rock anchor.
Seismic changes in music don’t occur spontaneously. They’re usually a result of people unwittingly being in the right place at the right time, running into a catalyst and stumbling over a big stockpile of serendipity.
Does anyone think CBGB would have been anything more than the source of dogshit on the soles of a few Bowery bums’ shoes if Hilly Krystal hadn’t been conned by a supposed bluegrass band into giving live music a try?
How quickly would the Sex Pistols have fizzled out if Queen hadn’t cancelled on Bill Grundy at the last minute, presumably so Freddy could get his nails done? McLaren had no more planned the TV outburst that propelled his band to infamy as Steve Jones had sworn off the booze.
In 1966, a former dance hall on the shady side of Detroit called The Grande Ballroom became both a focal point for the counter culture and a scene. It attracted and generated a strain of high-energy, blue collar rock and roll, the likes of which have been seen rarely anywhere else. It came into being through good management, but also through incredible luck.
A bunch of New York City’s rock and roll past and present recently gathered in Manhattan to celebrate and play the music of Johnny Thunders and the Heartbreakers.
Led by the eternally cool Walter Lure, who was assisted by Blondie drummer Clem Burke, ex-Lower East Side resident and MC5 member Wayne Kramer, Replacements bassist Tommy Stinson and a bunch of guest vocalists, the band played four sold-out shows. And they were reportedly underwhelming.
Out of print for two years? Shit, hard to believe, but it's good to have this one back in circulation (on Bro. Wayne's new label, with expanded versions of the rest of his Epitaph catalog and even the L-O-N-G gone "Death Tongue" set to follow in its wake - a reissue program long anticipated by true Rock Action devotees, especially those who missed out on 'em the first time). This was, after all, the one that started it all, solo-career wise, as well as serving notice to the world at large that Detroit rock'n'roll was alive and well in the '90s.
Accuse me of revisionism if you will...but when I caught Mad for the Racket live at SXSW, I was less than optimally stoked with their performance. Coupla months later, in a column, I was making more conciliatory noises.