One of the great tenors of our time.
Mrs. Makerbot and I re-watched Don’t Look Now the other night and I was reminded of this Big Audio Dynamite song, a tribute to Nicolas Roeg and his films. Who would’ve ever guessed this would be Mick Jones’s new direction after departing The Clash? Even cranking out … whatever this is … (Alternative dance? Post-punk? Dance-punk? Avant-rock? Sampledelia?) Jones is still a hook machine.
Anyway, 1985’s This Is Big Audio Dynamite is a definite contender for our perfect first album list for me, probably because it takes me back to being 16. Nothing hurt and things were just getting good!
Bonus: The below video is worth a look just for the Joe Strummer and Paul Simonon (and John Lydon) cameos.
I can’t get enough of these. The noises and timings are too perfect.
I like the furious text streams.
I’m a couple of weeks late on this one, but Jack Lee, front man and driving force behind The Nerves, has hopped the twig. Fucking cancer.
Lee grew up in Alaska but left home at 15, eventually hitchhiking to San Francisco a few years later. According to Pitchfork …
[Lee] busked in the high-traffic Fisherman’s Wharf neighborhood, where he met fellow street musician Peter Case. The Nerves were born in 1974 with Lee on vocals and guitar, Case on bass, and additional recruit Paul Collins on drums. The trio played sharp and scrappy rock’n’roll with Beatlemania melodies. Their frenetic style signaled the ensuing punk movement, but chafed with the fading flower-power of early ’70s San Francisco.
Of course, Jack Lee is probably best known for “Hanging on the Telephone,” his song made famous when Blondie covered it on 1978’s Parallel Lines.
Lee, who heard about Harry’s interest from his friend, the Gun Club singer Jeffrey Lee Pierce, recalled that fateful day in a 2007 interview with Mojo. “I remember the day vividly,” he said. “It was a Friday. They were going to cut off our electricity at six o’clock, the phone too.” He added that the song was so catchy, few could resist if. “Even people who hated me—and there were plenty—had to admit it was great,” he said.
To honor Lee’s passing, Paul Collins just released another Nerves video on YouTube.
Can’t resist that beat. Or walkin’ around like these fools.
Hell yeah, I’m in! Anything more cringe than Pat motherfucking Boone singing “Tutti Frutti?”
Produced by Bungalow Media + Entertainment for CNN Films and HBO Max, in association with Rolling Stone Films, director Lisa Cortés’ Sundance opening night documentary LITTLE RICHARD: I AM EVERYTHING tells the story of the Black queer origins of rock n’ roll, exploding the whitewashed canon of American pop music to reveal the innovator – the originator – Richard Penniman. Through a wealth of archive and performance that brings us into Richard’s complicated inner world, the film unspools the icon’s life story with all its switchbacks and contradictions. In interviews with family, musicians, and cutting-edge Black and queer scholars, the film reveals how Richard created an art form for ultimate self-expression, yet what he gave to the world he was never able to give to himself. Throughout his life, Richard careened like a shiny cracked pinball between God, sex and rock n’ roll. The world tried to put him in a box, but Richard was an omni being who contained multitudes – he was unabashedly everything. Directed by Lisa Cortés, LITTLE RICHARD: I AM EVERYTHING is produced by Robert Friedman, Cortés, Liz Yale Marsh and Caryn Capotosto and Executive Produced by Dee Rees.
Both proof that one needn’t be especially proficient as a musician to write killer songs AND an explanation for my recent blargh absence.
The Nerves weren’t around too long but are regarded by some as ground zero for the LA punk and power pop scene. Drummer Paul Collins went on to form The Beat (“Rock N Roll Girl,” “I Don’t Fit In”), bassist Peter Case formed The Plimsouls (“A Million Miles Away”), and guitarist Jack Lee’s song “Hanging on the Telephone” became a massive hit for Blondie when they covered it on Parallel Lines in 1978.
And here’s Collins a few years later with The Beat …
How did I get here??
Sister Rosetta rocks a mean axe and sings like she means business.
Enjoy the guitar compilation:
I can’t confirm whether or not she ever opened for Renfield. She played a Les Paul custom with three PAF humbucking pickups, three-way selector switch, two volume and two tone controls; and gold-plated side-action vibrato system.
She helped to pioneer distortion, and her 1964 Manchester show with Muddy Waters was cited as an influence by Clapton, Jeff Beck, and Keith Richards.