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Van Halen cover Bowie and KC & The Sunshine Band (while judging a dance contest!) in the 70s


Van Halen during their ‘house band’ era at the Sunset Strip club, Gazzarri’s (mid-1970s).
 

“One day, we’re going to be the the Kings of Gazzarri’s.”

—A teenage David Lee Roth accurately predicting Van Halen’s future

 
The person who uploaded the audio of Van Halen performing as a “cover band” places the year at 1975—not long after VH had transitioned from the name Mammoth, and were in the process of blowing the fuck up after Sunset Strip club Gazzarri’s (RIP) gave the band their first big break.
 

David Lee Roth and Eddie Van Halen on stage at Gazzarri’s, mid-70s.
 
 
An early shot of Van Halen and the band’s first logo design created by original VH bassist, Mark Stone (Stone is pictured to the far left).
 
And when I say big break, I mean that before Gazzarri’s, DLR and the boys were literally playing house parties and high schools. After getting the green-light to play Gazzarri’s by the club’s owner, Bill Gazzarri (who initially didn’t like the band, he later maintained that Van Halen was the best band to every play there), the band became Gazzarri’s house band playing the club several nights a week and would often run the dance contests held at Sunset Strip club. VH vocalist David Lee Roth recalls that in addition to getting paid $75-$125 bucks a night, another perk was getting to watch Gazzarri’s famous “Go-Go” dancers who also performed at the club regularly. It was a huge upgrade from their usual gigs. 1975 sounds like it was a pretty sweet time if your name was (or was associated with), “Van Halen.”

VH drummer Alex Van Halen remembers that the “crowd” at the band’s first gig at Gazzarri’s consisted of about four fans. Van Halen would go on to play approximately 90 gigs at Gazzarri’s to ever-growing crowds before Eddie Van Halen told Bill Gazzarri that they were “never going to get anywhere” by honing their ability to kick out disco jams like the 1975 hit by KC and the Sunshine band, “Get Down Tonight.” And as much as I love that song (I don’t judge and neither should you), he wasn’t wrong. Sometime in 1976 KROQ DJ Rodney Bingenheimer met up with KISS loudmouth Gene Simmons to see one of VH’s gigs at Gazzarri’s. Simmons dug what he heard and got the band to record a demo, but things didn’t pan out. Luckily, Warner Brothers Records producer Ted Templeman (the famous voice behind the line “Come on Dave, give me a break” from the Van Halen’s 1981 classic “Unchained”) caught a live gig of the still under-the-radar band, and ushered the boys into the studio to record what would become VH’s seminal debut record, 1978’s Van Halen.

As I’m a huge fan of digging up interesting historical rock and roll artifacts, I have to say I was super entertained listening to 32 minutes of the then-emerging young Van Halen covering songs by David Bowie (specifically “The Jean Genie” during which Roth amusingly confesses to forgetting the lyrics), Led Zeppelin, ZZ Top, and “Twist and Shout”—all while emceeing one of Gazzarri’s many dance contests. While the audio isn’t good (and the band doesn’t really sound that great either), it truly has its priceless moments. Mostly due the antics of the then just 21-year-old “Mr. Entertainment” David Lee Roth. I’ve included a number of photos of Van Halen’s days at Gazzarri’s as well as a few cool other artifacts from that mythical time when it seemed that most people in LA didn’t know who Van Halen was. Yet.
 
Much more early Van Halen after the jump…

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‘I’m A Boy’: The many fantastic times Keith Moon dressed up in full-on drag back in the 1970s
05.11.2016
10:31 am

Topics:
Amusing
Heroes
Music

Tags:
Keith Moon
The Who
drag
1970s


The cover of Trouser Press magazine featuring Keith Moon, #14, June/July 1976.
 
According to super-groupie Pamela Des Barres, during the time she dated Keith Moon for about a year, Moon seemed to be happiest when he was “anyone but himself.” During their short time together, Des Barres recalls that Moon enjoyed dressing up in her clothes and “frolicking” in her high-heels in the middle of the night, as well as trading “sexes” for kicks from time to time. Let there be no mistake, in the 32 short years Keith Moon walked among us mere mortals, he really lived every moment like it was his last.
 

Keith Moon in drag with Pamela Des Barres.
 
Dougal Butler, Moon’s personal assistant who was with Moon for ten tumultuous years, would refer to The Who’s timekeeper as a “heterosexual drag queen” who frequently enjoyed acting like a “ginger beer” (a “ginger beer” is a Cockney rhyming slang for “queer”) and was happiest when he could “get ahold of a dress or two.” Dougal, who authored two books on Moon, Full Moon: The Amazing Rock and Roll Life of the Late Keith Moon and Moon the Loon, noted of all of Moon’s many drag ensembles, the drummers favorite was anytime he could dress up in full regalia like an actual Queen.

In 1972 as the emcee of “The Ultimate ROQ Concert” festival for KROQ FM at the Los Angeles Memorial Coliseum that featured co-headliners Sly and the Family Stone and the Bee Gees (as well as Stevie Wonder among others), Moon appeared on stage dressed in silver sequins (a particular number he would wear many times to many events, pictured above), makeup and a blonde wig when he introduced the shows “special added attraction” Sha-Na-Na. Des Barres recalls in her book, I’m With the Band: Confessions of a Groupie, that she and Moon shared a dressing room with the Bee Gees, who got to watch the perpetually drunk Moonie’s many “wardrobe” changes. Yes.

Of course if you are a fan of The Who, then you’ve probably seen some of the photographic outtakes or magazine adverts from the band’s, 1971’s Who’s Next that feature Mr. Moon cheesecaking it up in ladies lingerie, full makeup and brunette and blonde wigs. In issue #14 of Trouser Press magazine (June/July 1976), the cover (seen at the top of this post) had a side-by-side image of Moon that amusingly suggested that Keith had a “split personality” of sorts. The image included a photo of Moon dressed in drag (and looking super hot I might add), for his gig as the emcee for two shows at New York’s Carnegie Hall with Sha-Na-Na and Cheech and Chong (during which, according to a news item from Billboard Magazine in 1972, Moon sat in on the drums during Sha Na Na’s set. WHAT?). A gig for which Moon flew from England to New York for one night’s work. Keith Moon’s unwavering dedication to having a good time truly (and quite sadly), knew no bounds. 
 

“Won’t Get Fooled Again” ad featuring Keith Moon vamping it up in ladies lingerie, 1971.
 
More Moon the Loon, after the jump…

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1970s glam rockers Cuddly Toys cover ‘Madman’ a song written by David Bowie & Marc Bolan
05.04.2016
09:39 am

Topics:
Heroes
Music
Punk

Tags:
David Bowie
Marc Bolan
1970s
Cuddly Toys


The Japanese 7” for Cuddly Toys’ cover of ‘Madman.’ A song written by David Bowie and Marc Bolan.
 

We always had ideas above our station, and wanted to be a bit more interesting than the rest of the punk groups who only wanted to sing about being poor and ugly, even though we were poor and ugly.

—Faebhean Kwest, Cuddly Toys guitarist

I know that many of you die-hard glam rockers out there will probably already own the stellar album Guillotine Theatre by Cuddly Toys (which was originally released in Japan in 1979 then remixed and released in the UK a year later). However, if you do not, then I’d highly advise you that you add this fantastic record to your collection as soon as possible.

Originally known by the not-so-catchy name of “Raped”—the title of their first EP was also a cringer called Pretty Paedophiles, yikes!—the band’s guitarist Faebhean Kwest, claims that he was once asked by Malcolm McLaren to audition for the Sex Pistols, but turned the offer down. Early in 1979, the band changed their name to the less aggressive sounding Cuddly Toys at the suggestion of none other than legendary Radio One DJ, John Peel. Influenced by bands like Richard Hell and the Voidoids and (naturally) the New York Dolls and the Sex Pistols, the Toys boys were soon rubbing shoulders with many of their idols like Sid Vicious and Generation X.

Shortly before Marc Bolan’s untimely death in 1977, he co-wrote the song, “Madman” with David Bowie. Recordings and rough demos of the sessions in which “Madman” was birthed exist. The Cuddly Toys covered the song and released the track as their very first single. To help promote the song Cuddly Toys played a gig at The Music Machine in London. According to an interview with the band, the show was attended by a few famous admirers such as David Bowie, Iggy Pop and Paul McCartney—not too shabby of a start for the up-and-coming glam rockers who would call it quits in the early 80s.

Keep reading after the jump…

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‘Hiya Dogface!’: Wasted Iggy Pop goes totally off-the-rails on Australian TV, 1979

Iggy Pop, I'm Bored, 1979
 
In honor of Iggy Pop’s 69th birthday today I thought I’d share this footage of Iggy’s very “Iggy” interview and off-the-rails lip syncing of “I’m Bored” that aired in 1979 on the Australian television show, Countdown.

The video starts with an interview with a glassy-eyed Iggy conducted by Countdown‘s host Molly Meldrum. Despite repeated requests to focus on the “questions” he was asking, Iggy jumps up and down out of his chair, sneers at the audience, and in general acts like a five-year-old version of himself because he’s plainly high as fuck. Then, in what appears to be an unplanned event, Iggy leaves the interview and is nowhere to be seen after a commercial break, which causes Meldrum to advise the audience not to worry about Iggy because he’s “fine.” Right.
 
Images from Iggy Pop's 1979 appearance on Australian show, Countdown
Iggy Pop on ‘Countdown.’
 
I was lucky enough to see Iggy’s electrifying gig a few weeks ago in Seattle for the first stop of his Post Pop Depression Tour and can say without a doubt that Iggy is still “Iggy.” He has no need for such things as shirts, loves the word “fuck,” and jumps around on stage like his pants are on fire.

Happy Birthday, Iggy! Never change!
 


Iggy Pop ‘perorms’ ‘I’m Bored’ from his ‘New Values’ album in 1979

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The Combat Zone: A look back at Boston’s mythical dens of sleaze

The Naked i cabaret in Boston's old
The Naked i Cabaret in Boston’s old “Combat Zone.”
 
I grew up in a small town just outside of Boston called Somerville. And like pretty much like any other teenager, I worked quite hard at the craft of getting into trouble as often as possible. I ran with a crowd that was comprised of teenage losers that enjoyed passing the time stealing beer from delivery trucks. As far as you (and my parents) know, I (mostly) never did anything more than drink said stolen beer under train track bridges while underage.
 
Combat Zone, 1974
Combat Zone, 1974.
 
But when it came to a right of passage in Boston, if you were a late teen or mostly of legal drinking age in the late 80s, you hit up Boston’s Chinatown after last call to eat food full of MSG and drink “cold tea.” In Boston, (and perhaps where you grew up, too), “cold tea” was code for “beer” (usually flat) that you could order slightly before or after closing time that was served up in white teapots in certain restaurants in Chinatown. Of course, after a night of youthful boozing, we would occasionally have enough “beer balls” to walk through the red light district of Boston that bordered Chinatown known as the Combat Zone. I remember one particular night when, after a couple of pots of cold tea, someone dared me to sprint through the Zone alone as fast as I could, which I did. Because what could go wrong when a blond teenage girl decides to run through the seediest part of town full of peep shows, dirty book stores, prostitutes and pimps?

Although widely considered a place of ill-repute, the Combat Zone’s history is important to Boston for many reasons. Specifically, thanks to its “relaxed” approach to adult oriented pursuits, the Combat Zone was also home to a wide variety of drag clubs and gay bars frequented by Boston’s LGBT community. Which is in part why in 1976 The Wall Street Journal dubbed the area a “sexual Disneyland.” In other words, there was something for everyone in the Combat Zone. And that wasn’t always a bad thing. In 2010, an art exhibit at the Howard Yezerski Gallery showcased photos taken in the Combat Zone from 1969 - 1978. Many of the images from the show as well as others taken during the Zone’s heyday, follow.
 
A sign outside the Combat Zone riffing on a famous line from JFK's inaugural address
 
Combat Zone, 1978
1978
 
More Beantown sleaze, after the jump…

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Meet ‘Iron Virgin’: The Scottish glam rock band that time forgot
04.18.2016
09:42 am

Topics:
Music

Tags:
Scotland
1970s
glam rock
Iron Virgin

Iron Virgin, a Scottish glam band formed in 1972
Iron Virgin, a Scottish glam rock band formed in 1972.
 
Back in 1973, riding high on his work with Thin Lizzy, Decca records sent out producer Nick Tauber off in search of a hot act to help them promote their other label called Deram Records (which put out David Bowie’s first self-titled album a year after it was established in 1967). Tauber ended up in Scotland and happened to catch a gig from Edinburgh-area band, Iron Virgin. Tauber signed the band to Deram and got them into the studio to record.

Iron Virgin was making a pretty good name for themselves before Tauber found them by playing Slade and Bowie covers, as well as their own original music all around Scotland. They dressed like their idols - decked out in sky-high platform boots and makeup. The band’s vocalist, Stuart Harper (now a high-end tie designer, pictured with the nifty “NO ENTRY” chastity belt codpiece above), made most of their stage clothes which consisted of embellished leotards, tights, and jumpsuits. Because it isn’t really “glam rock” unless your genitals are being strangled to death by something shiny and tight. 1973 was shaping up to be a pretty great year for Iron Virgin, who had only been around for about a year before Tauber “discovered” them.
 
Iron Virgin
Iron Virgin posing for their lives in their homemade “American Football” uniforms, as well as glammed-up Scottish tartan duds made by their vocalist Stuart Harper, early 1973/1974.
 
Iron Virgin single for
The single for the super-catchy Iron Virgin track, ‘Rebels Rule.’
 
According to an interview from 2014 with Iron Virgin guitarist Gordon Nicol, when they went into the studio with Tauber, they were “told” that they would be recording a cover of “Jet” originally recorded in 1973 by Paul McCartney and Wings for the album, Band on the Run. In addition to “Jet,” Iron Virgin also recorded a version of Rick Derringer’s “Teenage Love Affair” (from Derringer’s 1973 album, All American Boy), and a cover of the 1972 song “Shake that Fat” by Jo Jo Gunne (a band comprised of former members of Spirit), as well as three original songs, “Ain’t No Clown,” “Midnight Hitcher,” and the fist-pumping, T. Rex-y anthem, “Rebel Rules.”

Although the band enjoyed some success with their cover of “Jet” (which Deram released as a single in February of 1974), it was eclipsed by McCartney’s version that was released as a single that very same month - effectively delivering a death-blow to the up-and-coming band who would disband without ever recording again. Speaking of recordings, any physical copies of Iron Virgin vinyl are extremely rare and when they turn up, are pricey and highly-sought-after by collectors. In 2007, Rave Up Records reissued all six Iron Virgin singles on 12” vinyl, which swiftly sold out. The track “Rebel Rules” can be found on the great 2003 compilation of obscure glam released between the years 1973 and 1975, Velvet Tinmine. I’ve posted audio of all the Iron Virgin recordings I could dig up, which I coincidentally think you will really dig, below.

The name Iron Virgin is now taken by “the ultimate Iron Maiden tribute band.”

Iron Virgin, ‘Rebels Rule’
 
More Iron Virgin after the jump…

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‘Brown Acid: The Second Trip’—Listen to DM’s exclusive stream of rare psychedelic fuzz from the 70s

Brown Acid: The Second Trip
Brown Acid: The Second Trip.
 
Today I have the great pleasure of bringing to your ears a Dangerous Minds exclusive - a full album stream of the second compilation full of rare and gritty fuzz from the 1970s curated by RidingEasy Records and L.A. retailer Permanent Records, Brown Acid: The Second Trip.

As with RidingEasy’s first Brown Acid release, The Second Trip contains a stellar collection of rare heavy-hitting, proto-metal psychedelically tinged rock tracks from bands so obscure, most flew far under most rock and roll radars back in the 1970s. In fact, one track by Spiny Norman (who sound like Jethro Tull only heavier and tripping balls on acid), “Bell Park Loon” was never physically released, and languished in a collectors archive on reel to reel for 38 years until Lance Barresi of Permanent Records joined forces with Daniel Hall of RidingEasy, and reached an agreement so “Bell Park Loon” could finally see the light of day on Brown Acid: The Second Trip.
 
Iron Knowledge promo for their single, Show-Stopper, mid-1970s
An ad for the Iron Knowledge single, ‘Show-Stopper,’ 1972.
 
I’ve no doubt that DM’s legions of readers are going to deeply dig kicking back and turning up tracks from bands they have likely never heard of before. Like Youngstown, Ohio band Iron Knowledge and their out-of-sight squealing-jam “Show-Stopper,” or the Sabbath-like grind of Australian psyche-rock band Ash, and the throbbing prod that makes up their 1971 track “Midnight Witch.”

Pre-order info can be found here.

You can listen to the entire album stream of ‘Brown Acid: The Second Trip’ after the jump…

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Super-strange 1978 PSA film might give you an acid flashback
04.12.2016
09:16 am

Topics:
Amusing
Pop Culture

Tags:
PSA
1970s
aliens
safety tips


“Safety Woman” from the school safety video “Safety: In Danger out of Doors” from 1978.
 
This late 70s school safety video is full of so much weirdness that it’s hard not to feel like you’re suddenly having an unplanned acid trip while watching it.

In this short film from 1978 menacingly entitled Safety: In Danger out of Doors, we meet the fictional character Miss Karen Kingsley, who the narrator describes as “a youthful, gifted, attractive, successful, freelance architect” who spends her free time volunteering as a school crossing guard. The fourteen-minute PSA plays out much like a lost B-movie when the multi-talented Miss Kingsley somehow becomes “Safety Woman,” a shiny-jumpsuit-wearing superhero (who came to be thanks to some sort of sketchy divine alien “interaction”), that shows up just in time to save her accident prone school-age pals from certain death. If this video had been made in the 80s, that jumpsuit would have reeked of Enjoli perfume for sure. Check out all the possible scenarios that put children of the 70s in peril, like skateboarding or swimming—which we (or at least most of us, I suppose) somehow miraculously survived—after the jump…

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Footage of Keith Moon crashing a Led Zeppelin gig then jamming with the band in 1977
04.07.2016
08:49 am

Topics:
Amusing
Heroes
Music

Tags:
Led Zeppelin
Keith Moon
1970s

Keith Moon sitting at John Bonham's drum kit while Jimmy Page looks on, June 23rd, 1977
Keith Moon sitting at John Bonham’s drum kit while Jimmy Page looks on, June 23rd, 1977.
 
While many (most?) drunken escapades end up badly—but especially when they’re taking place in front of thousands of people—the time The Who’s antic-prone timekeeper Keith Moon crashed a Led Zeppelin gig in 1977, was thankfully not such an occasion.
 
Keith Moon and Robert Plant on stage at the Forum in Los Angeles, June 23, 1977
Keith Moon and Robert Plant on stage at the Forum in Los Angeles, June 23, 1977.
 
Keith Moon sitting behind John Bonham's mythical drum kit, June 23, 1977
Keith Moon sitting behind John Bonham’s mythical drum kit, June 23, 1977.
 
On June 23rd, 1977, the perpetually drunk Keith Moon unexpectedly joined Led Zeppelin onstage at the Forum in Los Angeles, along with his bongos and a tambourine during “Moby Dick” and the band’s encore. At one point after Moon’s impromptu materialization, he commandeered Robert Plant’s microphone and began to regale the crowd before Plant, who was chopping away behind Bonham’s kit, shut him down.

The action with Moon, who engages in what I can only describe as an awesome “drum duel” of sorts with Bonham, starts at about 5:40. Sadly, it would turn out to be the last time Moon would perform on U.S. soil as he passed away just over a year later in September of 1978 at the all-too-young age of 32. Bonzo wouldn’t last that much longer himself, dying in his sleep on September 24, 1980. He was also just 32 years old.

After the jump, watch footage of Keith Moon crashing Led Zeppelin’s party at the Los Angeles Forum in 1977…

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Vintage 70s Bootsy Collins ashtray will hold your funky butts
04.04.2016
11:07 am

Topics:
Amusing
Heroes
Music

Tags:
1970s
Bootsy Collins
ashtrays

Bootsy Collins reacts to the vintage 1970s Bootsy Collins ashtray the way we all did
Vintage 70s bust of Bootsy Collins ashtray and the real Bootsy.
 
Currently this covet-worthy Bootsy Collins ashtray is up for auction on Ebay for a mere $19.99—a bargain at twice the price for such a funky piece of 1970s goodness. If the voice inside your head just screamed “Shut Up and take my money!” then congratulations—everyone else reading this post heard the same thing.

As the listing points out, the top of Bootsy’s head can be removed to reveal the inner sanctum where you can put your spent butts (or trinkets as I’d prefer to use it to store my collection of rhinestones). Here’s the link to the auction. GOOD LUCK! 
 
Vintage 1970s Bootsy Collins ashtray
 
More Bootsy, baby, after the jump…

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The brief 1976 collaboration of New York Doll Arthur ‘Killer’ Kane & Blackie Lawless of W.A.S.P.

Killer Kane Band, 1976
The Killer Kane Band back in 1976.
 
I’m not telling you anything you probably don’t already know when I say that the divorce of glam punks heroes, the New York Dolls was a messy one. In 1975 members of the Dolls were completely fucked up on drugs—bassist Arthur “Killer” Kane (R.I.P.) was often too inebriated to even join the band on stage—and constantly fought with each other behind the scenes. After a five-date tour of New York’s outer boroughs, the Dolls parted ways.

During all this glittery chaos, and while on tour in Florida, Johnny Thunders and drummer Jerry Nolan abruptly left the band. Thunders was replaced by future heavy-metal codpiece enthusiast, Blackie Lawless, the soon-to-be vocalist for W.A.S.P. Which leads me to the topic of this post—the time that Arthur Kane made some sweet mid-70s rawk and roll with Blackie Lawless who was then known as “Blackie Goozeman” in the Killer Kane Band.
 
Arthur
Arthur “Killer” Kane, Blackie Goozeman, and Andy Jay of the Killer Kane Band, 1976.
 
Keep reading after the jump…

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Intergalactic pimp: Donny Osmond dresses as ‘David Bowie’ and covers ‘Fame’ in 1976

Donny Osmond and David Bowie
 
I grew up watching the Donny & Marie show back in the 70s. I never missed a episode. Sadly, I was too young to have possibly appreciated Donny Osmond covering David Bowie’s “Fame” (from Bowie’s 1975 record Young Americans) on a show that aired during the first season of Donny & Marie in 1976. And guess what? It’s actually pretty good. Mind blown!
 
Donny Osmond dressed as
Donny dressed in his finest “David Bowie” drag perhaps, or is he trying to be an intergalactic pimp?
 
I’m not really sure, but it appears that the costume department for Donny & Marie must’ve thought “Bowie-esque” meant a sort of showy, Liberace-meets Elton John-meets-Superfly type getup. Once you look past that (if in fact you can look past Osmond’s ridiculous costume), it’s hard not to appreciate his 90-second little Bowie cover. This beautiful and bizarre bit of pop culture goodness that I had no idea existed before today (and can’t stop watching), is posted below. The full episode (which stars the great Ruth Buzzi) can be seen, here.
 
H/T: Kitsch Bitsch on Facebook

Donny Osmond gets down, gets funky

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The MC5 kick out the jams next to a busy Detroit highway in 1970
02.22.2016
08:40 am

Topics:
Heroes
Music

Tags:
Detroit
1970s
MC5

MC5, early 1970s
The MC5, early 1970s
 
On July 19th, 1970 the MC5 performed at Detroit’s Tartar Field at Wayne State University (alma mater of MC5 bassist Michael Davis, (RIP) and drummer Dennis Thompson), while cars roared by on the I-94 highway behind them, unable to drown out the sonic boom coming from the Michigan natives at the top of their game.
 
An ad for the MC5's second record, 1970s, Back in the USA
An ad for “Back in the USA”
 
According to a 2014 interview in Detroit Rock n Roll Magazine with MC5 drummer Dennis Thompson, the band had just returned from a small, rural farming town in Michigan called Hamburg, where they had recorded their second album, 1970’s Back In The USA, produced by Rolling Stone journalist (and future Bruce Springsteen manager) Jon Landau. Thompson was not “into” Landau at all, and would refer to him a “fascist.” He was also deeply concerned that the 23-year-old didn’t have enough industry experience for the job.

But perhaps Thompson’s initial negativity toward Landau had more to do with the fact that he forbid the use of drugs and booze (the band were huge fans of LSD and were avid pot smokers), and even had them on a strict diet and exercise routine while they were in Hamburg. In a nutshell, Landau had the MC5 doing the exact opposite of what every other band (or most young people for that matter) in the 70s were doing. And the result is what many fans consider to be the band’s best outing, despite the fact that it was somewhat of a commercial failure when it was released.
 
Jon Landau and Wayne Kramer, 1970
Jon Landau (right) and Wayne Kramer

This footage captures the band performing “Looking at You” from Back in the USA, for the very first time live, as well as “Ramblin’ Rose,” (during which Wayne Kramer does a pretty hot imitation of a James Brown-style shuffle), and “Kick Out the Jams” from their first album, Kick Out the Jams. The looks on the faces of the awestruck crowd is one of the many highlights from this ten-minute piece of fuzzed-out rock and roll history.

Set your speakers to stun!
 

The MC5 performing songs from 1969’s “Kick Out the Jams”, and their 1970 album “Back in The USA” at Wayne State University’s Tartar Field, July 19th, 1970

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HATE! KILL! REVENGE! ‘Josie and the Pussycats’ meet Satan, 1973

Josie and the Pussycats
A panel from Josie and the Pussycats “Vengeance From The Crypt” comic, October, 1973, #72

In 1954, The Comics Code Authority was formed by the Comics Magazine Association of America in order to allow publishers to regulate comic book content in the U.S. themselves, without input or governance the government. In 1971, The Authority lightened up a little and allowed comic book writers to include some new angles into their storylines, such as the use of vampires, werewolves and ghouls. This decision may have perhaps paved the way for issue #72 of Josie and the Pussycats, “Vengeance From The Crypt” published in October of 1973. In it, the sweet ginger-haired Josie gets possessed by a satanic spirit. Dear Hollywood, please adapt this storyline into a major motion picture immediately.
 
Josie and the Pussycats, Vengeance From the Crypt, October 1973
Josie and the Pussycats, “Vengeance From the Crypt”, October 1973
 
In the weirdness that is issue #72, The Pussycats (along with mean-o-nasty non-Pussycat member, Alexandra) ditch their guitars and amps, and head off to pay their respects to Alexandra’s recently departed grandfather at the local mausoleum. For some reason Josie wanders off to some bizarre lower chamber of the mausoleum and is enveloped by an “invisible malignant presence.” After that, Josie goes on a punk-rock style rampage smashing stuff up. When Josie has a psychotic reaction after coming in contact with a copy of the Bible that the clean-cut gang just happened to have lying around, things get really fucking weird (if they weren’t weird enough already).
 
Josie and the Pussycats, Vengeance From The Crypt, October 1973
 
The entire story—and zowie, it’s a doozy—after the jump…

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Black Sabbath in 1970: ‘Black magic is not our scene’
02.09.2016
08:46 am

Topics:
Amusing
Music
Occult

Tags:
Black Sabbath
1970s

Black Sabbath, 1970s
The nice, church-going boys from Black Sabbath, early 70s

Back in 1970 when Black Sabbath was just starting to explode (the band had recently broken an attendance record set at the popular Birmingham venue Henry’s Blues House by Tony Iommi’s former band of about five seconds, Jethro Tull), they were also trying to shake the misconception that they were dabbling in “black magic” after changing their name from Earth.

In an interview with Melody Maker in July of 1970 with Sabbath drummer Bill Ward, journalist Mark Plummer inquired if the band was into the occult. To which Ward replied that not only had Black Sabbath never “practiced black magic” on stage, they were actually “anti-black magic.” In fact, according to Ward, the lyrics to the song “Black Sabbath” specifically denounce the infernal arts and “all its implications.”
 
NO black magic for us! Black Sabbath, 1970s
Black magic? Never heard of it!
 
Ward’s sentiments were echoed by an (allegedly) stone-cold sober Ozzy Osbourne in an interview he gave later that same month to NME journalist Roy Carr. According to Ozz, not only were the occult rumors not true, Sabbath actually wanted to help “stamp out” black magic. The belief that the band was aligned with the dark forces was creating huge headaches for them. Especially, in of all places, Germany:

It’s got so bad that recently a German promoter who had booked us sent along return airfares for the group—and if need be a one-way ticket if we decided on using a sacrificial victim (on stage). The press has blown everything out of proportion. With our name Black Sabbath, people therefore assumed that this (black magic) was our scene. For some unknown reason, people seem to expect something out of the ordinary when we appear. We don’t need to have naked birds leaping all over the stage or try to conjure up the devil.

 
Black Sabbath looking kind of evil, 1970
Nothing evil to see here, move along
 
Tony Iommi even went so far to speculate that the band might have to “change up some of their lyrics” to avoid “trouble” especially while they were in the U.S., where rumors of their alleged love of evil were running wild. Thankfully, that never happened and despite Ozzy’s concerns about naked birds and having no plans to conduct a Satanic sacrificial ritual on stage, Sabbath got to keep making records homaging sex, drugs and the supernatural. While Satan sits and smiles of course. Nice.

Keep reading after the jump…

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