Roy Hall & Amos Milburn

The paths of Roy Hall & Amos Milburn may never have crossed in any notable way, except in the annals of Unsung Heroes of Rock ‘n’ Roll, by Nick Tosches, which features excellent profiles on them both. Still, here at Gemini Spacecraft, the Cohutta Mountain Boy and the slick Chicken-Shacker, have come to resemble two hands on the same boogie piano.

Both Hall and Milburn cut their earliest sides in the late 40s, back in the days of the 78 single. Both knew the blurry, bleary wonders of the after-hours joint. While Milburn had a string of hits, most notably 1948’s “Chicken Shack Boogie” (Aladdin 3014), none of Hall’s own great records would ever hit, although his most famous song “Whole Lotta Shakin’ Goin On” (Decca 29697) obviously blew the world wide open for Jerry Lee Lewis in 1957.

Like the booze he loved and sang so well about, Milburn’s genius was concentrated, in this case, in the decade spanning 1946 to roughly 1956. During this period, while recording for Aladdin, he cut the aforementioned “Chicken Shack Boogie,” plus the dirty dittie “Walking Blues,” also “Let’s Rock Awhile,” “Good Good Whiskey,” its remorseful inverse “Bad Bad Whiskey,” also “One Scotch, One Bourbon, One Beer,” “My Happiness Depends on You,” and my personal favorite, his version of Don Raye’s “Down the Road Apiece.” Both Chuck Berry and the Rolling Stones did their own great versions of "Down the Road a Piece." But where those acts each rocked it as a full combo, Milburn, accompanied only by a snare drum, pumps that piano boogie until it sounds like an entire, crazy band. Not long after, Aladdin Records folded. Milburn migrated over to the King label, and, in the early 60s cut a couple of duets with Charles Brown. Eventually the hard drinkin’ caught up with him, and after several strokes, Amos Milburn died in Houston in 1980.

Put a lascivious, drunk hillbilly behind what is essentially the same twelve-bar boogie, then hit the drums a little harder and crank up the gee-tar, and you get Roy Hall. His first band, Roy Hall and the Cohutta Moutain Boys, were among the earliest on the legendary Fortune label, who in 1949 released “Dirty Boogie” (Fortune 126) and five other sides. After that, Hall returned to Nashville where he ran an after-hours joint called the Music Box, cut a few sides for the Bullet label, “Mule Boogie,” (Bullet 704) from 1950, among them, and played piano for Webb Pierce. Webb helped Roy get a deal with Decca Records, where Hall’s music moved a few steps away its earlier hillbilly blues stylings toward something much closer to rockabilly in songs like “Diggin’ the Boogie,” “Three Alley Cats,” “See You Later Alligator,” and “Don’t Stop Now.” Despite a lack of hits, and music biz rip-offs, Hall kept rockin’, seeming to get raunchier with each new record. By the late 50s he’d returned to Fortune, recording for their subsidiary, the Hi-Q label. Here he re-worked a couple of earlier gems like “Dig, Everybody, Dig That Boogie” and “Three Alley Cats,” while also releasing the great “Bedspring Motel.” Then, in 1960, for his former boss Webb Pierce’s short-lived Pierce label, under the name “The Hound,” Hall made one of the dirtiest records you’ll ever hear, “Flood of Love,” b-side to the great “One Monkey Can’t Stop the Show.”

Both men quit drinking in the last years of their lives, and while those strokes left Milburn an invalid, unable to stomp out that piano boogie thanks to the loss of a leg, Hall kept rockin’ into geezer-hood, until his card got punched in 1984.

The Weekly BOMP! - The Zantees "Out for Kicks"

Released by Bomp in 1980, the Zantees first long player Out for Kicks is like some old V-8 lunging off the line, building power and speed as it goes. Here at the Gemini Spacecraft archive it gets shelved beside the Blasters’ American Music and Alex Chilton’s Like Flies on Sherbert, two other great 1980 LPs that helped spark that branch of postpunk that Greg Shaw dubbed “Real Rockers,” rightfully reclaiming the word from “the same creeps who took over new wave,” who were then trying to apply “Rocker” to “that lethargic sludge they worship as reggae.” Shaw asserted that only “records with that frantic beat that makes you want to go hog wild” deserved to be called “Rocker.” And Out for Kicks definitely lives up to Shaw’s criteria.

The Zantees line-up included Billy Miller and Miriam Linna, on the vocals and tubs respectively, then of Kicks Magazine, soon to launch Norton Records, teamed up with guitarist brothers Paul & Bill Statile and bassist Rob Norris in a sort of proto A-Bones, if you will. As for the words to describe their sound, let Shaw say it, “Some folks call the Zantees a rockabilly band, but they’re not. They’re so much more than that. They’re a Rock ‘n’ Roll band in the strongest sense, having grabbed inspiration from all the high points of the past 30 years including not only rockabilly but punk, invasion, surfing, and maniac R&B and bashed it all into a style that’s indefinable.”

On Out for Kicks, dig how the Statile brothers' string-wringin' calls to mind that of Paul Burlison, Cliff Gallup, and others, then mixes it all together, sometimes simultaneously, sometimes even in the same riff! And Billy Miller’s wild vocals here display a spastic youthfulness not as apparent on later A-Bones records. Add Miriam Linna’s “hog wild” beat, and a heapin’ helpin’ of reverb on the vocals, guitars, drums, and, hell, everywhere, and you get a real classic. Now out of print, but not too hard to track down.

Greg Shaw quotes originally from Bomp! Magazine, now reprinted in Bomp! Saving the World One Record at a Time (Ammo, 2007).

Songs:
"Blonde Bombshell," "Big Green Car," and "Gas Up," from Out for Kicks (Bomp! LP 4009).

Print Ephemera #2: WFMU's "Crackpots & Visionaries" Trading Cards

...Or, WFMU Record Fair Finds Part II: Crackpots & Visionaries trading cards.

Pictured here is Volume I, from 1992. Ya get 36 cards with captioned bios of a wide range of characters from William S. Burroughs to Jesse Helms, each illustrated by some luminary of 1990s underground comics. Artists include Dan Clowes, Roy "Trailer Trash" Tompkins, Julie Doucet, Joe Coleman, and lots of others.

#30 The Patron Crackpot of this blog, the Legendary Stardust Cowboy, drawn by J.R. Williams.

WFMU Record Fair Finds

Last weekend brought the big annual WFMU Record Fair back to New York City. I slogged through the rain and the thick crowd of fellow record hounds at the Metropolitan Pavilion and managed to catch a couple of songs from the Trashmen's very short set, which sounded great and proved they still got it. My only gripe is that it ended so soon. What the hell tho, I guess if I'd wanted to hear more, I could have made the shlepp over to Maxwell's later that night. Anyway, at the record fair, I kept walking past all the Tropicalia and Jandek LPs and managed to snag the following 45s.




From the Filling-Out-the-Collection-with-Much-Needed-Classics Department: Slim Harpo's "Don't Start Cryin' Now," from 1961 (Excello 2194), B-side to "Rainin' In My Heart." I love how LOUD this record is.




From there the fingers did their own walkin' through various 45 boxes to come up with this pair from the under-researched genre of Cow-Milkin songs. First of these two classics is another from the Excello label (Excello 2268), the Blues Rockers' "Calling All Cows," b/w Jerry McCain's "Courtin' in a Cadillac," from 1965.




Next is Red Foley's 1952 country boogie "Milk Bucket Boogie," on the Decca label. I like the milk-in-the-pail percussion effect on that one.



From the Norton table I also picked up a copy of Andre Williams' brand new novel Sweets and Other Stories, recently published by Kicks Books, edited by Miriam Linna. Gemini Spacecraft will post a more detailed review of Sweets shortly. For now I'll say it kind of reminds me of a cross between Iceberg Slim's Mama Black Widow and Babs Gonzales' I Paid My Dues (see previous GS post about that last one).

Greased Griddles & Poodle Dogs: The Raunchy Rock 'n' Roll of Johnny Buckett, Roy "The Hound" Hall, and Others

“I’m a Griddle Greasing Daddy”... “Let Me Play With Your Poodle,”... “I call her my Eager Beaver Baby,”... Yessir, sometimes singers said a lot more back when they couldn’t come right out and say it all. Sandwiched between the pre-war era of explicitly nasty blues & hillbilly lyrics and the suggestive 70s country music of Tanya Tucker, et al, lies a body of raunchy RnR double entendre. A comprehensive survey of these dirty ditties could, of course, fill an entire book, and to dwell the subject for very long is to expand it beyond what fits neatly into a blog post. So today the GS brings you a quick sampling.


Now, Poodle-owners out there, ask yourselves, would you let Johnny Buckett and his Cumberland River Boys “Play With Your Poodle” “...I mean your little poodle dog”? While considering Buckett's offer, you might recall that it's a sort of two-for-one deal, because when you flip the record, he also promotes further services in “Griddle Greasing Daddy.” Originally released as a single for the Renown label, both cuts reappeared on Fortune EP 1330. Note how Buckett cops song-writing credit for himself, despite the fact that Hank Penny had already cut "Poodle Dog" for the King label back in 1947.



The moniker “Roy the Hound” was but a mask for the boogie pianist Roy Hall, who wrote “Whole Lotta Shakin’ Goin’ On”, and whose Coahutta Mountain boys had been doin’ the “Dirty Boogie” since the late 40s. Out there ahead of me somewhere is a more fully fleshed-out post on my main-man Roy Hall--like he says himself in “Bedspring Motel” ...“Boy I sure dig that Roy Hall on the piana”. In 1960 he cut one of the dirtiest numbers you’re likely to find anywhere in the Rockabilly ouvre “Flood of Love”. Personally, I like to think the listener’s shock is anticipated and embodied by the Big-Bopper sounding back-up singer’s shouts of “Now what you say?! A Flood of LOVE?!” Hall’s occasional employer Webb Pierce owned the short-lived label that released this slab o’ salaciousness.

While Johnny Burnette employs the double entendre in “Eager Beaver Baby,” ostensibly a tale of unrequited love interest with obvious connotations, Jerry Lee Lewis dispenses with this device nearly altogether in “Big Legged Woman”. Aside from its clever biscuit dough metaphor, the latter is a raw, unabashed poon-hound anthem. George “Thumper” Jones, on the other hand, sounds like an unwitting accomplice to kink in “Slave Lover,” putting away his paper and pipe with a sigh to go “uptown and downtown” at his master’s bidding.


In RnR, just as in blues, male performers didn’t hold a monopoly on the raunch. Wanda Jackson’s “Cool Love” comes on panting in red lipstick, so don’t’cha be no square. The Miller Sisters offer their ode to variety, in dance partners and lovers, in “Ten Cats Down,” while Barbara Pittman growls for it outright in “I Need a Man,” and Charline Arthur--really more of a western swinger than a rocker--expresses a certain self-sufficiency in “I’m Having a Party All By Myself.”

Marlon Brando, Preston Epps, and Other Bongo Beatin' Beatniks

The late 50s and early 60s were rife with bongo beaters--with all the bongo-rific riffery seeming to reach some sort peak around 1959. What follows is another scatter-shot round-up of some favorites.



First up, Marlon Brando, making the scene with Jack Costanzo in this 1953 television interview. So, okay, technically those aren't bongos they're playing, but rather congas. Still, check out the old, hep meaning of the phrase "losing his mind." And dig that set! Looks like the Corleone-to-be descends a staircase into some kind of swinger’s grotto.



Joe Hall and the Corvettes “Bongo Beatin’ Beatnik” (Global 751, 1959). This one plays on the beatnik’s reputedly sophistimacated preference for jazz over greasy kid stuff, with Hall chanting “I’m a bongo beatin’ beatnik and I just don’t dig RnR” over and over, ironically enough, to a groovy RnR beat. Can still be found on the Sin Alley volume 2 compilation.

Andre Williams and the 5 Dollars

Andre Williams “Mozelle” (Fortune 827, 1956). What’s left to be said at this point? This is possibly the greatest bongo song of all, while it also rates highly among the Greatest RnR Songs Ever.

Preston Epps' single “Bongo Rock” (Original Sounds, 1959) also appeared on the 1960 LP Bongo Bongo Bongo. After a couple of late 50s – early 60s trips to the top of the Billboard charts, Epps settled into a career as session player. He appears in the 1968 film Girl in Gold Boots, and the following title clip contains not a single Epps bongo beat, as far as I can hear, but I include it anyway for its obvious...uh, cultural/anthropological significance.




Finally, here's Henry Mancini’s title theme to Orson Wells’ classic from 1958 Touch of Evil. Factoid: for the set they didn’t use some Tijuana border town streets, but rather Venice Beach during its late 50s bohemian heyday. Lawrence Lipton gives a detailed account of the Venice Beach of that period in the oft-maligned The Holy Barbarians (J. Messner Books, 1959).

Introducing the Weekly BOMP!

Pet project of uber-fan Greg Shaw, BOMP! Records evolved from the early-70s magazine Who Put the Bomp--prototype for all Rock fanzines to follow--which in turn grew from its 60s predecessor, that mimeograph monument to San Francisco psych, Mojo Navigator.


Shaw’s obsession for cataloging and collecting, and his admiration for Ralph Gleason’s writing (SF Chronicle jazz crit who was among the first to give “serious” consideration to that newfangled rock music), along with his ability to operate that mimeo machine laid the groundwork for him to eventually become one of the earliest rock critics. Shaw wrote not only for Who Put the Bomp, but also contributed to CREEM, Phonograph Record Magazine, and others, his work appearing alongside Dave Marsh, Richard Meltzer and Lester Bangs. Meanwhile he also compiled and released the legendary Pebbles 60s punk series. Shaw’s influence grew during the 70s and he eventually became instrumental in bringing the Flamin’ Groovies, DMZ, and others to Seymour Stein’s Sire Records. It’s safe to say that without Greg Shaw the Sire catalog, and thus the whole golden temple of CBGBs NY RnR as we now know it, would look a lot different.

Greg Shaw

Anyway, you can read all about Greg Shaw, who died in 2004, and his various projects in the recently published pair of books BOMP! Saving the World One Record at a Time, edited by Suzy Shaw and Mick Farren, and BOMP!2 Born in the Garage, edited by Suzy Shaw and Mike Stax, of Crawdaddys and Ugly Things fame. Both are worth checking out, even if there seems to be considerable overlap between the two. Among the highlights are essays by Bangs, Phast Phreddie, Marsh, the Ig, Kim Fowley, and others, plus lots of great pix and repro’d pages from various past issues.

Gemini Spacecraft would like to offer its own sort of tribute by launching a new series called The Weekly BOMP! Just as the name suggests, the idea here is to turn the GS spotlight on another BOMP! (and BOMP! imprint VOXX) band each week until we run out of records or the game ceases to be fun, whichever comes first. And since BOMP! is still very much in business, etiquette and copyright rules limit use to two or three streaming tracks only. (Thanks Suzy!)

Nikki Corvette

First up is the great Nikki and the Corvettes. Hailing from Detroit, Nikki Corvette cut her teeth on MC5 and Stooges shows, girl groups, and other vital ingredients of good old RnR. She talked long enough about wanting to start her own band that Romantics guitarist Pete James finally booked a show and pushed her in front a microphone. Thus began the career of Nikki Corvette, or so the legend goes, and this during a time when a female’s contributions to the form tended to garner less attention than they would in later years. The original Nikki & the Corvettes LP, from 1980, while something of a forgotten milestone of power-pop, left the singer less than satisfied with vocal mix. “The original LP left us sounding like the Chipmunks,” Nikki has said. So what you get here are a few tracks from the remastered eponymous album released in 2000, twenty years after the original.

Nikki Corvette circa '80 or any of a thousand Williamsburg girls 2009?

Photos:
BOMP! Saving the World One Record at a Time (2007 Ammo Books)
ed. Suzy Shaw & Mick Farren.

Songs: Nikki & the Corvettes LP, BOMP! 1980/2000:
Young and Crazy
Criminal Element
He's a Mover