*V/A -"MURDER PUNK
VOL 1. & 2." CDs (Murder Punk Inc - bootleg)
V/A - "BLOODSTAINS ACROSS YUGOSLAVIA " LP (Bootleg)
"The Punkists are, I reckon, fashionable and ideological movement at the same time. The Punkists are consciously leaning towards ugliness, they dress awkwardly, squarely. That is the fight between sincere ugliness against dishonest beauty."
The Punkists around the world have been pissing their pants in the last few months, following the releases of a few more bootleg compilations of hard-to-find 77-82 punk. In the sea of overleaping releases it was great to see someone put out some rare Australian and Yugoslav punk material. As expected, both are bootlegs, with no address or with a fake address, as is the case with "Murder Punks", as if someone would bother chasing the royalties from the people who released the CDs. Anyway, "Murder Punk Vol 1 & 2" have apparently been released by someone from Forced Exposure, who has an extremely sick sense of humour: the contact name is that of Martin Bryant, all with his liner notes, PO Box, and even a fax number. I know a Yank who sent a fax to 'Bryant' believing that the CD cover gave him a genuine address, to inform him of his arrival to Oz to look for some collectable punk records. No wonder he never heard back. Whoever compiled these two CDs must have an impressive collection. Hats down to the "Ugly Things" serial, but late 70s and early 80's punk is where it was at. Sure 60's punk ignited the rock'n'roll flame, and some "progressive" rock (in fact, street r'n'r bands like Buffalo) shook the ground a bit, but Razar, Leftovers and The Victims awakened the anti-WASP conservatism amongst the masses and laid a seed of hope (with sporadic, but big let-downs such as the "Piss Christ" case). The battle is not over yet, but the end is in sight, kids. Since most songs are nearly completely undecipherable to my ear, I wouldn't jump to conclude that the lyrics are particularly anti-conservative. However, never before in Australian music history have a big number of bands produced so much primal noise on vinyl. I guess most records have that cool lo-fi sound just by accident, since probably noone actually could produce them properly so they just played with the knobs in the studio and the result was, in the most cases, several minutes of loud bliss. Virtually not a single dud band on those two CDs, but a couple of songs I can survive without. If one day we, Australians, get to choose the punk anthem it would be the "Television Addict" by the Victims. The Chosen Few predate some Aussie metal punk bands, such as Bored! and Powder Monkeys by some 10-15 years and I bet The Dirty Lovers listened a lot of Fun Things. Very hard to pick up just a couple of best bands on "Murder Punks", so I always go for playing both CDs back-to-back. It works every time. Hopefully we'll see more of it in the near future - I want some Quick and the Dead, Johnny Demon and the Devils, the Press, Young Identities, Just Urbain, Bodysnatchers, the Upsets, Public Execution, Screaming Tribesman, Mystery of Sixes, the Boys Next Door, etc.
It is amazing to realise how different from its American and British counterparts Australian punk was at the time. Of course they didn't play it backwards, or upside-down, but the bands on "Murder Punks" have a lot more in common with "Bloodstains Across Yugoslavia" than with the "Killed By Death" series. I don't know why, so I'll speculate that punk bands in both Australia and Yugoslavia had heard, at the time, very few commercially successful bands from the USA or UK and decided to make similar sort of racket. And it sounded great!
The only two problems I have with "Bloodstains Across Yugoslavia" LP are the absence of many songs from the 7"s (all tunes were previously released as singles) and ignorance of by far much punkier songs from the same era. The liner notes are fine, with a couple of factual errors (and a few spelling ones as well), but if I don't care no one else should. Won't get much into each band, just to mention that Pekinška Patka were unbeatable and if you want to hear some of the best punk bands from former Yugoslavia this album is a great place to start.
"I like The Punkists. Maybe with further evolution, as everything else in the world, they will become self-contradiction? But, for now, they are so innocently, bravely and childishly ugly."
("Murder Punk 1 & 2" CDs are available from Forced Exposure, PO Box 9102, Waltham, MA 02254, USA; Ask your local record dealer to get you a copy of "Bloodstains..." LP from some of the Euro distributors.
*STRIPER #1 (Comics)
I'm afraid you won't be interested in ordering a comic magazine done completely in Serbian unless you either understand the language, or enjoy watching the pictures only or are a die hard comics collector. Judging by this issue, current state of the comics scene in Serbia is quite fine, thank you very much. There is a diversity of styles and at least 50% of the authors whose work has been published in Striper are my cup of tea. It also contains an interview with Aleksandar Zograf and it wouldn't surprise me if #2 is already out. How about a whole issue in English?
(Radovan Popovic, Gospodara Vucica 103a, 11000 Beograd, Yugoslavia)
From the restless bunch in Clacton-On-Sea comes this fine (short, though) newsletter with some interesting graphics, reviews, poetry and other bits and pieces. Their hearts are definitely in the right place, so it's a pity they don't invest their creativity in something bigger (as in volume). Judging by the editorial, they are planning more of it, asking for contributions from whoever comes up with anything cool.
(12 Chestnut Ave., Clacton-On-Sea, Essex, CO15 2BG, U.K. - and it's free!)
*LOŠI DECKI - "LOŠI DECKI"
Everyone knows that The Humpers' first LP "My Machine" was released in Croatia (then Yugoslavia) some years ago. The gentleman responsible for this atrocity, as well as for releasing pre-Humpers combo Suicide Kings and fine L.A. garage band the Morlocks, is Zdenko Franjic. In the late '80s he saved Yugo underground r'n'r from drowning in the sewerage and vomit of popular music. He's been quiet in the last few years (for obvious reasons) and now he came up with his own band. And given that Franjic can boast long experience in good r'n'r, I must say I'm a bit disappointed. Sure, these are live recordings and sound quality isn't all that great, so I'll wait to hear a proper release before the final judgement. In the meantime, Loši Decki debut tape has all the beginners' errors - many cliches (the band's name translates as "Bad Boys"), dodgy punk rock riffs (with a riff here or there that brings to mind some gothic punk) and silly lyrics. Not bad, but way below my expectations.
(Listen Loudest!, Samoborska 97c, 10090 Zagreb, Croatia)
*MOTORPSYCHO - "ANGELS
AND DAEMONS AT PLAY" CD
PRAY TV - "WESTONA" CD
Don't be under an impression that these two bands' very different styles can be easily reconciled - the only reason they're cramped into one review is that both CDs are perfect examples of how Top 40 should sound. Motorpsycho hail from Norway and they've been around for quite some time - this should be their 4th or 5th album, I believe. I had only heard a couple of songs by them prior to this album and eliminated them as another Black Sabbath/Mudhoney/Helmet wannabes, but... The first time I listened to the "Angels..." CD was the day after a pot binge, when I was feeling very relaxed and in want of a good soundtrack to suit the mood, which they certainly provided. Since then, I've tried pursuing some other people to get into them, but to no avail. It seems nobody digs this except for me - didn't even see any reviews so far. Don't know why, as this is contemporary commercial psychedelia at its best. I mean, Motorpsycho could easily piss all over the Chemical Brothers and other so-called psychedelic bands. The entire 60 minute-length CD is jam-packed with beautiful mesmerising sounds, ranging from pop songs to the tunes when they just let the tape roll and muck around a riff or three (as on the 13+ minutes long epic "Un Chien d'espace"). Motorpsycho aren't ashamed of showing their influences, but there's much more here than just them playing their record collections. The arrangements have to be heard to be believed, and my only concern is how they do it live. Especially since they should be coming this way very soon, unless Perth misses out again. This CD comes with a bonus album "Blissard", which is not as good as "Angels...", and therefore doesn't get as many kicks on my stereo.
Pray TV have probably started around the same time as Motorpsycho and, same as them, never achieved any big commercial success. A couple of years ago they were signed by some American major and even played several gigs there, but the deal went through quickly. "Westona", their latest release, is the first album I listened to fully, so I can't compare it with the old ones, but I guess they're pretty similar. It's straight ahead pop we're talking about here and Pray TV does it best in Australia at the moment. Not that I'm too keen on the whole Aussie pop thing, but the fact is that we're doing it better than the rest of the world, thanks to the bands like Pray TV and Fizzleheads (by the way, what's up with them?). You want some beautiful casual music? Buy yourself some happiness in the form of "Westona"! It is disappointing that Triple J picked up not one of the songs off this album, while some of the crappiest bands like Mr Blonde, Even and You Am I are being flogged to death on the airwaves. This CD comes with seven bonus tracks of the band playing with some four track reel to reel and producing some amazing tape loops.
- "RESPECT THE ROCK" SPLIT CD EP
A-BOMBS - "FIVE STUPID MEN" CD EP
Scandinavia is for punk rock in late '90s what Australia used to be in the late 80s and earlier this decade. While the Powder Monkeys, Hoss and Splatterheads keep it quiet, somebody had to take over. The Nomads started it all, but the Hellacopters are the current kings of Scandinavian punk (even though the Silverbullet threaten to kick them off the throne) and on "Respect The Rock" EP (also available as a 10") they teamed with Gluecifer - another promising band. "You are Nothin'" is taken from the forthcoming second album by Hellacopters and if the rest of the album is this good, we better run to the nearest nuclear shelter. It's followed by another couple of great songs and then it turns into a 500 pound rolling machine that is Gluecifer, who contribute three tunes. They even covered "No Way" by Bored! - trying to get themselves an Australian tour or what? A-Bombs are not distinct from what the rest of Scandinavian punks sound like, with just a dash of Rocket From The Crypt. As far as I'm concerned, the land of the Vikings is where its at right now for punk rock. We only have to wait and see for how long, since my major concern with all these bands is that they copy Americans a lot - typical covers, lettering, "motherfucker" in every song, and even dressing and posing as Yanks, as if somebody has to do it now when punk is very quiet in the U.S. I'm glad that Aussies never made the same mistake. Since the Hellacopters had their place in this fanzine from #1, however, it is nice to see they went this far and dragged heaps of excellent bands along with them. Give 'em some money, will you?
("Respect.." available from: White Jazz Records, BOX 2140, 103 14 Stockholm, Sweden; A-Bombs, Outside Society Production, fax: +46 8 650 46 17)
*REVELATORS - "WE TOLD
YOU NOT TO CROSS US" CD
While listening to the Revelators, I feel like being ripped off - the idea of having a band with one guitar, drums and vocals has been in my mind for ages, and before I finally got my shit together and found a couple of guys on the same wave-length, along came this CD with the same line up. No reason to be sad here, because the Revelators are one hell of a good band. "We Told You Not To Cross Us" has been recorded in just a few hours straight onto DAT and the Crypt Records deserve the prize for unearthing some of the best talent around today. The Revelators prove that great records are easy to make - if only some other bands would just have the vision. There's nothing new here, just three guys making a lot of glorious noise in 30 something minutes. They've often been compared to the Oblivians, but I find the Revelators even more exciting. "Don't Look at Me When I'm Looking at You" is the winner of "The Best Punk Song in 1997" award, following a tough tie-break with the rest of the songs (all 15 of them) on this album.
*THE AUTHORITIES - "PUPPY LOVE" CD
THE HUNS - "LIVE AT THE PALLADIUM 1979" CD
Ryan Richardson gave us these two CDs when he visited. His label released the Authorities and the Huns on vinyl, but Get Hip Records did the CD versions. Anyway, the Authorities recorded the songs that ended up on "Puppy Love" CD in 82/83, but don't bother trying to find the original release unless you're prepared to pay lotsa bucks. I guess they are a perfect example of changes occuring in American punk in those days - they were probably one of the last combos not giving up to hard core, despite some flirting with it in several songs. Sadly, hard core took over, but reissues of the records as good as this one are here to show us how it should've remained - keep it short and to the point, never lose a listener's attention and finish it all in around twenty minutes. A true classic!
The Huns weren't as fast as the Authorities and had keyboards in their line up, but that certainly doesn't make them any less punk. This album was recorded live in Dallas in 1979 and the sound quality is just great, but they lacked the songs. Some of them are quite decent and the rest is pretty average. I'd rather listen to the Authorities again.
(Get Hip Records)
*DEVIL DOLL - "DIES IRAE"
I kept stumbling across positive reviews of this Slovenian/Italian band for several months, causing me to constantly think about them, so I decided to contact their record label in Italy. Soon after the tape version of "Dies Irae" album came in with "Devil Doll Chronology", a very informative biography of the band and its leader Mr Doctor. He certainly is an interesting person and I was eager to hear the music, but there came the disappointment. Devil Doll is one of those bands whose bio reads better than they sound. I was impressed by the first couple of minutes of the album - it starts as an eerie gothic opera of some sort, but then turns into the worst possible Meat Loaf kinda thing. Won't trust the reviewers anymore.
(Hurdy Gurdy Records, S. Marco 5499, Venice, Italy)
*ŠUMSKI - "SAFARI" CASS
V/A - "KEKERE AQUARIUM 94-96" CASS
Kekere Aquarium is a Croatian label specialising in "noise, folk, jazz-funk, experimental, etc." bands. They started in 1992 and have released around 20 cassettes so far, two of which they sent for a review, knowing that the next step from Uzurlikzurli is the world. "Safari" is the second cassette album for Šumski - an extremely interesting band that is hard to categorise. Here's what the guys from the band said on their influences: "Can, Faust, Amon Düül, Blurt, Minutemen, Captain Beefheart, Jablkon, Django Reinhardt, John Coltrane, Disciplina Kicme..." and there's really nothing more to add to it, except a bit of The Residents as well. They are a trio, but play a range of various instruments - from the common ones to those more obscure, such as a xylophone, pipe, and all different sorts of percussions. On this tape they've been helped by some additional musicians in pursuit of as many diverse sounds as possible. And they succeeded for sure, without losing their sense of humour for one second - and that's what it all should be about. Šumski may wear their influences on their sleeves, but they definitely are one of the most original bands I've heard in the last couple of years. I only wish for a different production of some instruments (especially the guitar) and would like to see their next release on vinyl or CD. Judging by some reviews, Šumski can't match their quality in live shows, which isn't surprising since the three of 'em play about 74 instruments. They're also involved in the Drums Parade, the "street performances with 15-20 drummers", so hopefully they'll manage to release that sometime soon. "Kekere Aquarium 94-96" is a sampler cassette of the bands that have recently put out their stuff on this label. Not many samplers that I've heard so far have done much for me, probably due to the choice of songs. Most bands on tape are Touch & Go/AmRep style of noise and good at it. The rest are more extreme and weird, and that's the direction I'd like to see this label take in the future.
(Kekere Aquarium, Kornal Šeper, Voltino 42, 10000 Zagreb, Croatia; firstname.lastname@example.org)
*BING - Live at Grosvenor
Hotel (date forgotten)
The live shows we've been attending in the last year weren't that exciting. Again we've seen only three shows - Radio Birdman were a bit worse than on B.D.Out 96, Mach Pelican were good, but we've "heard it all before", so Bing saved the year. Some guys at some party mentioned seeing them and the drummer suggested to us to come to their gig and give 'em a go. One boring support band and two pints of Guinness later and Bing took to the stage. What followed is a blur, mostly due to my drunkenness and hypnotic sounds Bing sent from the stage. They were a classic trio line up and with just drums, bass, guitar and vocals managed to give a completely different meaning to The Wall of Sound. Each song glued my ears to the speakers and transported me into beautiful state of numbness (I wish I smoked some pot before the show!), and as the gig progressed the feeling of overwhelming happiness started pouring out of my every pore. I hate name-dropping as much as the next person, but it's easiest to just say that bits of Can, Faust, Cul de Sac, The Velvets' 3rd LP and New Wet Kojak could be heard in Bing's music. The songs were quite long, and were usually based on a couple of repetitive ("Repetition gives you power") riffs on guitar, driving bass lines and manic, often nearly free jazz-like drumming. Vocals were barely audible (hopefully intentionally) and basically treated just as another instrument. Each and every song Bing performed that night was an epic in itself and it seems kinda logical that they played only six songs in around thirty minutes - anything more than that would just spoil the concert. Sadly, the audience didn't seem to appreciate the beautiful music of Bing and the only comment I have is: Perth crowd is a bit of a worry! I mean, here they had probably the best band in town in last 10+ years, yet nobody seems to recognise their strength. So typical! The word is that Bing have split up and all my hope to have them interviewed for this issue is gone.
*ONE NIGHT ON THE TOWN
- 4 OCTOBER 1997
"I decided it would be a real fun idea to get fucked up on drugs and go see Tangerine Dream with Laserium." Thus spoke Lester Bangs, but in our version it should go like this: "We decided it would be a real fun idea to get fucked up on pot and go see a couple of events in this year's Artrage Festival." We've done it and it was fun!
After a couple of cones at our place we walked down to this food hall and ordered a Chinese meal for dinner. Our hostess tried to sell us the tickets for this big charity dinner the following weekend and she wouldn't take no for an answer, even though we insisted that we would have a few people over at our place for my birthday. A meal later we jumped on a bus and went straight down to Greenwich bar to see some independent short films made by women, a part of Independent Film Festival. They hadn't set up the tickets stall yet, so we ended up in the bar buying ourselves some drinks. There were no other guests except for these six people making some sort of a film. They've been repeating a scene with some of the cheesiest dialogues for five times in a row and at the end a guy is being slapped by a woman after telling her: "Claire, I think you have fantastic breasts." What a trip!
Shortly after, we went into the projection room and had a nice chat with a guy who organised the whole festival. He used to play in a really good garage rock band Tarantulas. They were around in the mid 80s, but late last year had one reunion gig, which was great. Richard (I think that's his name) turned out to be a very interesting and nice person, and we ended up talking for good fifteen minutes. Only about ten people showed up for the film, but as long as I had my drink and Dazzlers I wouldn't care. Two films were fiction, although the program claims that "Portland" is a doco - it didn't seem like a doco to me. I preferred "Portland", a film about the group of teenagers taking a trip to Portland, Oregon, probably because it featured music by the Trashwomen. Other two films were documentaries - one about women boxers and the other about India. The latter was the best film I've seen in the festival, an absolutely fantastic one hour-long piece on several different subjects - Indian film industry, erotic sculptures in Hindu temples, a circus, and religious fanaticism. It was mostly black & white, apart from the Indian movie scenes, and with very little or no dialogue. It was good to see some other sides to that country and the director, Nina Davenport, succeeded in being very objective by giving us just a handful of stories to judge India for ourselves. "Hello Photo" is one of the most beautiful pieces of cinema I've seen in the last fifteen years.
"S/M in the S/Out" was next. It took place in the Blue Room - quite a decent place that I'd like to see being used for more events in future. The entire show was about mostly lesbian S&M practice and it ran for three days. First couple of nights were taken up by short films, followed by a "round table discussion" on the third day, which we missed. Anyways, of six films on offer only one and a half were slightly explicit. Maybe I had a wrong perspective on the S&M thing, but most of the movies were pretty "tame", which is to say it wasn't all whips, leather and chains. All films were obviously done on a very low budget by women who know how to use the resources to the maximum. My eyes were stuck to the screen throughout the whole event, but I must admit i didn't really feel that "hot" at all. It was silly on my behalf to expect that these films would make me rush into the nearest sex shop and buy all the gear. However, I still appreciate people having different sorts of interests in sex and hopefully I'll try all of it eventually. Worth mentioning is that the soundtrack for the Australian film "None of the Above" was done by Vladimir Divljan - the guy who wrote "Uzurlikzurli" song. After the screening they set up the live show. I was worried, yet tempted for the sake of it, that they would use this old dentist chair about half a meter before me, but the live action thing were two naked women doing this really bizarre dance. One had threads going from her fingers to the back of the other woman's body and they danced around the Blue Room audience. Then it was over and we took the last bus home.
*THE MODERATE #1
When the first issue of Year Zero came out a few years ago, many souls were irritated by the fanzine's personal writing style. Soon after Dave Lang (not Laing as in the guy who ran Dog Meat Records) pumped out a couple of more issues and started winning "The Most Hated Person" polls in some fanzines. I don't know what the problem is with you people out there - art should be first and foremost personal! Aren't you sick of mediocrity of the mainstream media? Well, I am and when my stomach starts turning upside-down I run into my shelter and grab a copy of The Moderate, a bong and some cool music for the background. Since reading Year Zero #1 I became a blind follower and am glad that I've been with it through all the changes, or, to be precise, developments. From issue to issue, YZ's editor showed some slight changes in his attitude, particularly regarding some of the biggest topics at the time (major labels, et al.), and that's what makes him a valid author, unlike many of his counterparts who seem to hang onto one thing forever. The last time we heard from him was in the late 97, when YZ was published with another great Aussie fanzine Resistant Harmony. Nobody seemed to know what had happened to Mr Lang and some of us thought he pulled out of the zine making. Fortunately, as other zine makers know, that is not an easy thing to do. So, finally, in August this year The Moderate #1 saw the light of day. At first I expected it to be just a publication with some of Lang's work, but it turned out to be his brand new fanzine. If you want to find out why it isn't called Year Zero just buy the damn thing. I am not concerned about the name, even though you'll all realise that the content is 100% Year Zero. The Moderate is anything but moderate. Mr Lang still has the same strong attitude towards important things, and in this issue he particularly furthered his already "in depth" writing style. Some people don't seem to like it, but I've got no problem with it. In fact, I feel like he could've kept going on and on for a bit longer. Anyway, The Moderate contains a great Jad Fair interview, Jad Fair tour diary, a writing on "What Is Music?" festival, an amazing article on Miles Davis's late 60s/early 80s music and lots of record reviews. Is the Moderate facing a long life ahead? I certainly hope so. ($2 + postage from: PO Box 76, Greensborough VIC. 3088, Australia)
*JACQUES BREL-"QUAND ON
N'A QUE L'AMOUR" DOUBLE CD
If there's one thing I like about David Bowie, it's him turning me on to Jacques Brel many years ago when I heard his cover of "Amsterdam". Since then I searched through many record stores looking for records by this great Belgian singer/sonwrtiter, until I finally got this double CD set for my birthday. Don't know what's your opinion on the whole French chanson scene, but I always loved it - give me Charles Aznavour, Edith Piaf and alike anytime! If you don't love it, you don't love music; simple as that. Mr Brel was born in Belgium and started his career in France in the early 50's, and a while later took over the world selling millions of records. I've got no idea how many records he sold in the English-speaking countries, due to the language barrier and stuff. Even though I did French at school (and was very good at it until I stopped communicating in French), it took me some time to get into these CDs, but since then I've been playing them nearly every day. If you would like to hear the genius at his best try these CDs, his greatest hits. The liner notes will give you an insight into Brel's work (hey, he liked Dino Buzzati as well!), and here is just a tip of an iceberg. Thirty seven songs in all, ranging from typical French ballads (quite depressive ones, as well) to the cabaret-style songs. Apparently, he wrote not only about your typical "I love you" thing, but also about some not so pretty stuff (drunks, hookers, etc.). Fortunately, there are a couple of books on him available, so I'll check them out one of these days. I'll have to immerse myself in illegal substances and imagine I can understand him, or better yet, that he's singing through me. It's great to see that his son France started "Fondation Brel" that, among other things, publishes a quarterly magazine dedicated to Jacques Brel and his work. Their address is: Fondation Internationale Jacques Brel, Place de la Vielle Halle aux Biés 11, 1000 Bruxelles, Belgium. Contact 'em! I certainly will. (Barcley)
*BLACK TO COMM #22 + CD
In the letter accompanying the latest issue of his magazine, Chris Stigliano stated that he was unhappy how it turned out, not only because of several errors made by the printing plant, but also because of his writing. I can only say that this is probably the best BTC so far, and Stigliano's only concern should be the future - i.e. how to keep up high quality work in the days to come. It seems that he's entered the cul de sac in his brilliant writing style (not to mention his "point of view", which only promotes the things he hates- a bad adverisement for Spin and Loolapalooza is still
an advertisement, and I do not understand why he does not dedicate the space to more worthy things). After reading five out of six latest issues of BTC I begin to feel like I'm reading the same thing all over again. On the other hand, if this is your first encounter with "America's only high-energy magazine" you will be more than eager to try to get back issues (also available from the editor). Mr Stigliano approaches some reviews in a rather routine manner (no wonder - there are hundreds of 'em), but he compensates with in depth writing on Alice Cooper, Sidewinders, Planets, Kraut Rock, etc. This one also has an excellent article on Steve MacKay (check your "Funhouse" LP), but Steve Hesske is nowhere in sight. Why?
On the top of everything you get a CD compilation with rare and unreleased stuff by Carbal Kitchen, Milk, Umela Hmota, The Rockin' Blewz, Dom, Brian McMahon, Simply Saucer, The Moving Parts, Backsnider and Umela Hmota 3, and a "hidden", exclusive track at the end! Despite its lo-finess, CD rocked the only time I listened to it (my old CD player is dead and the new one hasn't come in yet).
(Chris Stigliano, 714 Shady Ave., Sharon, PA. 16146-3149, USA - US$13 will cover for magazine, CD + postage in the U.S., other countries send US$17 or write first)
*OPENERS II-The Lyrics
of Roky Ericson
Nearly every song written by the greatest living poet in the world and all round nice guy Roky Ericson. Hundreds of songs that perfectly present his tormented, but happy soul, alongside several delightful short stories. Great photographs of the man - check the "Roky as Santa" one! If that doesn't sound tempting, here are a few quotes by the genius himself: "Casey, where does this wire go? We've got to find out where this wire goes! They might be transmitting something!", "If they find out you're coming, are they going to be there when you get there?", "Who is Pink Floyd? Is he some kind of clown or something?", "I guess I'm awake!", "It's so hot out here! It's like someone had a bonfire roasting weenies!", "If we don't recognize these places, is that good or bad?", "Put it on that station you like, Casey, you know, the one with the Mexicans playing Beethoven.", "You didn't put anything in my cigarette, did you, Casey?", "I'm gonna get up and I'm gonna go outside and smoke a cigarette like I promised myself I would.", "If you go, act like I'm there. I'll be just here, relaxing for you." (2.13.61)
Originally published in Uzurlikzurli #3, February ’98.
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