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OGER, PIERRE, named Dom Marie-Antoine, Cistercian and first abbot of the Trappist monastery in Oka, Que.; b. 17 June 1852 in La Jumellière, France, son of Pierre Oger, a farmer, and Modeste Davy; d. 1 Aug. 1913 in Oka.
Pierre Oger was born in the devoutly Roman Catholic region of Anjou, one of a family of five children. He studied first at the Petit Séminaire de Mongazon and later at the Grand Séminaire, both in Angers, in the days of the fiery Bishop Charles-Émile Freppel, who ordained him to the priesthood on 22 Dec. 1877. Appointed prefect of discipline and professor of science at the Collège Saint-Louis in Saumur, he held these two positions until he joined the Trappists, who were part of the Cistercian order. He entered Notre-Dame de Bellefontaine abbey on 14 Sept. 1881, less than a year after the famous expulsion of the monks by the army and at the very time that Bellefontaine was founding Notre-Dame monastery on Lac des Deux Montagnes at Oka, in the diocese of Montreal. In religious life Oger took the name Antoine, preceded, as was customary in his community, by Marie.
Even before he had made his solemn vows, Oger was sent to Oka as superior by his abbot, Dom Jean-Marie Chouteau. He arrived on 2 Sept. 1886 and was elected titular prior (superior of the house) on 10 May of the following year. In the fall of 1889 he began construction of a new stone monastery, which Archbishop Édouard-Charles Fabre* of Montreal came out to dedicate in 1891. The priory was elevated to an abbey on 16 Aug. 1891 and on the following 26 March Dom Antoine was elected its perpetual abbot by a majority of the 14 voters. At that time there were 61 people in the abbey, 30 of whom had taken vows (13 choir monks and 17 lay brothers). When on 29 June 1892 Archbishop Fabre solemnly consecrated him in Montreal's Notre-Dame church, Dom Antoine became the first mitred abbot in the province of Quebec.
The year 1892 proved memorable for the Trappists in more than one respect. At the instigation of Pope Leo XIII three of the Cistercians' four branches were united under the name of Reformed Cistercians. Dom Sébastien Wyart was elected abbot general and in 1898 he would return to the ancient abbey of Cîteaux, where the annual general chapter, the order's highest governing body, met each September. Dom Antoine would go to France every year to attend this meeting. It was also in 1892 that a new Trappist daughter house was founded at Mistassini in the Lac Saint-Jean district, after strong pressure had been brought to bear by Monsignor Calixte Marquis*, a promoter of colonization, by Premier Honoré Mercier* and Archbishop Louis-Nazaire Bégin* of Quebec, who had both visited Bellefontaine in 1891, and later by the newly appointed bishop of Chicoutimi, Michel-Thomas Labrecque. Oka was the mother house of this monastery. Dom Antoine, its father immediate, went there several times a year. The financial survival of Oka would be ensured in large part by the activities of Brother Alphonse Juin, who came from France in 1893 to make the cheese factory a profitable operation. Oka cheese, which would soon be famous, was to become the abbey's distinctive commercial product.
Dom Antoine and the abbey at Oka played a decisive role in agricultural education in the province. The 1882 statute of incorporation stipulated that the Trappists had founded an establishment "for the purpose of engaging in agriculture and of teaching it by theory and practice." At his consecration as abbot, Dom Antoine had chosen as his own coat of arms a sheaf of wheat surmounted by a cross, an eloquent symbol of the monastery's agricultural mission. The school of agriculture was opened at Oka in 1893, housed in the old wooden buildings of the monastery. Dom Antoine recruited lay teachers in France. Its 30 students came from all over Quebec, being subsidized by government bursaries. The Trappists maintained absolute control of instruction and administration. In 1908 the school would become the Institut Agricole d'Oka, affiliated with the Université Laval in Montreal. It offered a three-year university course designed to train agronomists, and at that time had 10 professors and 100 students.
Dom Antoine's priority, however, was the spiritual and temporal administration of his abbey. Well known for their austere life, the Trappists laid special emphasis on silence, prayer, work, and penitence. The records say little about Dom Antoine's spirituality, but a number of his contemporaries attest to his authoritarianism. "The reverend father is intelligent; he lacks level-headedness [and] pays little attention to the advice of others, having too much confidence in himself," noted a visitor of the order in 1897. In temporal matters he was accused of piling up debts, a charge which earned him the condemnation of the 1896 general chapter meeting, but he was exonerated two years later. Indeed, the abbot of Oka was on very bad terms with his father immediate, the abbot of Bellefontaine. His relations with Oka's daughter houses were not much better. The 1898 general chapter meeting appointed him father immediate of Petit Clairvaux [see Jacques Merle*], which he transferred in 1900 from Tracadie, N.S., to Lonsdale, R.I., under the leadership of Jean-Marie Murphy, the first Trappist at Oka to have made his vows. With Dom Pacôme Gaboury, whom he was forced to allow to go to Mistassini as superior in 1901, his relations were especially bad; on 8 December he reached the point of offering his resignation in no uncertain terms to the abbot general, who did not accept it. Dom Antoine's troubles were not over. On 23 July 1902 his monastery burned down. The $86,000 received from the insurance company paid off existing obligations, but he managed to go into debt again in the course of reconstruction. On 21 Aug. 1906 Archbishop Paul Bruchési* consecrated the new abbey church, erected on the same site. A juniorate would operate from 1904 in the temporary monastery built after the fire until 1913, when it would be transferred to Mistassini.
Dom Antoine was well known for his great generosity. When in the period 1901–3 the monks in France were threatened with expulsion, he did everything possible to support them. He helped the Trappists from Bonnecombe move to Rogersville, N.B. (Notre-Dame du Calvaire), where they were soon joined by the Trappist nuns from Vaise (Notre-Dame de l'Assomption). He assisted the prioress of Bonneval in founding the abbey of Notre-Dame du Bon Conseil in Saint-Romuald, south of Quebec City. His appointment by Archbishop Bégin as its father immediate created new financial difficulties for him. Dom Antoine did all he could to help a congregation from his native Anjou, the Filles de la Charité du Sacré-Cœur de Jésus, to settle at Newport, Vt, in 1905 and at Magog in the diocese of Sherbrooke in 1907.
The last years of Dom Antoine's life seem to have been more peaceful. Charles Magnan, who had entered the Institut Agricole d'Oka in 1909 as a student, in 1966 remembered him as officiating majestically, his face serene and framed by a huge beard. "He spoke in measured and reasonable tones, but one could sense, in the rhythm of his sentences, a passionate man, whose restrained and disciplined speech showed great control over an inner nature that, in his youth, must have been exuberant and impetuous." Dom Antoine attended the first plenary council of Canadian bishops at Quebec in 1909, the International Eucharistic Congress at Montreal in 1910, and the first congress on the French language at Quebec in June 1912 [see Stanislas-Alfred Lortie]. At the general chapter meeting in September, he showed signs of the illness that would prove fatal. After trying to find a cure in Spain, he returned to Oka, where he died on 1 Aug. 1913.
Dom Antoine made his greatest contribution in setting up the monastery of Notre-Dame on Lac des Deux Montagnes, of which he can be considered the founding abbot. In 1913 the Trappist monastery at Oka, as it is commonly called, had 97 people, 79 professed (41 choir monks and 38 lay brothers). At the time of his death, one of his compatriots observed: "Dom Antoine was the model of a Cistercian abbot. In his monastery he was the most correct of monks and in the outside world, to which duties often called him, the most charming of men, capable of combining to perfection monastic austerity and the utmost urbanity. And he was a good counsellor. How many lives he saved from ruin! In his great heart he always found the word of encouragement." In short, this son of St Bernard established the first major centre of Cistercian life in Quebec and was at the same time a pioneer in agricultural education. He fully lived out his motto: In sudore et patientia ("In sweat and patience").
[The main primary sources for Dom Antoine consulted by the author are in the Arch. de l'Abbaye Cistercienne (Oka, Qué.), E 2000. These documents, which survived fires in 1902 and 1916, are primarily of an administrative nature. Curiously, hardly any letters written by Dom Antoine after 1904 have been located, a fact confirmed at the Arch. de la Chancellerie de l'Archevêché de Montréal, in file 470.125.
The most useful study available is C.-A. Doucet, La trappe d'Oka: son histoire depuis sa fondation en 1881, jusqu'à nos jours (s.l., [1979?]). Other sources include Bénédiction solennelle du T.R.P dom M. Antoine, abbé de N.D. du lac des Deux Montagnes d'Oka: à l'église de Notre-Dame de Montréal, le 29 juin 1892 (Montréal, 1892); L'abbaye de Notre-Dame du lac des Deux Montagnes et l'Ordre de Cîteaux au Canada et dans les États-Unis (Montréal, 1906); Père Louis-Marie, L'institut d'Oka: cinquantenaire, 1893–1943; école agricole, institut agronomique, école de médecine vétérinaire ([Oka, 1944]); André Côté, "L'Ordre de Cîteaux et son établissement dans la province de Québec, depuis la Révolution française jusqu'à 1935" (thèse de
For general background information on the Trappists during this period, the following studies are particularly helpful: [L.-A.] Fichaux, Dom Sébastien Wyart, abbé général de l'ordre cistercien réformé, auparavant capitaine adjudant-major aux zouaves pontificaux (Lille, France, 1910), and L. J. Lekai, The Cistercians: ideals and reality ([Kent, Ohio, 1977]). g.l.]
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Guy Laperrière, "OGER, PIERRE, Dom Marie-Antoine," in Dictionary of Canadian Biography, vol. 14, University of Toronto/Université Laval, 2003–, accessed September 28, 2023, http://www.biographi.ca/en/bio/oger_pierre_14E.html.
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|Author of Article:
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|Access Date:
|September 28, 2023


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Both Saubers have been disqualified from the Australian Grand Prix due to a technical infringement.
Sergio Perez and Kamui Kobayashi therefore lose their seventh and eighth place finished in the race.
Their upper rear wing element was found not to conform to the regulations.
The change promotes Felipe Massa to seventh and Sebastien Buemi to eighth.
It also means both Force India drivers have moved up into the points, with Adrian Sutil taking nine and Paul di Resta scoring the final point on his debut.
See the revised results in full:
Update: Sauber have announced they will appeal the decision.
James Key said: "This is a very surprising and disappointing result.
"It appears that there is a question over the top surface of the uppermost rear wing element, this area is not the working surface of the component and therefore relatively unimportant to its function.
"Certainly this has not lead to any performance advantage. We are checking the design of the parts now to better understand the situation and we intend to appeal the decision made by the stewards."
The FIA found them in breach of articles 3.10.1 and 3.10.2 of the technical regulations.
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Like all credit unions, Valdosta Teachers' Federal Credit Union is a not-for-profit financial cooperative. When you join the credit union, you become a shareholder – or an owner – of a very unique financial institution. Earnings above the required reserves are returned to you, in the form of lower interest rates on loans and competitive dividends on savings.
We are owned and operated by our members. We exist solely for the purpose of serving our members' best interests.
Today Valdosta Teachers' FCU serves several Select Employee Groups.
To join the credit union, complete a membership card and make an opening deposit of at least $25 to your share/savings account. Once you join, you and your IMMEDIATE FAMILY members who join have a lifetime membership, even if you change jobs or move.


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A wonderful, wonderful book. I only wish I could read it earlier. This is likely one of the very best books I ever read. The "Harry Potter And The Methods Of Rationality" is very loosely based around the original characters and environments set by J.K.Rowling but really is a completely different book. And, at that, a much better book it is. Of course, this book would be hardly suitable or understood in full by the children before they at least have a solid understanding of logic and a little of various sciences. For adults, this is a feast. I will not go into any detail of the plot and characters, they are all amazing and the book is full of surprises. It's best if you discover it yourselves. I will simply highly recommend you do discover it indeed.
The book is available here: https://www.fanfiction.net/s/5782108. Go read it if you did not yet, you will not be disappointed.
A local copy in PDF is available. A local copy in EPUB is available.


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As some manga fan, I should say I sometimes find a lot of weird stuff fans would make for their favorite manga, and in this case, hentai (or may be ecchi for "softcore").
So far I found, "doujinshi hentai" is never sold officially, but within the "circle" of the fans: By fans, from fans, to fans. (but some mangaka/comic artists (like Ken Akamatsu (love Hina)) make their own hentai doujinshi from their comic, in case the original comic is "softcore" enough)
And although may be Vince Sensei will not approve it (or will you, Sensei? ), what would YOU, the fans, say about it, just say if Class Menagerie is going to be very popular?
However, don't ever misunderstand this like I'm going to make one. But who knows, in a year or so? *naughty smirks*
*Runs for life*


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Culture Catalysts: Judith Russi Kirshner
Get to know the work of a different Chicago-based thought leader each month. Meet the artists featured in our Chicago Works series and others who influence arts and culture in Chicago.
Judith Russi Kirshner has been Dean of the College of Architecture and the Arts at the University of Illinois at Chicago since 1997 where she also served as Director of the School of Art and Design. Kirshner previously served as Curator at the Museum of Contemporary Art in Chicago from l976 to l980, at The Terra Museum of American Art from l985 to l987 and in the Art History Department of the School of the Art Institute of Chicago. Critic and curator, Kirshner lectures frequently on contemporary art and is a member of the Cultural Affairs Advisory Board of the City of Chicago as well as an advisory board member of numerous national and Chicago cultural organizations. She has served on panels for the National Endowment for the Arts since 1980. At the Museum of Contemporary Art in 1978, Kirshner curated Matta-Clarke's last public project, Circus, or the Caribbean Orange. Recent lectures include Arte Povera Portraits at The Museum of Contemporary Art, Los Angeles, The Art of Criticism, Carla Lonzi at The Tate Museum in London and at the Walker Art Museum in Minneapolis, Minnesota, Christina Ramberg at the University of Richmond, and Gordon Matta Clark at the Royal Academy of Denmark.
Her most recent publications is an essay included in Wack! Art in the Feminist Revolution, 2007, on the Italian feminist artists Gina Pane, Carla Lonzi, Lea Vergine and Anne Marie Sauzeau Boetti. A contributor to Art in America and Artforum, Kirshner has also published and lectured on the work of Judy Ledgerwood, Tom Otterness, Dan Peterman, Gordon Matta-Clark, Cat Chow, Gary Simmons and Roni Horn.


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Put that in yer pipe and smoke it!
Sunday, March 29, 2009
Marianne Faithful
I went to see Marianne Faithful last night which gives me an excuse to run the above photos, two of my favorites, and some clips, including the only watchable parts of the otherwise awful flick
Girl On A Motorcycle
(1968). The show was great. Hal Wilner has put together an excellent band for her, including a small string section that allowed her to do "As Tears Go By" in its original arrangement. She did lots of material from her new LP, one of those superstar duet jobs that I've only heard a few tunes from, I really liked her version of Merle Haggard's "Sing Me Back Home" (which she sings with Keith Richards on the record). Anyway, the live show included a great version of
Sister Morphine
that allowed guitarist Marc Ribot to really shine. I kept thinking how great it would sound if Quine was up there with him (Quine played on her
Strange Weather
LP). Anyhoo, here's the original version of
Sister Morphine
if you never heard it (with Ry Cooder on guitar), the Stones' covered it note for note on
Sticky Fingers
, even giving themselves the songwriting credit on the original pressings of the LP. I've always loved this tune which appeared as a single on Decca (U.K. only) around 1970 when she was living out the lyrics. I might as well throw in a couple of other early Decca era tunes that I like and you might have missed--here's her version of Leadbelly's
Black Girl
(later a hit for Nirvana), and here's
Is This What I Get For Loving You
, a record I've owned since I was seven years old and drooling over her on Hullabaloo (clip below) and Shindig. If you're not totally burned out on Rolling Stones related reading (I was going to to an entire posting on Stones' books since I buy and read 'em all, but does anyone actually care at this point?), her 1994 autobiography
(with David Dalton, Little Brown) is a classic, right up there with Anita O'Day's
High Times Hard Times
(with George Eells, Putnam, 1981) in the she-junkie literary canon. Anyway, Marianne Faithful may not look like she did in the sixties but as a performer she's actually stronger than ever, her voice, originally a breathy, clear, alto, emerged at the end of some hard mileage so fragile and cracked that it used to sound like it her vocal chords would snap mid song. These days her voice is a surprisingly strong and flexible instrument. It still sounds like she gargles with broken glass and whiskey, but it's a voice that has served her well through four decades and four million cigarettes. By the end of a 90 minutes set her pipes was still strong enough for her to deliver her final encore acappella. Marianne Faithful, from her Ye-Ye girl roots to today's weathered pro, reinvented herself the hard way, ya got to love her for that.
Thanks to Mary Lee Kortes, Eric Ambel and Hal Wilner for getting me to leave the house on a Saturday night in NYC, I can't even remember the last time I went out to see music in this city on a Saturday night.
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The Hound
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Marianne Faithful
Saturday, March 28, 2009
Swig Swig Puff Puff
If you haven't seen this yet (it's been making the rounds for a couple of weeks) all I can say is-- wow! It would be hard to imagine such a tune making it on to a Network (or even basic cable) TV show in this post "Just Say No" era. It's like you can only talk (or sing) about drugs on the tube if you end your story with some sort of moralistic penance. But this Jimmy Carter era observation on rampant drug use, set to swinging, Vegas style music is a great look at a time when things were a lot looser.
If you haven't already seen this (it's been making the rounds for a few weeks) check out this peculiar drug song from Bea Arthur and Rock Hudson. I can't imagine something like this on TV nowadays. It's like you are not allowed to mention drugs in the media without some sort of penance. The lyrics don't really advocate drug taking, simply acknowledge it, but even that, in this post "Just Say No" and "Zero Tolerance" era seems almost shocking. Let's face it, society has moved backwards both socially and mentally since the day Ronald Regan took office. I wish Obama would light a cigarette in the middle of his next press conference, he looks like he's dying for one, poor fella.
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The Hound
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Bea Arthur Rock Hudson Swig Swig Puff Puff
Thursday, March 26, 2009
Frankie Lee Sims
Frankie Lee Sims was probably born in New Orleans, April 30, 1917. However in the only interview he ever gave, he told Arhoolie Records' Chris Stachwitz that he was born February 29, 1906. Oddly enough, since 1906 was not a leap year there was no February 29th that year. Our story is already confusing. Not much is known about Frankie Lee Sims. He gave one interview in his life, there is only one known photograph of him. Anyway, he was raised in East Texas where he picked up the guitar at a young age. His cousin was Sam Lightnin' Hopkins who would go on to great fame and fortune (see the Jan. posting Lightnin' Loses His Choppers for a great TV clip of him). Sims made his first records in 1947 for the tiny Blue Bonnet label out of Dallas-- Home Again Blues b/w Cross Country Blues and Single Man Blues b/w Don't Forget Me Baby, both good records but nothing to shit your pants over. They are very rare today and fetch big bucks at auction but I'd say they are for completest only. The second disc is notable for the presence of a steel guitar player whom Frankie claimed was Carl Perkins of Sun Records fame. This however is highly unlikely. Frankie appeared on a couple of discs backing up Smokey Hogg, and on Lightnin' Hopkins' Jailhouse Blues on Gold Star. He played a lot of bars and juke joints, put together a band with drummer Mercy Baby (a teenage King Curtis passed through this group briefly before heading to New York and stardom). In 1953 Sims came to the attention of Johnny Vincent, then working as an A&R man for Specialty Records out in L.A., he recorded Sims in Dallas in two sessions that year from which three singles would be issued. Eventually Specialty would gather up the outtakes and issue an LP in the seventies, and in the nineties a CD. The three Specialty discs are excellent, primitive blues, much like cousin Lightnin', Sims had a rather loose style and kept to no regular meter. The first disc--
Lucy Mae Blues
b/w Don't Take It Out On Me was a good seller, it was based around the guitar riff that goes back to Tommy Johnson's Big Road Blues and can be heard on hundreds of blues records. The second disc
Yeah! Baby
b/w I'm Long Long Gone was a good, solid blues rocker but didn't sell squat and the third Specialty disc Rhumba My Boogie b/w I'll Get Along Somehow was the least interesting and nobody bought it. Some of the best material he cut for Specialty didn't emerge until the LP was released in 1970 such as
Married Woman
(which the Flamin' Groovies covered in '72) and
Lucy Mae Blues Part II
. Four years passed. Frankie Lee played his guitar all over west Texas, Louisiana, and Mississippi. Johnny Vincent left Specialty and struck out on his own, forming the Ace record company out of Jackson, Mississippi (he'd hit pay dirt recording New Orleans greats like Huey Piano Smith & the Clowns and Frankie Ford, but he always had a soft spot for blues and issued great blues discs into the seventies). Vincent signed Sims, and his first session resulted in the 1957 single issued on Ace
What Will Lucy Do?
Misery Blues
, basically a remake of Lucy Mae Blues, but a remake that is superior to the original, Sims' had improved immensely as a guitarist in the four years since his last Specialty session, and the addition of drummer Mercy Baby gave his sound more drive. A second session was soon scheduled, this time with two sax players added to the band-- Jacquette Brooks and Jack White, and now they were playing full fledged rock'n'roll. The next disc would be the pinnacle of Frankie Lee Sims' career--
Walkin' With Frankie
Hey Little Girl
, the a side is a thundering blues rocker (Barrence Whitfield & the Savages covered it in the eighties) that remains one of my all time favorite discs. While I usually prefer 45's, Ace mastered their 78's particularly hot (i.e. loud) and Frankie Lee Sims' Ace 78's are some of the best sounding discs I've ever heard. At the same session that produced Walkin' With Frankie, six sides were recorded with drummer Mercy Baby singing and these were issued under Mercy's Baby's name, the first--
Marked Deck
Rock and Roll Baby
appeared on Ace in '57, the second
Silly Dilly Woman
b/w Mercy Blues was issued by Ace in '58 and the third and final Mercy Baby record--
Don't Lie To Me
came out on the Ric label two years later ('60). All six Mercy Baby sides are excellent blues rockers, all were highlighted by the guitar playing of Frankie Lee Sims. Frankie Lee cut a third and final session for Johnny Vincent in Jackson in late '57, his next single for Vincent, issued on the Vin subsidiary--
She Likes To Boogie Real Low
Well Goodbye Baby
, soon followed by the Ace disc
My Talk Didn't Do Any Good
I Warned You Baby
give him a batting average of 100%. All four tunes are hard blues stompers, the best being She Likes To Boogie Real Low which re-writes Louis Jordan's Blue Lights Boogie as a guitar rocker, Sims playing more like Guitar Slim or Gatemouth Brown than Lightnin' Hopkins at this point. Recorded at the same session but left in the vault until the nineties was the excellent
How Long
. None of these records were big sellers, although Walkin' With Frankie got some airplay in the South and Sims claims to have appeared on American Bandstand to promote it, although no one has ever been able to find evidence of such a broadcast. Frankie Lee Sims recording career wound down, in 1960, on the recommendation of King Curtis (whose hit Soul Twist, Sims claims to have played on, although it's actually Billy Butler on guitar, many think he confused it for Bobby Davis' Monkey Shout (Vest) a disc which King Curtis played on and the guitarist sounds just like Sims), Bobby Robinson brought Frankie to New York and recorded him, although these sessions, lackluster remakes of his previous recordings, wouldn't be issued until the eighties when the U.K. Krazy Kat label finally released them. He may have done some recording for Arhoolie in 1969 but if he did, none of it was ever issued. Frankie Lee Sims died in 1970, his health had been in constant decline since a 1963 shooting "incident" and heavy drinking. His passed away just before Specialty issued his first LP, a disc which brought much attention to a career that had been previously unnoticed by the growing white blues audience. He was 53 years old and didn't look a day over 70. While he was alive he released nine singles on four labels, after his death two LP's appeared. Not exactly prolific, but the best of it was some of the finest rockin' blues ever recorded. Yet somehow, like all these stories, it all seems rather tragic to me. I hope he had as much fun making those records as I do listening to them.
ADDENDUM: In a bit of confusion it took me until today to post the sounds that accompany the first Mercy Baby single, and also to correct the dozen or so typos, my apologies.
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The Hound
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Frankie Lee Sims
Tuesday, March 24, 2009
Eddie Bo 1930-2009
This year's death toll just keeps a risin'. Eddie Bo (Edwin Joseph Bocage) died last Wednesday (March 18th) , felled by a massive heart attack. A pianist, singer and songwriter, Eddie Bo, was born in New Orleans 9th Ward and had a career that spanned over half a century. He came from a large, musical family (Sidney Bechet was his great uncle). You could trace the history of New Orleans R&B through Bo's career, he must have made at least a hundred singles spread out over dozens of labels including Apollo, Chess, Ace, Ric, Swan, Cinderella, Scram and others. A discography can be found
. If you are unfamiliar with his work you can learn more by checking out the Eddie Bo archives
. His career is too long and detailed to get into it in much depth here, but he's probably best known for writing and recording the original version of Little Richard's Slippin' & Slidin', which he called
I'm Wise
when he recorded it for the Apollo label in '54. Some of my favorite Eddie Bo sides are
Hey Bo
Walk That Walk
Oh Oh
(both on Chess),
We Like Mambo
I Love To Rock & Roll
(both on Ace). I also thought I'd throw in these two funk classics since he's extremely popular with soul and funk collectors and dj's, mostly through these two numbers--
Hook and Sling
(Scram) and
Check Your Bucket
(Bo-Sound). He played the Circle Bar once, at the first Mau Mau Ball, and he was great. I don't remember a lot about his set since he was playing on the same bill as Howard Tate, R.L. Burnside, Tousaint McCall, Jody Williams, and a dozen other greats (in a bar the size of a postage stamp, a small postage stamp at that), but I do remember him doing Check Your Bucket. If you like what I've posted here, keep in mind that it's the tip of a musical iceberg, Eddie Bo's career is an archaeologist (and record collector's) dream, there's enough good Eddie Bo stuff out there to fill your entire Ipod.
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The Hound
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Eddie Bo
Sunday, March 22, 2009
Gillian's Found Photo #5
It's already our 5th week on what's proved to be one of the most popular features of this blog--Found photos from the collection of my wife, Gillian "The Fang" McCain. This snap shot has the date January 64 printed in the border. What can I say about this one? Boots and hair is what comes to my mind. Is he the leader of the hot, local band with a pair of sister groupies? A budding Charlie Starkweather or Charles Schmidt ("the Pied Piper of Tucson")? Were the characters in John Waters'
Cry Baby
based on these people? They sure look like Drapes to me. What would the guys hair look like in twelve months, after Beatlemania set in (they would arrive a month later and either save or ruin rock'n'roll, depending on your viewpoint)? Would this fellow start combing it forward or stay true to his greaser roots? Do the white socks mark him as a southerner? How about the way the girl on the right holds her cigarette, is she a debutante slumming? So many questions....What do you think?
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Gillian's Found Photo #5
Friday, March 20, 2009
Broken Records (and how they got that way...)
Yes, they break if you sit on them, shoot 'em, step on them, run them over. Sometimes 78's break if you look at 'em the wrong way. Here's my collection of broken discs and how they got that way. From the top photo we find
Tampa Red- Mercy Mama b/w Drifting (RCA)
-- fell out of the sleeve and onto the floor---crack!
Miss Lee Morse and Her Blue Grass Boys-- Everybody Loves My Baby But My Baby Don't Love No Body But Me b/w Better Shoot Straight With Your Mama (Perfect,
colored shellac) held too tight by an idiot I let look through my country 78's.
Rev A. Nix & his Congregation- Black Diamond Express To Hell pt 1 b/w pt 2 (Vocalion)
It was fine when I found it, when I got it home it developed a pressure crack-- I think it committed suicide.
Blind Lemon Jefferson- Bad Luck Blues b/w Broke and Hungry (Paramount)
An old girlfriend -- Dr. Sarah Covington, author of
The Trial Of Martyrdom: Persecution and Resistance In Sixteenth-Century England
(University Of Notre Dame Press, 2003) found a whole pile of Pre-War 78's up in Connecticut, mostly jazz but a few blues discs where in there. She was bringing two Blind Lemon 78's back to New York City as a present for me and in Grand Central Station a big fat guy bumped into her, knocking the records out of her hands. Luckily the other disc-- Blind Lemon's Black Snake Moan (Okeh) survived the crash.
Furry Lewis- Mean Ole Bed Bug Blues b/w Why Don't You Come Home Blues (Vocalion)
This one lived under the sink at Bob Quine's mom's house for thirty years undisturbed. While bringing it back to New York (as a present for me) it got cracked. Quine couldn't remember how it happened (he managed to get several dozen other 78's to NYC for me, all in perfect condition. I called record dealer and collector John Tefteller to ask if there was anyway to fix it and he told me a copy had recently sold for almost four grand, adding "I'd have paid that for it". And a great record too! Damn.... Third photo from top:
Roy Milton- Milton's Boogie b/w Groovy Blues (Specialty)
I dropped it when I was drunk.
Swallows- It Feels So Good b/w I'll Be Waiting (King, DJ promo)
I have no idea how this one got broken.
Johnny Ace- Yes, Baby b/w Saving My Love For You (Duke)
Cracked when flipping through the records, must've had a pressure crack in it I never saw.
Lightnin' Hopkins- Prayin' Ground Blues b/w Gotta Move Boogie (Sittin' In With)
Destroyed by the movers when I moved from the E. Village to Chelsea, the only record that got broken, and a good one too. Especially the instrumental b-side. Bottom Photo (45's):
Kip Tyler & the Flips- She's My Witch b/w Rumble Rock (Ebb)
Destroyed when the fill in DJ following my show at WFMU threw his pile of records on top of mine in the record rack. I should have killed the prick. I did manage to replace it, but this copy, bought at the old Tower Records parking lot flea market in Hollywood cost $5, the replacement cost $40.
Kid Thomas- Wolf Pack b/w The Spell (Federal)
See last week's Kid Thomas posting for the story on this one. I've since found a 78 but I still need a replacement 45.
Eddie Cochran-- Jeanie Jeanie Jeanie b/w Pocket Full Of Hearts (Liberty)
Another WFMU fuck up, basically the same story as the Kip Tyler record. Still haven't found another copy (it's not even rare, I just refuse to pay $30 for it). Breaks your fucking heart, eh?
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Broken Records
Thursday, March 19, 2009
Sinatra- Bim Bam Baby
"Rock and roll is the most brutal, ugly, desperate vicious form of expression it has been my misfortune to hear. Rock n' roll smells phony and false. It is sung, played and written for the most part by cretinous goons, and by means of its almost imbecilic reiteration, and sly, lewd -- in plain fact, dirty -- lyrics . . . it manages to be the martial music of every sideburned delinquent on the face of the earth." (Frank Sinatra at 1958 Congressional hearings, New York Times Magazine, 12.1.58, p.19)
Frank Sinatra hated rock'n'roll, as above quote so quaintly illustrates. Of course if you read the quote carefully he is partially right; rock'n'roll was played for the most part by cretinous goons, the lyrics were often sly, lewd and dirty, and of course it
the music of every sideburned delinquent. The only part I think he got wrong was about it smelling phony and false. Rock'n'roll smelled real and real rock'n'roll still smells good. No matter, it didn't stop him from trying to cash in on Elvis' fame, hosting a
Welcome Back Elvis
TV show when Elvis was discharged from the U.S. Army, on which he and Elvis sang a duet where they swapped each others tunes. Later in his career he would duet with Bono and I don't mean Sonny, but I don't think Bono really counts as rock'n'roll. Our subject today however is an item lurking hidden in the Sinatra catalog. An actual attempt by Frankie baby to cut a real rock'n'roll record. That's right, in the early fifties, when his career was bottoming out and Columbia A&R head Mitch Miller was desperate to revive Sinatra's fortunes, Miller was forcing all sorts of bad ideas on the poor fellow (the classic example being
Mama Will Bark
, long sited as the very worst Sinatra disc). Eventually he brow beat Sinatra into attempting to win back the swooning teenage girls by recording some of that crazy big beat the kids were going wild over, hence this peculiar polystyrene platter:
Bim Bam Baby
! Issued in '52 it wasn't so much a rock'n'roll fad disc as an attempt to weld Sinatra onto the sax driven rhythm and blues sound of guys like Roy Brown, Wynonie Harris and Big Joe Turner who were starting to find a market with white teenagers. Lyrically it's quite a tongue twister (in fact I think the lyrics are genius--- "run your flim flam fingers through my greasy hair"! Indeed!). By the final verse you can actually hear Sinatra getting madder and madder as he struggles with the overboard alliteration. Shit, Don & Dewey or Esquerita could have recorded this one.
Sinatra would soon leave Columbia records and Mitch Miller behind. He signed to Capitol in 1953 and recorded a series of classic concept LP's (hell, he invented the idea) like
Sings For The Lonely
Songs For Swinging Lovers
In The Wee Small Hours
. Even his film career recovered starting with
From Here To Eternity
(1953), he'd go on to appear in classics like
Guys and Dolls
The Tender Trap
Man With The Golden Arm
( all three in 1955),
High Society
The Joker Is Wild
Pal Joey
(both in '56),
Some Came Running
A Hole In The Head
Ocean's Eleven
(1960) and
The Manchurian Candidate
(1962). His complete filmography can be found
. Frankie was back, and with no help from Mitch Miller.
While we're on the subject of ole blue and red rimmed eyes, one of my all-time favorite celebrity tell-alls might have slipped by your radar, in which case I suggest you search out
Mr. S: My Life With Frank Sinatra
by George Jacobs with William Sadiem (Harper Collins, 2004). I've seen it on Amazon* for less than a buck, and you would be hard pressed to find a more entertaining way to spend four quarters this side of a Show World video booth. First sentence: "
Summer 1968. The only man in America who was less interested than me in sleeping with Mia Farrow was her husband and my boss, Frank Sinatra
". Jacobs was Sinatra's butler for fifteen years and his tales of encounters with Joe Kennedy (who berated Sinatra for hiring a black man), Ava Gardner, Swifty Lazar, Peter Lawford, Jack and Bobby Kennedy, and nearly every one who was anyone in Hollywood and Palm Springs makes this an orb popping read from beginning to end. The Chairman of the Board, his toupee and rat pack may be gone, but those of us still here can still laugh at him.
New Yorkers note, the Strand has tons of copies for around $5.
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Frank Sinatra
Tuesday, March 17, 2009
Kid Thomas
I guess I'm starting to repeat myself in my old age, since I wrote a similar piece to this one in Kicks magazine #3 back around 1981, but since that was a whole generation ago I might as well. If you are unfamiliar with today's subject-- Louis Thomas Watts aka Kid Thomas you have been leading an incomplete life and are in for a real treat. Besides, it's a great story.
Kid Thomas was born June 20, 1934 in Sturgis, Mississippi--a Gemini, like me.
He was raised in Chicago where he took up playing the drums and later the harmonica on which he was tutored by Little George Smith (who recorded some good sides for RPM in the 50's) and by the mid-50's was a regular on the Chicago club scene appearing with the likes of Muddy Waters, Elmore James, Howlin' Wolf, Bo Diddley, and often filling in for his idol Little Walter when Walter was too drunk to negotiate the bandstand, which was quite often. He also held down a regular gig at Cadillac Baby's club. In 1955 he simply walked into the Chicago distribution offices of the Cincinnati based King/Federal records and announced he wanted to make a record. Luckily for him, producer Ralph Bass who was also Federal's A&R chief happened to be in the building and Kid Thomas was soon in the studio. Bass recorded Thomas in Chicago using Little George Smith on drums (he'd traded harmonica lessons with Kid Thomas for drumming lessons), a guitarist whose first name was James and a piano player nobody remembered. That first session produced one 45, and it was a good one too.
Wolf Pack
The Spell
(Federal) is in fact a classic. The a-side is an upbeat workout on Howlin' Wolf's Smokestack Lightning riff, the b-side a spooky, voodoo blues. It was the only record issued from the session and his only release on Federal who let him go when the disc failed to catch on. Left in the vaults from that day were quite a few goodies however including the rocker
Beaulah Come Back
Ride On, Ride On
Come Here Woman
and this alternate take of
Wolf Pack
. These sides would remain un-issued until 1999, perhaps the world was just not ready. Maybe it still isn't.
Wolf Pack since didn't exactly make our hero a star so he kept his eyes open for a better opportunity. In a local diner he met two kids who had hitchhiked into town from Wichita, Kansas and duly invited them down to Cadillac Baby's that night. They were blown away by Kid Thomas set and upon returning home to Wichita, booked him a job at a local bar called the Sportsman's Lounge. Lacking funds to get to the gig, he hit upon an idea, this is what he told writer Daryl Stolper in his only published interview which ran in
Blues Unlimited
in 1969: "
At that time, I was doing some light work for a minister, and he had a '49 Buick. I didn't have a car, so I waited until he was asleep and I told my guitarist to ease the car out,'cause if he woke up, he'd recognize me. So he starts up the car and bangs it into the car behind him, and the one in front. But he finally got it out, and we made it to Wichita. When I got back (to Chicago), the minister asked me what happened to his car. I told him I hadn't any idea. He told me,'Thats funny,'cause it disappeared the same night you did.
" The band broke up in Wichita but he returned there a month later, this time driving a 1947 DeSoto with his name misspelled on the side-- it read Kid Thumass. Our by now be-conked hero had struck up a partnership with Hound Dog Taylor (see January posting for a picture of his six fingered left hand) and together they proved a good draw in Wichita. By 1956 rock'n'roll had taken the world by storm and Kid Thomas fell under the spell of Little Richard and soon revamped his sound to showcase the influence of Little Richard and other men who wore their hair up high and screamed a lot. This new musical direction didn't exactly knock 'em dead in the South Side blues clubs in Chicago to which he had returned, so he packed up and headed west, first to Denver and finally landing in Los Angeles in 1958. In L.A., Kid came to the attention of George Mottola, then head of A&R at the Modern/RPM/Flair family of labels where he recorded such greats as Richard Berry, Jesse Belvin, and the Teen Queens. Mottola had started his own label-- Transcontinental and soon Kid Thomas was back in the studio. Boy, was he. His next release, issued in 1959 on the aforementioned Transcontinental--
Rockin' This Joint Tonight
(issued with two different b-sides, the blue label first pressings had You Heard What I Said on the flip, the black, red and white second pressing had You Are An Angel, if you want to hear the former, and you do, you're gonna have to buy the
Norton Records
4-song EP). Rockin' This Joint Tonight is one of the wildest rock'n'roll discs of all time with Kid Thomas blowing his harmonica and shouting out the lyrics in a frantic frenzy. Just listening to it leaves me breathless. He wouldn't record again for five years, that's probably how long it took for him to catch his breath. Kid took a regular gig in L.A.'s South Central neighborhood at a joint called the Cozy Lounge, working under the name of Tommy Louis and the Rythm (sic) Rockers and sometimes as Tommy Louis and the Versatiles. The local Muriel label issued two singles in 1965--
The Hurt Is On
b/w I Love You So, which got some airplay around the south despite the lack of promotion, and later the same year
Wail Baby Wail
Lookie There
, perhaps his finest achievement in wax. Wail Baby Wail is another full on Little Richard inspired rocker in the same vein as Rockin' This Joint Tonight, only this one features guitarist Marshall Hooks' insane soloing which sounds like Ike Turner undergoing electro shock therapy. Sadly, there was little market for such sounds in 1965 and the disc sunk without a trace. As Tommy Lewis, he made one last record, issued on Cenco in 1969 he would recut (You Are An) Angel b/w Willowbrook, not a bad record, but nothing to wet your shorts over. Here comes the sad part. Although he kept on gigging (including playing a party at Dean Martin's house), Kid Thomas was making rent by mowing lawns. In 1970, after finishing a job in Beverly Hills, a young child ran out into the street from between two parked cars and Thomas accidentally ran over the kid, killing him. Manslaughter charges were filed, then dropped for lack of evidence. A few months later, after appearing in court on a separate charge (driving with a revoked licence), the kid's father ambushed Kid Thomas in the court house parking lot, killing him with one bullet to the head. As a tragic postscript to an already sad story, in 1994, at a live Hangover Hop WFMU radio broadcast, I went to take a piss and some jerk decided he might as well take a look through my box of 45's. When I returned from the head and asked the cretin to put my records down, he dropped the box and my copy of Wolf Pack on Federal landed on the concrete floor at Brownie's at just the right angle to crack it in two places. I've since manged to track down an original 78, but the 45 is rather hard (and expensive) to come by, and now my copy is held together with scotch tape. And people ask why I don't do the radio show or dj live anymore. So there's our story, three great records, two dead bodies, and one cracked disc. Life's funny like that.
to yesterday's post
: I just stumbled on the complete works of Kid Thomas for download
for those of you who hate to pay for anything.
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Kid Thomas
Sunday, March 15, 2009
Gillian's Found Photo #4
In this, our fourth installment of our Gillian's Found Photo feature, we delve into another area of the Fang's photographic collecting interests-- Black G.I.'s (she recently unearthed an amazing scrapbook of Black Panther G.I's stationed in Korea, hopefully she'll be posting some of those pics in the future). This soul brother has a message, it's written right on the back of the pic: "
To Alice a sweet young lady. I don't look very happy do I. Snooky
" (punctuation errors in original). No, poor Snooky doesn't look too happy. Hopefully he made it through his tour of Nam. BTW anyone out there with Black Power, Black Panther and/or Black G.I. snapshots to sell can write to the Fang c/o this blog site. What do you think of Snooky? And what of poor sweet Alice, waiting at home?
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Gillian's Found Photo #4
Thursday, March 12, 2009
This Week's 5 Pack
Something for every sort of personality disorder this week.
First off is from New Orleans' legendary Booker label, the same label that issued the amazing Rev. Charlie Jackson 45's (see the Nov. '08 posting Guitar Evangelists for more on him). There's a story behind this one, of course. My late pal Kelly Keller had taken me out for a soul food breakfast in a little restaurant in Mid-City in New Orleans, somewhere off of Broad St. Anyways, the owner/chef/hostess Sister Albertha, hearing that I was a d.j. up in New York City proudly presented me with a copy of her very own 45. One side is a fairly restrained reading of Amazing Grace, mis-spelled on the label "Amaze and Grace", the other was one of Sister Albertha's original compositions--
Mean Old Jews Who Crucify My Lord
. I didn't bother to tell her the radio station was run by a mean old Jew, but I did attempt to explain to her that her lord was a Jew and he was crucified by Romans. She would hear nothing of it, tapping her bible knowingly. I then attempted to explain that her bible was written by Jews, but there's no point in arguing religion with religious people. That usually leads to a war. Great record, though, if the anti-Semitic angle doesn't bother you too much.
The next one by Trez Trezo was issued on his own Trezo label, and what market had in mind is beyond my comprehension. His versions of
Rock Around The Clock
Hang On Sloopy
must be heard to be believed. It's just old Trez, banging away on his drum kit and singing, no other instruments. The a-side recieved the ultimate in retarded record honors by ending up on a
Big Itch
compilation LP (Mrs. Manocotti).
Some discs are beyond words, and I've just run out of things to say about this double sided slab of vinyl non-genius.
Next in line is one of my favorite sixties records, out of Memphis, Jim Dickinson & the Catmandu Quartet (Southtown). The a-side,
Monkey Man
is an organ driven frat screamer, the b-side,
Shake 'Em On Down
a greasy blues shuffle. The year was 1966. Dickinson has had a long and illustrious career starting with the Jesters on Sun (Cadillac Man, see the Jan. posting on William Eggleston to hear that one) and he'd go on to play piano with the Stones and Ry Cooder, produce Big Star, make the excellent Dixie Fried LP on Atlantic, lead Mud Boy & the Nuetrons, record with the Cramps, the Johnny Burnette Trio, Alex Chilton, Furry Lewis, et al. He's still at it today (he played a great gig at the Lakeside a few years back). That scrawl on the label is his autograph. Anyway, I thinks this is his finest moment. It was produced by another Sun alumni-- Bill "Raunchy" Justis.
I know nothing about Duke Mitchell, except that
The Lion
(Crystalette) is sheer genius. The b-side is awful (Strike, a re-write of Duane Eddy's Rebel Rouser as a bowling novelty). The Lion however is a stupid-rock classic. Anybody out there have any info on this one?
Back in Memphis, today's last little platter is a slice of prime Memphis soul stew courtesy of the Martini's, who if you read the label are actually most of the Mar-Keys of Last Night (Satellite) fame.
Hung Over
(Bar) is in the same groove as the best Mar-Keys and Booker T. & the M.G.'s sides, but with the additional bonus of the sound of a guy barfing thrown in. I assume they were aimin' at the local market, since everytime I've ever been to Memphis everyone I met was always drunk. Cool lookin' label too.
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Duke Mitchell
Jim Dickinson and the Catmandu Quartet
Sister Albertha Harris Lewis
Trez Trezo
Tuesday, March 10, 2009
Herbie Duncan
Herbie Duncan died recently. I don't know what killed him or the exact date that he died. Does it matter? Herbie Duncan cut three 45's:
Hot Lips Baby
Little Angel
(Mar-Vel, 1958, re-issued and still available from
Norton Records
b/w Roll Along (Glenn, 1959) and That's All b/w End Of The Rainbow (Glenn, 1960). Hot Lips Baby is one of rock'n'roll's pinnacle moments. It turns up on dozens of rockabilly compilation LP's and CD's, both legal and bootleg*. It's my favorite type of record, one where you ask yourself, "did this guy really think he was gonna be the next Elvis"? and/or "how the hell did this even get recorded"? It's discs like Hot Lips Baby that make record collecting worth it; all those hours around fat, smelly guys who still live with their parents, creepy record dealers trying to pass of bootlegs as rarities, hours spent digging through dusty piles of junk (the knees are really feeling it these days). When you find a record like this (and you don't find 'em like this too often) it's like winning Lotto, or the Olympics. You know that you haven't wasted your time (and life) tracking this stuff down. In 1986, Deke Dickerson (Untamed Youth, Deke Dickerson Combo, etc.), President of the Herbie Duncan Fan Club (yes, such people exist) tracked him down and found him and his wife living in a trailer camp in Olathe, Kansas. Of that visit he wrote: "
I'll always remember Herbie most from this visit, when he took his old guitar out of the case, sat on his La-Z-Boy chair, and began warbling "Me And Bobby McGee" in his trademark vocal style. His body, his hands, his head, remained almost motionless as the words and music spilled out from his voice and guitar. Strangely, almost inhumanly, the La-Z-Boy chair began violently rocking back and forth, as if it was levitating, though Herbie remained almost motionless. My friends and I looked at this and remarked on it later, and to this day I have no idea how he did that. There was magic--magic that few understood, but undeniable magic--contained in the body and soul of Herbie Duncan
". Magic indeed. Take that Aliester Crowley! By the sounds of this record it's magic that the band all manage to finish the song at almost the same time. In fact, the guitar, bass player and drummer all end up stopping on different beats.
Mar-Vel and Glenn, the labels that issued Duncan's 45's were both owned by the same guy-- Harry Glenn. Glenn would press up records and sell them out of his truck which had exterior speakers attached to it so that he could blast out the sounds of ultra primitive rockabilly and hillbilly rock'n'roll to the world, and try to 'em his sell records. Unfortunately this vehicle never passed my house. I guess this method of combining promotion and distribution saved $ on payola end, but it didn't exactly deliver the hits. He did issue some incredible discs though, including such classics as Chuck Dallis'
Moon Twist
and Billy Hall's
Ooga Booga Boo
(a copy of which I found on Astor Place for a quarter in the early eighties, the route that took it there I'd love to know, kinda like the coin in
No Country For Old Men
) Glenn believed in Duncan enough to issue three singles. And half a century later, we're are still talking about him. Who would of guessed?
* In the eighties Cowboy Carl Records issued three LP's of Marvel-Glenn rockabilly, and Rykodisc later issued a CD compilation called
Get With The Beat
, these are legit and taken from the original master tapes (as is the Norton re-issue 45) are are well worth searching out. The above quote from Deke Dickerson was taken from a Norton Records e-mail update.
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Herbie Duncan
Mar-Vel and Glenn labels
Monday, March 9, 2009
Gillian's Found Photo #3
Are those the coolest ear muffs ever? Is this young cowgirl being attacked by Kung Fu Chimps? What is going on in this photo is anybody's guess. Anyone out there have any ideas?
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Gillian's Found Photo #3
Saturday, March 7, 2009
Screaming Lord Sutch
I'm a sucker for a good novelty. Hence, a minor fascination with that notable British rock'n'roll character Lord David Sutch aka Screaming Lord Sutch, proof positive that, sometimes, in the world of rock'n'roll having no talent is sometimes just not enough. He was certainly a photogenic little bugger though, no? Despite the claim on Wikipedia that he was "3rd Earl Of Harrow", David Sutch (b. Nov. 10, 1940) was not of royal lineage and in fact grew up in the working class area of Kilburn, North London. He fell in love with rock'n'roll upon hearing Rock Around The Clock in 1956 (he dug Haley because he was the spitting image of his other hero-- Winston Churchill). Determined to forge a career in rock'n'roll he made his way to the 2i's coffee bar in Soho, that incubator of all British pre-Beatles R&R talent (see Vince Taylor posting for more on the 2i's scene) but was rejected and found a gig at a nearby biker joint called the Cannibal Pot, where he was soon fronting his own outfit-- The Raving Savages whose original line up featured future session drummer Carlo Little and pianist Nicky Hopkins. His main calling card was a stage show inspired by Screamin' Jay Hawkins and old horror movies, that saw Sutch jumping out of a coffin, chasing semi-nude women around the stage with a meat cleaver, even doing a re-enactment of Jack The Ripper murders to illustrate the tune of he same name (see video clip above). He brought theatrics to rock'n'roll a good decade before Alice Cooper. In this manner it took a while for audiences to realize he couldn't sing two bars in the same key. He was soon packing 'em in all over the U.K. and in Hamburg where he was a good draw at the Star Club. In 1961 he was discovered by Joe Meek who produced Sutch's first two horror themed singles--
Til The Following Night
(HMV) and Jack The Ripper (Decca), the group now billed as Screaming Lord Sutch & his Savages. Quite a few future notables passed through Sutch's group including Ritchie Blackmore (guitar star of Meek produced instrumental combo the Outlaws and later of Deep Purple), Jimmy Page, Keith Moon (briefly), and others. He cut a string of novelty horror singles, most are fairly unlistenable-- Dracula's Daughter, Monster In Black Tights, She's Fallen In Love With A Monster, etc. but some of the b-sides where quite good, original arrangements of rock'n'roll classics.Huey Smith's
Don't You Just Know It
and the Coaster's
I'm A Hog For You
(both served as the flip side of Jack the Ripper in different pressings),
Bye Bye Baby
(flip of Dracula's Daughter) are all credible, exciting rock'n'roll discs. His best was this 1965 re-make of the Johnny Burnette Trio's first 45 (covering both sides in highly original arrangements that highlight the strengths of his band)
Train Kept A Rollin'
Honey Hush
(CBS, UK). If it was the only record he ever made, he'd have been remembered as a genius. His best early sides compiled on a bootleg called
The Screaming Lord Sutch Story
can be found
. In 1963 Sutch attempted to launch his own pirate radio station-- Radio Sutch which would feature rock'n'roll records mixed in with such attractions as Mandy Rice-Davis doing dramatic readings from
Lady Chatterly's Lover
but a falling out with his manager Reginald Calvert nixed the project (Calvert was later murdered by someone he swindled). The same year Sutch stood for public office for the first time, running for Prime Minister on the Teenage Party whose main platform was lowering the voting age to twelve. He would go on to run for PM in each election up until 1990, the Teenage Party evolving into the Raving Loony Party (in one memorable election he wanted to extend suffrage to animals). It was in politics that Sutch is best remembered in the U.K., always cutting a striking figure at election time, no publicity ploy beneath was beneath him. Some people even voted for him. By the late sixties he had taken to riding around in a horse drawn chariot, his Savages outfitted in togas--- "You've got to keep up with the times", he told Nik Cohn. In 1970 Sutch was signed to Atlantic who attempted to market him to an uncomprehending U.S. market releasing two LP's--
Screaming Lord Sutch and Heavy Friends
(featuring all the Savages alumni who'd made it as well as Jeff Beck, John Bonham and Noel Redding) and
Hands Of Jack The Ripper
. He toured the U.S. in a Union Jack painted Rolls Royce. These LPs have the distinction of being among the worst ever recorded, although in retrospect, crappy as they are they're way better than 90% of what's made the charts in the ensuing decades. Sutch continued to gig and even record the odd disc through the eighties, I saw him play at the Milkweig in Amsterdam in the early nineties, attempting to align himself with the Psychobilly craze, he was great in that "you had to be there and be stoned" sort of way. Unfortunately I was so loaded on hash that I lost the autographed 8x10 I'd gotten by stumbling into his dressing room and dropping the name of a mutual friend. I do remember he was surrounded by the strangest assortment of acolytes I've ever seen, including a guitar player named Rasputin who looked just like the real thing. In 1991 Sutch published his autobiography:
Life As Sutch
(with Peter Chippendale, Harper-Collins, UK), an amusing if rather peculiar volume, for some reason it was recalled and is very rare today. In 1999 his beloved mother Annie Emily Sutch passed away (he had lived with her for his whole life) and not long after (June 16, 1999) a grieving Lord David Sutch (he'd added the Lord via deed poll) hung himself. Sad ending, like all great rock'n'roll stories. Lord David Sutch, aka Screaming Lord Sutch is a perfect example of how a person of little promise was able to use rock'n'roll to rebuild his entire being into something special, some one who will be remembered, for as long as people care about rock'n'roll.
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Screaming Lord Sutch and the Savages
Tuesday, March 3, 2009
Sugar Boy
James "Sugar Boy" Crawford Jr., b. Oct 12, 1934 is one of the last of the great New Orleans rock'n'rollers still alive. Old timers remember him as having the best band in the city for a decade or more, as well as being the originator of
aka Iko Iko,
anthem for Carnival. Sugar Boy cut his version for Chicago's Checker (a subsidiary of Chess) in 1954, and although it wasn't it a national hit, it was a monster locally and inspired dozens of cover versions over the years. Crawford formed his first group in High School-- the Chapaka Shawee (which means "we ain't raccoons", they had no idea what it meant having gotten it from a Mardi Gras Indian chant). In addition to Crawford on piano and vocals were Edgar "Big Boy" Myles on vocals and trombone, Irving Bannister on guitar, Warren Myles Nolan Blackwell and Alfred Bernard, I'm not sure who played what or if the latter three just sang but in 1952 Aladdin issued their only 45, under the name of the Shaweez. The a-side is a minor masterpiece, "
You Made Me Love You
" in which Sugar Boy who trades lead vocals with Myles delivers a sobbing finale to this R&B/doo-wop ballad. The b-side was a cover of Guitar Slim's "Feelin' Sad". The record was issued without having even signed a contract, they were paid $5, for the entire group! Soon Sugar Boy had gone pro and was inked to Chess who issued three 45's on Checker in 1954. On these sides Sugar Boy was backed by Eric Warner on drums, Frank Field on bass, Big Boy Myles on trombone, David Lastsie on tenor sax and Snooks Eaglin on guitar. The first of these discs--
is one of the wildest R&B discs ever. Taken at Ramones speed, the musicians sound like they're racing each other to the end of the tune. The record went nowhere but his second Checker disc-
was a huge local hit and would later be taken to the top of the charts as Iko Iko by the Dixie Cups (with Crawford's name missing from the writer's credit). Jock-A-Mo missed the national charts but it became Sugar Boy's calling card and kept him in live work for years. A third disc--"No More Heartaches" b/w "I Bowed My Knee" didn't sell at all and Chess dropped Sugar Boy, leaving eighteen amazing sides in the vaults. The entire Chess/Checker output can be found
(password is bluesandrhythm.blogspot.com). Tunes like the politically incorrect
Watch Her, Whip Her
, the instrumental
Night Rider
What's Wrong
There Goes My Baby
, are as good, or better, than anything I've ever heard. They weld the second line beat peculiar to New Orleans to Rhythm and Blues better than any discs this side of Fats Domino. By 1956 Sugar Boy was signed to Imperial and back in the hands of Dave Bartholomew who had produced the Shaweez (and about 90% of the great records made in New Orleans in the fifties). With Bartholomew's band-- Earl Palmer on drums, Lee Allen on tenor sax, etc. (same guys who played on hits by Fats Domino, Little Richard, Smiley Lewis, Shirley & Lee, et al) Sugar Boy cut the fantastic
She Gotta Wobble
(When She Walks) which flopped and the ballad
Morning Star
which became a minor hit. All together Imperial cut four singles with Sugar Boy Crawford before cutting him loose. Still, Sugar Boy and the Cane Cutters were a good draw and played a two year stint at the all white Carousel Club in Baton Rouge as well as touring all over Louisiana and as far east as Georgia and as far west as Texas. They'd occasionally make it back in the studio, in 1959 cutting a version of Danny Boy b/w
Round and Round
for Montel and recording
I Cried
Have A Little Mercy
for Ace (produced by Mac Rebbenack who also wrote the latter) in '61 . He also cut backing tracks for Jimmy Clanton while at Ace. In 1963 Crawford's career came careening to a halt thanks to a beating at the hands of a racist cop who'd pulled the band over after a gig outside of Monroe, Louisiana. Sugar Boy spent a year in the hospital recovering, and gave up rock'n'roll for good. In 1999 I met Sugar Boy, quite by accident. I needed a locksmith to change the lock in an apartment I'd just moved into and a friend gave me the number of a locksmith he had used. It was Sugar Boy Crawford who showed up and installed my new lock. I tried to talk to him about music but he was quite taciturn on the subject, only saying "I do my singing in church these days..." with a smile. He makes occasional appearances at gospel shows, usually playing piano and has turned down offers to play jazz fest and the Ponderosa Stomp (speaking of which, why is Bon Jovi headlining Jazz Fest? Why don't they move the Stomp to a non-jazz fest week since there's almost no cross over audience between the two at this point....pardon me, my mind wanders easily...). Sugar Boy Crawford, yes, he was a great one. He sure was...
Posted by
The Hound
9 comments:
Sugar Boy Crawford and the Cane Cutters
Sunday, March 1, 2009
Gillian's Found Photo #2
In the latest installment of our new weekly feature we delve into Gillian "The Fang" McCain's collection of found photos and ask ourselves, what do we say about this one? My guess is that this is Siomone Mareuil recovering from her film role in Luis Bunuel's 1929 classic
Un chein andalou
. Maybe not...but who ever she is, she cuts a striking figure.
Above image is copyright Gillian McCain Collection, any un-authorized use will result in a severe ass whupping.
Posted by
The Hound
5 comments:
Gillian's Found Photo #2
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Ex-Wisconsin receiver Quintez Cephus sues school over 2018 expulsion
MILWAUKEE -- Former Wisconsin wide receiver Quintez Cephus said in a lawsuit filed Tuesday against the university that he was used as a scapegoat during a sexual assault investigation that resulted in his temporary expulsion.
Cephus seeks unspecified damages in his lawsuit filed in federal court in Madison, accusing the defendants of violating his due process rights, violating Title IX provisions and breach of contract.
Cephus was suspended from the Badgers football team in August 2018 and was expelled from the University of Wisconsin-Madison for violating its nonacademic misconduct code as part of a Title IX investigation following his arrest on second- and third-degree sexual assault charges.
After a jury acquitted Cephus, he was reinstated and led Wisconsin in receiving during the 2019 season as the Badgers went 10-4 and reached the Rose Bowl. Cephus recently completed his rookie season with the Detroit Lions, who took him in the fifth round of the 2020 draft.
"While we are reviewing the complaint filed by Mr. Cephus, we're confident UW-Madison followed appropriate processes in this matter," university spokesman John Lucas said in a statement.
Cephus' lawyer, Andrew Miltenberg, said he's spoken with NFL agents and draft analysts who believe Cephus would have been drafted earlier if not for his expulsion.
"He wants to set a precedent so that schools are more careful and more diligent in how they proceed on these cases and not just sort of rushing ahead to judgment when they know for a fact they don't have all the evidence," Miltenberg said.
The complaint says that Wisconsin was "seeking to push for harsh male prosecutions in order to remedy its long-standing failure to address sexual assault complaints." The complaint adds that Cephus' status as a well-known football player made him "the perfect candidate for the university to prove its investigative efforts and punish accused males in a high-profile way."
Defendants include Chancellor Rebecca Blank, campus Title IX coordinator Lauren Hasselbacher and the school's board of regents.
The criminal charges stemmed from an incident at Cephus' Madison apartment in April 2018. Cephus engaged in sexual acts with two 18-year-old Wisconsin students, who later said they were raped and too drunk to consent. Cephus said the sex was consensual.
Cephus' lawyers say in the complaint that the schools' Title IX investigation was "an egregious miscarriage of justice." That investigation concluded that Cephus "more likely than not" sexually assaulted the women.
Cephus' lawyers argue that the university should have delayed the investigation until the conclusion of the criminal proceeding because there was relevant evidence that wouldn't be released until after the criminal case was closed. They say that included video evidence disputing the women's claims that they were intoxicated that evening.
They say that the school acknowledged it had unsuccessfully attempted to obtain this evidence and went ahead with its disciplinary hearing anyway. Cephus had filed a lawsuit in 2018 attempting to get the Title IX hearing delayed until the criminal case was settled.
The complaint also says two female students' statements were consistently taken at face value and that the investigation was biased with a lack of transparency.
The lawsuit comes five months after one of the female students involved in the case sued the university over its 2019 decision to reverse Cephus' expulsion and allow him back on the football team.


text:
Trying to reward creativity and innovation in the development of new projects, and ensuring the visibility and recognition to new and future professionals in architecture and design, PORCELANOSA Grupo announces the ninth edition of its Porcelanosa Architecture and Interior Design Awards.
So, PORCELANOSA Grupo opens its doors to receive the most innovative and cutting-edge ideas and projects until next April 4, 2016, the period after which the jury will select the best projects presented in two categories: Forward-Looking Projects and Completed Projects. The premise under which participants must have worked is the use of materials from the PORCELANOSA Grupo companies.
For the Forward-Looking Projects category, the best project of "Concept Store" that combines a commercial area (fashion, bookstore, decoration, accessories, etc.) with a restaurant will be awarded. The award for the best resolute project will be presented in two subcategories: professional, open to interior designers and architects; and students, aimed at students of interior design and architecture and design schools, colleges of architecture and universities. Both the project presentation as well as its concept and development will be valued.
In the Completed Projects category, all projects finished between January 2014 and February 2016 are collected regardless of their nature. Projects that have mostly been made with materials from PORCELANOSA Grupo. In this category the originality and functionality in the project design as well as the innovation using products from PORCELANOSA Grupo and the integration of the project in the surrounding atmosphere will be assessed.
For the finalist's selection and subsequent winners for each category, the firm PORCELANOSA Grupo has assembled a multidisciplinary jury formed by top professionals of international standing in the fields of architecture and interior design. In this 2016 edition, the ninth edition of these awards, the jury will be composed by the architect Ramón Esteve from Ramón Esteve Arquitectura y Diseño, Julio Touza from Touza Arquitectos; Jean Jacques ORY from STUDIOS D'ARCHITECTURE ORY & Associés; Scott Ziegler, de Ziegler Cooper Architects; and Ariane Steinbeck from RPW Design.
The ceremony for these 9th Architecture and Interior Design Awards will be held in Madrid, on May 11, 2016.
You can download the conditions of participation to the 15th Architecture and Interior Design Awards through the next link.


text:
Hustle and bustle,
with scrubbers and buffers
The siphons all strung,
out and about
The tanks to be cleaned,
inside and out.
The gloves were pulled up,
all over their hands
Attempting to keep clean, their fingers from sand.
Had just begun the process
to maintain the tanks we adored.
When at the staff door,
we all heard such a clatter,
We rushed over to find
what was the matter.
When what to our
wondering eyes we did see,
But a man holding a crab
as big as can be.
The question arose to
what that was in the lab,
and I knew in a moment,
it was a dead Puget Sound King Crab.
More rapid than waves,
the curiosity came
As we quickly exclaimed,
and called them by name:
On Pisaster, On Solaster,
And even, on you, dear Pinky
To the top of the tanks,
To the sides of the walls
Now splash away,
splash away,
splash away all
For those who haven't seen
this wonderful sight,
This isn't the
's Science
only crab delight.
The color it lacks,
it's pigment is missing
An albino Dungeness
is worth reminiscing.
Families alike spring to your sleigh,
and give us a visit
Open the weekend after Christmas,
Come see our wonderful exhibit!
You shall hear us exclaim,
doors open and lights shining bright
"Happy holidays to all,
science is such a delight!"
By AmeriCorps Volunteer: Shannon Phillips