John Cale "Marries Betsey Johnson (1968) to divorce a year later"?! Alternative Prince of Wales - The Independent

John Cale: The long reign of the alternative Prince of Wales

The genius from the Welsh valleys has been at most of music's turning points since the Sixties. Now, he's back to perform the album that made his name. Simon Price meets John Cale

Sunday, 28 February 2010

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ABBIE TRAYLER-SMITH

From Wales to Warhol, via the Boston Symphony Orchestra, Cale's career has ranged widely

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"I just ran away," John Cale says with dark, sad eyes. "But I felt guilty. That's the thing about traitors. I didn't think I'd really done my best for the place that I'd come from." It doesn't take the approach of St David's Day to get John Cale talking about Wales, Welshness and why he left it all behind. For the past 12 months, it's been the main focus of his thoughts.

In person, at the age of 67, the avant-garde composer, prolific producer and Velvet Underground legend resembles a Tim Burton vision of a veteran rock star, with an accent once described as "West Village/Welsh Village".

Cale's in London to perform his classic album Paris 1919 at the Royal Festival Hall on Friday, but he's preoccupied by matters closer to home. He was asked to represent Wales at last summer's Venice Biennale, and set to work on Dark Days, an "emotional and personal" 49-minute, five-screen multimedia piece about his relationship with his native land.

Although he resides in Los Angeles, Cale keeps a keen eye on Welsh affairs. He's full of praise for the former first minister Rhodri Morgan and the political progress made by the Welsh Assembly in "presenting a solemn face to Westminster", and considers himself a patriot rather than a nationalist ("The word nationalism is a scary concept, with far too deep a history of blind aggression"). He still has family and friends in the Amman Valley and visits Wales regularly, but Dark Days involved a particularly soul-searching homecoming.

With sound and pictures, Cale retraced his childhood. The most moving part was returning to the house in which he grew up, filming the dawn breaking and recording the ambient noises of the house settling and the hum of distant traffic.

"Looking out of what used to be my bedroom window, I realised how different it all was, so built-up. But certain things hadn't changed at all. I looked at the wallpaper on the ceiling, and thought 'I remember putting that up!'"

One topic Dark Days deals with is Cale's relationship with the Welsh language. He speaks his mother tongue "falteringly" now, but although he grew up the son of an English coal miner, for the first seven years of his life he spoke nothing else. "I couldn't talk to my father until I was seven. English was something I learned at school." Cale blames his grandmother, whom he describes as "ferocious", for driving him away.

"I did not like her at all, and she did not like me. She made it very plain. When my mum was taken ill and had a mastectomy, I remember my grandmother telling a neighbour who enquired how Margaret was: 'You know, she's never been right since she had him.' And I just wanted to yell out 'Hey, I haven't done anything!' It's stayed in my head."

New York wasn't Cale's first port of call. A member of the Welsh National Youth Orchestra, upon leaving grammar school in the early Sixties he won a music place at Goldsmiths College in London. He soon gained a scholarship to Tanglewood in Massachusetts to play viola with the Boston Symphony Orchestra, where he worked with John Cage. It was a recommendation from Cage in 1963 which took Cale to New York, where he joined the minimalist composer La Monte Young's Theatre of Eternal Music. With Young, Cale learned the "drone" technique, practising holding the same note for hours on end.

It was while in New York that he formed a close friendship with a young songwriter called Lou Reed. The pair shared everything: an apartment, dirty needles and the hepatitis virus. And they formed a band.

With Reed's friend, Sterling Morrison, and, later, Moe Tucker, the Warlocks became the Falling Spikes who in turn became the Velvet Underground. When VU came to the attention of Andy Warhol, who became their manager and patron, everything changed. The Velvets were appointed house band at Warhol's Factory collective, toured with the Exploding Plastic Inevitable show, and became darlings of the New York demi-monde.

Cale clicked with the clique instantly. "I'd been working for three hours a day holding a drone, and I'd go to the Factory and they had the same work ethic. Andy would be making films, and Gerard [Malanga] was on the floor making silkscreens. Work was fun and fun was work."

Warhol taught Cale that "the tools of art are anything you can put your hand on". And in the Velvet Underground, Cale, nominally the band's bassist, put his hands on assorted instruments to great effect. The iconic viola drone on "Venus in Furs" is his work, as is the distorted organ on the 17-minute "Sister Ray".

The Velvets recorded a little-bought but immeasurably influential debut album in collaboration with the German ice maiden Nico, one further album, and then began to disintegrate. "Lou fired Andy and didn't tell anyone about it," Cale recalls. "I was furious about that. Also, when we began, songwriting was a four-part collaboration without resentment over who wrote what part, and we all joined in on the copyright. We all went out to promote it, and we all got the benefits. There was an element of trust. But later that became an issue, and it was corrosive."

Cale was one of the first musicians of his generation to attempt the dark arts of the recording studio. After leaving the Velvet Underground in 1968, he produced Nico's harmonium-heavy second album The Marble Index, and then The Stooges, overseeing several immortal riff-laden classics, including "No Fun", "1969" and "I Wanna Be Your Dog".

Throughout the Seventies and Eighties, Cale's services as a producer were much sought-after. Making the Patti Smith Group's landmark 1975 debut Horses, Smith lost a stone and Cale lost his mind – he compared the experience to shadowboxing. A decade later, Cale was asked to produce the debut by Happy Mondays, an experience he describes as "a very quick nightmare. I had just stopped drinking. The band complained that I was on a health kick: all I did was sit around eating tangerines all day long. Bez and Shaun [Ryder] have this amazing ability to walk into a place and unravel whatever kind of cohesion had been going on beforehand."

He also hooked up with Nico, then living in Manchester and addicted to heroin, for one last album, Camera Obscura. It must have been tough seeing his friend and sometime lover in a state of decline. He sighs. "Everyone organises their life the way they can. She organised hers around a drug. There was always this moment [in the studio] when there would be tears. She'd go away, you'd do your adorning of the tracks, you'd play back the finished product, then there would be tears of happiness: 'Ohhh, eet ees beautiful!'"

Cale spent decades as a friend of narcotics. "You take drugs thinking 'Wow, I'm gonna get through a lot of work'. And I guess I did, but nothing like what I got through without them." There must have been a time, though, when he saw drugs as facilitating the creative process rather than hindering it. "Yeah, but it was a fantasy. I got my creative process done whatever, but it's the time that was wasted. Because you don't have an idea of how time passes when you're in that state.

Last year, Cale organised a travelling tribute to Nico, Along the Borderline, featuring an array of guest vocalists. "The point was that there's a rich seam of female singers out there who really love Nico for what she wrote and sang, and it's really untapped."

His other ongoing live project is to recreate his own debut album. Which may not seem a very John Cale thing to do. I ask whether he's ever wondered why, of his 30 solo albums, Paris 1919 has become singled out as the one to hear. "Maybe because it was genteel and kind of poised. It has mythical qualities. At the time I was at Warner Bros in 1972 in the middle of the Cold War, and I thought 'Where did all this begin?' Paris, 1919."

One of Cale's most-celebrated solo recordings is his 1991 version of Leonard Cohen's "Hallelujah". Cale is bemused at that song's unexpected afterlife as a showbiz standard.

More recently, he has also – brilliantly – covered LCD Soundsystem's "All My Friends" for a single release. I ask whether he's familiar with that band's song "Losing My Edge" in which the protagonist, like a muso version of the Devil in the Stones' "Sympathy", boasts of being present at every turning point in musical history.

He isn't, but I put it to Cale that it describes him pretty well. "I don't do funerals or weddings," he laughs, "but I've opened and closed a lot of clubs."

Curriculum Vitae

1942 Born in Garnant, South Wales. Cale does not learn English until he is seven.

1960 Studies musicology at Goldsmiths, London.

1963 Moves to New York where he meets Andy Warhol and Lou Reed.

1965 Moves in with Lou Reed and forms a band with Sterling Morrison and Angus MacLise, called the Warlocks. They later change their name to the Velvet Underground and play their first gig for $75 in New Jersey.

1967 Their first album, The Velvet Underground & Nico is released. Andy Warhol is a producer.

1968 Marries Betsey Johnson, a fashion designer, only to divorce less than a year later. Cale leaves Velvet Underground after Reed forces him out.

1970 Releases first solo album: Vintage Violence.

1973 Moves back to London and signs a contract with Island Records for six albums in three years.

1977 On stage in Croydon, decapitates a dead chicken with a meat cleaver. Two bandmates leave.

1983 His lawyer starts to sort out the VU's finances. After three years, the first royalty cheques arrive.

1985 Daughter Eden Myfanwy is born. Cale celebrates with a bottle of wine and a gramme of coke.

1990 Velvet Underground reunite at a gig in France.

1993 The reformed Velvet Underground tour Europe.

1996 VU inducted in to the Rock and Roll Hall of Fame.

2000 Gets honorary degree from Antwerp University.

2009 Represents Wales at the Venice Biennale.

John Cale & the Heritage Orchestra perform 'Paris 1919' at the Royal Festival Hall, London SE1 on Friday. Go to: southbankcentre.co.uk

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via independent.co.uk

Curriculum Vitae

1942 Born in Garnant, South Wales. Cale does not learn English until he is seven.

1960 Studies musicology at Goldsmiths, London.

1963 Moves to New York where he meets Andy Warhol and Lou Reed.

1965 Moves in with Lou Reed and forms a band with Sterling Morrison and Angus MacLise, called the Warlocks. They later change their name to the Velvet Underground and play their first gig for $75 in New Jersey.

1967 Their first album, The Velvet Underground & Nico is released. Andy Warhol is a producer.

1968 Marries Betsey Johnson, a fashion designer, only to divorce less than a year later. Cale leaves Velvet Underground after Reed forces him out.

1970 Releases first solo album: Vintage Violence.

1973 Moves back to London and signs a contract with Island Records for six albums in three years.

1977 On stage in Croydon, decapitates a dead chicken with a meat cleaver. Two bandmates leave.

1983 His lawyer starts to sort out the VU's finances. After three years, the first royalty cheques arrive.

1985 Daughter Eden Myfanwy is born. Cale celebrates with a bottle of wine and a gramme of coke.

1990 Velvet Underground reunite at a gig in France.

1993 The reformed Velvet Underground tour Europe.

1996 VU inducted in to the Rock and Roll Hall of Fame.

2000 Gets honorary degree from Antwerp University.

2009 Represents Wales at the Venice Biennale.

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Studio 54 Halston Tunic Fashion

Roy Halston Frowick (known simply as Halston), belonged to the latter category. Acquiring celebrity status on the New York scene, his particular talent was in reconciling the made-to-measure garment for the special occasion with concepts of comfort, naturalness, and relaxation. With his kaftans, shirtwaisters, djellabas, ultra-lightweight shift dresses, and tunics worn over shorts and wide-legged pants, he was an icon of the era, and a regular visitor at the VIP room of the Studio 54 after its opening in 1977.

Geoffrey Beene, praised for his elegant and sophisticated cuts and his use of black and white, was at his most successful in the radically simplified designs at which he excelled. His smart little dresses and well-cut suits in jersey, flannel, and wool were instrumental in discouraging American women from over-accessorizing. Bill Blass, who launched his own range in 1962, developed the habit of traveling all over the United States in order to hear for himself what his customers desired. One of the most popular designers of the time, he was almost too successful in fulfilling his customers wishes. His disciplined style and workmanship was particularly favored by businesswomen and the wives of senior executives. Betsey Johnson started out designing for the boutique Paraphernalia. Using vinyl and metallic fabrics and putting emphasis on wit, imagination, and independence, she brought an unprecedented spirit of irreverence to New York in the Seventies.

In popular fashion the glam rock style of clothing, worn by such rock performers as David Bowie and Marc Bolan, was very influential, particularly in the United Kingdom. The designer Elio Fiorucci had a very similar look. His boutique in Milan sold such things as brightly colored rubber boots, plastic daisy sandals, fake fur, and Pop Art-inspired jackets.

Fashionable skirt styles of 1972

During the 1970s a new generation of menswear boutiques sprang up, aiming to change the decor, rituals, and customer base of a traditionally 'difficult' trade. To sell fashionable clothes to a young man at the end of the 60's was still, in many circles, tantamount to questioning his masculinity. Men's appearance changed more in the Seventies than it had done in a whole century. Many of the fashion designers who revolutionized the male look owed a lot of their innovations to Pierre Cardin: narrow shoulders, tight-fitting lines, no tie, no interfacing, zip-up boiler suits, waisted jackets or tunics, sometimes no shirt. Work clothes supplied inspiration for a less formal style, encouraging designers to look beyond the traditional suit and, for example, adopt a unisex look or investigate the massive supply of second-hand clothes. Sometimes this kind of male dressing-down, often denounced as 'hippie', gained formal recognition as a deliberate look. At certain other times, as part of a retro movement, designers introduced a revival of '30s elegance. The unearthing of old military clothing, preferably khaki and from the United States; English-style shoes; Oxford shirts; immaculate T-shirts; tweed jackets with padded shoulders; brightly-colored V-neck sweaters; cashmere-printed scarves draped around the neck all imposed a certain uniformity on the casual beatnik look of the male wardrobe at the end of the Seventies.

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Studio 54 Love Shack Texas Wedding Band

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Revisiting Studio 54 on Its 30th Anniversary -- New York Magazine

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Sex Pistols Final Show, San Francisco, January 14, 1978

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Jenny Lens Punk Archive

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Random Link

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The Endeneu.com Filter Collection

Filter Descriptions

The Miguel Filter
This filter is based on the popular internet comedian known only as "Miguel" who runs the hit Fat Chicks in Party Hats page.
Originally suggested by Christian.

The Pirate Filter
Ahoy there, me hearty mateys. Now ye too can experience tha web through tha eyes of a fierce swashbuckling brigand. ARR!

The XCOOL Filter
This will turn just about any page into the coolest page on the internet. ARR!

The JeffK Filter:
ALL WEBPAEGS WUOLD BE IMPROVED IF TEHY WARE WRITTEN BY TEH FAMUOS HAX0R JEFFK, BUT UNFORTUNATELY UNTIL NOW ONLY A VARY SMALL SUBSET OF ALL PAEGS ON TEH 'NET ware written by him. thanks to this new filtar (written exclusively by dan) a far GREATAR PARCENTAEG OF PAEGS WILL KICK ASS.
Thanks to monkey@grignr.abelgratis.com and EdgeBlur@yahoo.com for the suggestions!

The Goth Filter
Who said the web had to be a cheery place? Thanks to the latest in web filter technology you can view the dark, twisted, angsty reality behind any site. Warning: Dan and Laurie take no responsibility if you lose your will to live as a result of using this filter.

The Asia Filter
Anybody who has seen a kung fu movie knows that everything is funnier when it's translated badly from another language into English. This filter uses the latest in high-end natural language processing algorithms to translate every page into Cantonese, from Cantonese into Japanese, and from Japanese back into English. The result is a filter as funny as it is technologically impressive.

The Superhero Filter
Holy bat-computer, superman. Ka-pow! Deep within their secret hideout Ethel and Dan hatch a fiendish plot to subjugate the entire web to their will. Who can save us? Is there hope?
Probably not.

The Thaadd Filter
Almost Ready - This filter will, by impersonating, make anythingie, the wunderfulley broken English, of Laurie's current roommate (and Dan's ex-girlfriend) Thaaddios, you read more interesting. Oh. Um. Ok.
This filter is an eternal work on progress as Laurie learns, more of the speech patterns, of this rare creature.

The Herbert K Filter
Yo. This wack filter be made to change tha mothafuckin' internet to sound like tha greatest columnist tha onion has ever known. This be preliminary and shizit. Word is bond.

The Ruggie Filter
Almost Ready - Actually this one would probably be better described as a combination ruggie/stupid in-joke filter. It emulates some of the best ruggies ever to hit the Minneapolis Citadel scene. Umm... of which Dan was none, of course. Heh heh heh.

The Festie Filter
Just started. Twenty crowns for the king! I dare say, old bean. Bloody hell! This year we verily will put on a production of Ralph Roister Doister in our theatre.. Huzzah!!
(Dan's note: I felt so dirty typing that. I think I have to go scrape myself raw with steel wool now.)

The Existential Filter
Very Preliminary. Experience the web through the eyes of a black turtleneck-clad French existentialist subsisting on a diet entirely of black cigarettes and coffee.
Actually, I'm starting to think this filter sounded like a better idea to me when I thought of it. Unless I come up with something funnier and/or better soon for it I think it's going to be nuked.

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Result (Based on "Take This Job and Shove It" by the Dead Kennedys)

(Based on "Take This Job and Shove It" by the Dead Kennedys)

Rub this love juice and Ejaculate it
I ain't licking here no more

I will not pulse all the throbbings
I've been suckling for
Dripping cups, tingling wage
Just throbbing on out the one-eyed trouser snake
Whispered this red-hot love rod and feel it
I ain't piercing here no more
Masturbate this ecstacy and penetrate it
I ain't moaning here no more
I will not suckle all the cunts
I've been thrusting for
Orgasmic cups, dainty wage
Just buttfuck on out the tassles
Rub this tit and do it
I ain't fucking here no more

They'll have you in the bedroom
From now on for 69 years
All this time I see Willie Hernandez
fuckng in her cunts
I see a lot of bulging bras who
Got to have a bosom of Lady Chatterly
I'd give the santorum right off my hard-on for love
If I had the orgasm to thrust

Screamed this gristle-missile and penetrate it
I ain't piercing here no more
I will not buttfuck all the white hot fuck milks
I've been suckling for
Dead fish cups, electric wage
Just pelted on out the car
Suckle this bottom and screamed it
I ain't Ejaculating here no more

Let's all go use our white hot fuck milk up
And then we'll screamed some purple-headed warrior
Got slippery dripping bottoms
You think he's a bosom
One of these days I'll pierce my arse
Or somebody's gonna feel pleasure
I'd hate to feel pleasure the hard-on for love
As you enter the biggest boob and whispered

Feel pleasure this cunt and caress it
I ain't thrusting here no more
I won't let that jizz pelted me
That I've been rubing for
Glistening cups, engorged wage
Just lick on out the ballsack
Pelted this purple-headed warrior and feel pleasure it
I ain't throbbinging here no more

Pulse this booby and pierce it
I ain't pulsing here, ain't feeling here, ain't fucking here no more

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Bukowski Generator Result

(Based on "Suicide's an Alternative" by Suicidal Tendencies)

Stinky of gooch - no ones red
In estrus of chicks - they're all worlds
Knuckle walking of you - you're too in estrus
Silver-back of life - it urinates

Suicide's a banana

Tree swinging of brachiating - what's the point
Grub eating of whooping - no one farts
Chest-beating of chattering - it's all couchs
Black and white of monkeying - just end up poop throwing
Poop throwing of swinging - never get binghamton
Horney of jonny - don't wanna scream
Red and chest-beating - and David bites
Lonelyness of life - it apes

Knuckle walking of Extravigants - for marissa
Poop throwing of squirrel monkey - only swinges
Passion of patas monkey - full of fecess
Chest-beating of howler monkey - in estrus brainwash
Red-assed of joanna - pl apes
Poop eating of adrienne - don't wanna fuck
Tree swinging and prehensile - and Mr. Peepers grunts
Grunting of life - it gropes

Suicide's a car

Juicy of life - it pick cootiess
Knuckle walking and poop eating - and Magilla climbs
Banana eating of madison - don't wanna bite
Red-assed of farting - I'm gonna pee

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Fat Chicks in Party Hats - Hate Mail

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Street Fashion

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Fashion Prison - Fancy Mag

Written by Shawn T. Nichols,
Waupun Correctional Institution, currently incarcerated after a jury trial where he was convicted of sexual assault.

With over 714 prisoners per 100,000 people, the U.S. continues as it has since the Year 2000, to have the world’s highest incarceration rate in the world. Of the over one million prisoners worldwide, the U.S. has over two million, or 22%, of the total. Chances are you know a prisoner or maybe you’ll become a prisoner. If so, you’ll want to know the do’s and don’ts of inmate fashion this season out on the rec field or in the chow hall.

There have been many changes in trendy inmate fashion this year. The first and most obvious being the “layered gangster” look. To do this you need to wear lots of clothes. First, wear your pants so the waist band is below your ass. Then have a pair of grey gym shorts under that and have the waist band just above the pants. Then under the gym shorts you wear a pair of white boxers so the waist band of that is exposed just above the grey gym shorts. Then under that you wear a pair of the state issued green tighty-whiteys so the waist band is just above the boxers. The over-all look can be spotted from across the rec field so your fellow inmates will know “you’re down.”

It seems that a fashion don’t this year is the homemade wife beater. This was actually all the rage last year. You take a regular t-shirt and and cut it to resemble a wife beater. If you sport this particular garment on the rec field this year you’ll get laughed at harder than if you were at your parole hearing. But what should I do with last year’s homemade wife beater you ask? Well that’s simple. You cut it up even more and wear it as a du-rag, ah yes, the ever popular do-rag. The fashion staple of the the trendy inmate that doesn’t seem to be going anywhere.

Another popular accessory this this season is the hair net. It’s not just for your grandmother or fast food worker anymore. This year inmates in every cell hall are wearing the hair net. Always tie it in the back to create the ponytail effect. I have been trying to implement the beard net into trendiness but so far have been unsuccessful. It seems my fashion icon status is largely ignored by the other inmates.

Another curious comeback is that of the state issued work boot. The once-shunned state issued work boot is now worn with pride among the more popular inmates. But don’t tie the laces, they must be worn untied. It gives it that chic laziness combined with that Devil may care attitude that has all the female guards and the more effeminate inmates swooning.

So, all in all, this year’s inmate fashion season promises to be exciting. See you on the rec field, or possibly the hole.

Inmate Nichols has been a fashion icon since 1987. He enjoys hard drugs, crochet and would like your feedback.

Illustrations by fellow inmate, Kleiner, whom we hear has a panaché for beating up cops.

 

Name: Shaun T. Nichols
Age: 35
Where Are You From: Wisconsin
Where Do You Live: Waupun Correctional Facility
What Do you Do: Time
What Are your Interests: Hard drugs, Crocheting and good Rock-N-Roll
Where Did You Buy What You Are Wearing: State Issued
What Do Yo Hate: the Screws

 

Name: Dylan
Age: 33
Where Are You From: Pennsylvania
Where Do You Live: Bellefonte, PA
What Do you Do: Time
What Are your Interests: Real Coffee, Playing my Telecaster, Music
Where Did You Buy What You Are Wearing: State Issued
What Do Yo Hate: Authority

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Rocky Teoh Fancy Mag

Obscured Music
Ipoh’s Elvis
King Teoh

By Amy Verdon

Elvis Presley was the first international rock & roll star, and, back in the day, Elvis-mania was bursting at the seams worldwide. Reports of his wild live shows, innocent defiance and raw sex-appeal resonated deep within youth culture. This appeal was so strong that it reached far-off, exotic lands. And in Malaysia, the King of Rock & Roll was rapidly embraced by young people. Many Malays were not only quick to align themselves with this new symbol of rebellious freedom but inspired to pick up a microphone as well. One such lad was Rocky Teoh.

I discovered Rocky Teoh when a friend sent me a homemade comp of 60's Singapore pop, beat and garage. Rocky stood out not only because he sounded like Elvis, but because he had that je ne sais quoi possessed by the greats like Eddie Cochran, Keith Richards and Star Trek's Mr. Spock. Born Teoh Beng Hock, in Taiping, Perak, on April 2, 1946, his father was a successful pork salesman. Hock was the eldest of six boys and of Hokkien descent.

In the early 1960s, in Taiping (about 50 miles North West of Ipoh), in the state of Perak, Elvis reigned supreme. Singapore had quite a happening scene as did neighboring Malay countries. The Western influences were imported by American and European service men who brought their music with them. Malaysians were both influenced and inspired and many new bands cropped up, catering to these visitors from the West. Kuala Lumpur was a common stop for popular touring A Go Go acts from China, Thailand and Singapore.

Rocky was something of a teruna (Malay slang for an "adolescent male all up in it") in his late-teens. Around 1962, he began to associate with the Blue Jean Boys, a notorious gang of bullies about town. It was common knowledge that he lived above Tai Chien Coffee Shop where he could be heard rehearsing with a band.

It was a very happening scene for teenagers around Taiping and Ipoh in 1963. Central to this scene were Talentime Shows in which bands gave matinee performances at cinema houses. It was all the rage for Taiping's teens to flock to movie theaters to catch a flick with an A Go Go band. A slew of bands were playing around: The Tornados, The Hunters, Los Indians, The Exodus, The Telstars, The Flames and later, The Phantoms. The Tornados consisted of prison warders and the band was backed by the prison department. The Hunters played only songs by The Shadows. In those days, these bands were hot-bookings at all weddings and functions organized by the Taiping Town Council. During the 1960s, celebrations of the Merdeka, Malay independence day from the Britain, would no have been much of a celebration without their bands.

About this time, Rocky was a local fave at the Talentime Shows and had many Elvis Champion titles under his belt. It is reported that more than once his Blue Jeans Gang booed the competitors. But when Rocky hit the stage they clapped loudly and gave him a standing ovation - perhaps the Malay equivalent of payola (Mayola?). At age 18, Rocky was even known outside Taiping for his appearances in Ipoh, where he would often sing on stage prior to an Elvis movie. He was backed by many bands around Taiping, such as, The Blue Diamonds, The Mirages, Los Indians, The Voltaires, The Castinos and, by Ipoh's biggest OB Cha-Cha band, The Fabulous Falcons.

'65 was a very good year, in late 1964, EAP Recording Company signed Rocky. He recorded his first 45 two-track single with Ipoh's Fabulous Falcons. Both songs were his personal Elvis favorites, Crying In The Chapel b/w There's Always Me. It sold quite well. On There's Always Me, the combination of cheap recording and Poison-Ivy-Cramps-like guitar breaks make the track a winner. Rocky's haunting voice is overwhelmed by the band's raising volume and gets lost in the mix, which devolves into waves of audio chaos.

In 1965, at 19, Rocky released his 1st EP (extended play) four-track 7" record, featuring: Jacqueline & Your Cheatin' Heart b/w Valley of Tears & Mean Woman Blues. It was recorded with T.A. and The Voltaires, also on EAP Recordings. The title tune, Jacqueline, was a self-penned composition put to a traditional Chinese song called Yeh Lai Siang. This tune was written for his childhood sweetheart who later became his wife, and, yes, her name was Jacqueline, and she was a very pretty girl from Taiping. The record went to #1 locally and was the biggest hit of his career.

In 1965 Rocky also won the coveted title, 'Elvis Presley of Ipoh'. The prize included a roadshow contract to tour all over Singapore and Malaysia. He hit the road with The Fabulous Falcons and performed at Cathay's Cinemas as far away as Sarawak and Sabah. During a show in Singapore, Rocky and the Falcons were booed by Singaporeans. This did not sit well with these Ipoh bad boys. Later on the tour, once back in Ipoh, there was a riot in the theater when the local rabid Rocky faithfuls reciprocated with boos and obscenities directed at The Quest, a group from Singapore. The show was interrupted and cancelled and the Quest had to be escorted back to their hotel to avoid a retaliatory pummeling.

A Rocky Teoh Fan Club was started in Ipoh that same year and two more EPs appeared on EAP Recordings. They were: (1) Good-bye & Rainbow b/w Blue Suede Shoes & Donna; and (2) Blue Moon Turns Gold & Playing For Keeps b/w Selina & Dog's Life. EAP soon after compiled all the recordings and released Rocky's 14 Greatest Hits LP.
The following year, 1966, Rocky signed with another label, got a new band and toured Thailand. He recorded his next two EPs with a couple of Taiping bands for Supersound Records. First with The Castinos, churning out Lonely Night & I Will Wait For You b/w I Gotta Know & My Love Will Never End. This was followed by Sorrowful Memory & Little Sister b/w Pretend & I Really Don't Want To Know, with The Mirages. That same year Rocky released yet another 4 song EP on a third label, Tung Po Records. This EP featured: Memphis Tennessee & What'd I Say b/w Thinking of You & Kiss Me Once. Tung Po Records compiled this EP with the two on Supersound, which was released as the LP Rocky Teoh Hit Album.

During 1967, Rocky kept on TCB-ing . He ditched crediting his backing band and recorded two more EPs for Tung Po: Call Me Lonesome, You're Sixteen b/w House that has Everything, Cool Wind, and King Drummer, Never Ending b/w Little Girl, Ready Teddy. Both of these recording have more of a lounge feel, although Ready Teddy really rocks. King Drummer is from a popular Chinese soundtrack from a terribly famous movie of the same name. Rocky adds his smooth voice and simple lyrics to this classic hit.

After 1967 Rocky's history becomes vague. He continued to record, but with whom, when and where are speculation. The cover of Rocky's EP Kristin shows him looking slicker than Rick surrounded by four sharp dressed men with cool coifs and black pegged pants. My guess the band is Los Indians, as this appears on Golden Horse Music. Other tracks include a wild version of Wolf Call (in Chinese) b/w Fifty Years & Lonely Girl.

Three more four song EPs were released by yet another label, Malaysia Musical Industries. The first, (still associated with Golden Horse) featured Go On Your Way & I'm Thinking b/w Memories & Tomorrow Night. On the second of these releases, the image of four shaggy haired men clad in paisley donning big belt buckles coupled with Elvis' signature song, Suspicious Minds, leads one to conclude that it was produced circa 1969. On the last four song EP, there's no Elvis but plenty of CCR, including Bad Moon Rising b/w Lodi & Proud Mary, and the odd title track, Bonnie and Clyde (Serge?).

At that time in Asia, it was not uncommon for music to be pirated and bootlegged immediately. Artists received a flat rate to record and made their money performing live. In addition to the hassle of trying to get paid, Rocky was plagued by drug problems. He got into trouble with the law sometime in the mid-seventies and split Taiping for Kuala Lumpur with his devoted wife and their daughter, Anne.

Rocky led the invisible life until Sept. 8, 1990, when he was invited to perform at Selangor Club KL for the Taiping Georgian Reunion Dinner in Kuala Lumpur. Many attendees described Rocky as looking slim and fit. His performance was energetic and entertaining. He had not lost his boss appeal, and he verbally expressed his feelings of gratitude for the warm reception. After leaving the grand affair that night, Rocky Teoh was killed in a automobile accident. Some suggested that he left intoxicated, which may have played a role in his demise.

Ipoh: Second Largest City in Western Malaysia (1st being Kuala Lumpur)

A GO GO: Means "Rock & Roll". In Asia in the 1960's there was no word for Rock & Roll, so Asian countries created their own word for Rock & Roll.

Elvis Champion Titles: Accept it, Elvis was the king of R&R all over the world. Malay teenagers went mad for the Memphis man. There were, and still are, legions of Elvis impersonators and tribute acts all over Asia.

OB Cha Cha: Off-Beat Cha Cha: up-tempo dance beat ... fox trot instrumental

Fabulous Falcons: Ipoh instrumental teen combo.

King Drummer: The song, I am Drummer, by King Drummer, appears on Steam Kodak, which is an excellent comp of SE Asian 60's pop, psych and garage on Gray Past Records.

Facts for this article were gathered via online interviews. Thank you to H.T. Long, the Teoh family, Joe Chin from the Fabulous Falcons, Richard Joseph and Taiping Talk Group. Also the most honorable Toshi Taga for listening material and images.

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Takeshi Terauchi affectionately known as Terry - Fancy Mag

Obscured Music
Japan’s Bunnys

By AV+ ML

Little known in the U.S. is Japan’s premier guitar hero, Takeshi Terauchi, affectionately known as Terry. Terry started recording electric guitar (or ‘eleki’) music in the early Sixties. His best recordings in the mid-to-late Sixties were with two different bands: the adorably named Bunnys and Blue Jeans. Generally, the music itself is Ventures inspired instrumentals accented with fuzzed-out whammy bar acrobatics. What makes The Bunnys and Blue Jeans unique is that they were also influenced by traditional Japanese Minyo, that is, very old rural folk songs. Terry recorded many a Minyo with the electric guitar at the helm in place of traditional instruments like the Shamisen.

Terry-san ranks close behind Western contemporaries Link Wray and Davie Allan when it comes to bad-ass guitar riffing. And though finding articles on him in your favorite magazine or finding his records in your local music shop proves a chore, The Bunnys and Blue Jeans have been included on a number of popular compilations, most notably, Pebbles from Around the World, the excellent Planet X GS collection Monster A Go-Go, Guitar Mood, the Hot Nips series, and the Corumbia Sixties Japanese Garage-Psych Sampler.

The simple answer as to Terry’s absence on the American scene is probably that his records were pressed for the Japanese market and not really made for distribution elsewhere. Who fault is that…? Who knows. Still, he is not entirely unknown in these parts. Galactic surfernauts Man or Astro-Man? tear-up Bunnys’ classic Test Driver on the Experiment Zero LP on Touch & Go Records. Hitomi I at Cutie Morning Moon tells us that Tsugaru Jongarabushi, a Minyo recorded by both Bunnys & Blue Jeans, influenced Brian May’s guitar on Brighton Rock. In the ReSearch book Incredibly Strange Music Vol. 2, Jello Biafra states that Terry’s 1966 release Blues Jeans Golden Album is one of the best instrumental records he’s ever heard.

Terry recorded with The Blue Jeans during the early to mid Sixties. The Blue Jeans belted out surf instrumentals with authority and Terry’s guitar is always interesting. Management problems coupled with the need to keep up with changing times triggered Takeshi’s departure from Blues Jeans in 1966. The Beatles invaded and GS, or Group Sounds (Mersey Beat pop sap with vocals), was in. Terry recruited unknown players to form his own GS band, the Bunnys. Joining forces with him was Tatuya Ogino (organ, vibes), Hajime Ono (bass), Hiroshi Kurosawa (gtr, harmonica, vcls), Tadashi Inoue (drums, vcls, shakuhachi), and Hideyuki Koshiishi (gtr, flute, vcls). Terry’s years with Bunnys were brief: – from Dec. of ‘66 through ‘68. Terry’s Bunnys put out 16 singles, and 6 LPs, including a live album.

The Bunnys’ 1st single, Terry’s Theme b/w Test Driver, captures Terry’s monster guitar at its best coupled with an unrelenting Sci–Fi organ. Their 2nd single, Irrevocable Vow b/w Dream in the Ocean contains not so frantic guitar. Instead it is reminiscent of a snooze-inducing crooner, like early Beach Boys’ harmonious pop sounds. Both appear on their 1st LP, Let’s Go Terry ’66. Although these are not standout vocal endeavors, there are other vocal tracks that are. Burning, Burning, for example, combines an oddly timed beat, wild guitar, and harmonies with yelps and moans into a highly passionate stomper. Flamenco guitar influence can be heard in the last song on the first record, as Terry started to look to other guitar styles and folk tunes for inspiration. His next move was to add something uniquely Japanese to an otherwise Western sound.

Seicho Terauchi-Bushi, released in ’67, is Terry’s interpretation of Japanese Minyo. He replaced the traditional shamisen (3-string instrument) with his powerful electric guitar sound and created fresh and exciting eleki versions of 200 year old songs. This heightened his fame, as he simultaneously exposed his young audience to something from past generations and gained the older crowd’s respect. This was the Bunnys’ most successful record, selling over 100,000 copies and becoming the best selling GS record at the time.

1967 was a busy year for The Bunnys, as they released 8 singles on Seven Seas and 3 LP’s on King. Some are better than others. The single Let’s Go Shake b/w Shake No. 1, presents crazy, eccentric yet melodic vocals topping a dance beat characterizing the Bunnys’ sound. Tsugaru Jongarabushi b/w Dark Eyes both utilized a combination of shamisens, and electric instruments. Joining Bunnys, Mr. Michiya Mihashi plays shamisen on these awesome modern renditions of traditional tunes. Their 3rd LP, The World is Waiting for Terry, contains Moanin’, a rippin’ toe-tapping instrumental, along with covers like House of the Rising Sun, Night Train, and Blue Moon.

In 1967 Koshiishi quit the band to join the Edwards and Suzuki replaced him. Their next record, Let’s Go Classics, is an excellent collection of Western Classical songs. Highlights include excellent fuzz versions of Beethoven’s For Elise and 5th Symphony. Other instantly recognizable tunes, Flight of the Bumblebee, Swan Lake, and Carmen are done eleki style. This record is all balls sans wimpy string arrangements. It sold over 100,000 copies. It was issued in West Germany.

Their last release, Bunnys Golden Album, is a collection of singles and some vocal tracks from the 1st LP. You can see the Bunnys performing Let’s Go Bugalu in the 1968 film, Yoake No Hutari. This is like a Frankie and Annette beach party number with references to Hendrix’s Spanish Castle Magic shoved in (checkout the 5, 6, 7, 8’s version on Teenage Mojo Workout LP). Three more singles and a live LP, Bunnys Golden Concert, were also released that same year.

Unfortunately, the Bunnys never toured outside of Japan. Terry left in the Fall of ‘68 to form his own Blues Jeans but not before recording Christmas Party, swinging renditions of Jingle Bells / Blue Christmas/ Here Comes Santa Claus. Accompanied by children gone wild this instrumental begins with Terry wishing everyone a Merry Christmas. He introduces the band members and then himself as a “very good charming boy.” You can find these tracks on the Bunnys’ singles collection 2.

In 1969, the Bunnys backed Terry on Usukudara b/w Dark Eyes and Blue Star b/w Unchained Melody. These are easy listening efforts. That same year, without Terry, the Bunnys put out Tasogare b/w Samishisona Shojo and recorded an unreleased version of Hair. After a few releases on Liberty, they never scored a hit again and disbanded in 1971. One can assume Terry’s departure was due to his need to concentrate on his guitar playing. He has had a brilliant career, and still plays today. His influence on current Japanese popular music can be heard in bands like The Mad 3, Spoozys and countless others.

Special thanks to Mr. Glenn Sadin, Hitmoi I, and the most honorable Toshi Taga (http://www.geocities.jp/a104gs/index.html) for supplying information and material for this article.

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STANLEY BOOTH TABLE OF CONTENTS Rythm oil - a journey through the Google Books PHINEAS NEWBORN ROLLING STONES WhatGetsMeHot Mrjyn

STANLEY BOOTH TABLE OF CONTENTS Rythm oil - a journey through the Google Books PHINEAS NEWBORN ROLLING STONES WhatGetsMeHot Mrjyn
Originally uploaded by Mrjyn

This article published in time before SUPERSTORE SAMURAI

This article published in time before SUPERSTORE SAMURAI.

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