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July 15, 2007

Panther Burns: Forever Lasting: William Eggleston: The Real World





Two girls are driving their 1964 Thunderbolt out of Memphis down Highway 61 where their car breaks down. Looking for help they find an enchanted garage inhabited by Tav Falco and his motorcycle riding comrades.

le label New Rose

In 1979 Falco founded his band the PANTHER BURNS :
From this cacophonous beginning Falco began to emerge as an underground cult artist with the formation of his band 'PANTHER BURNS', named after a legendary plantation in the Mississippi delta. Alex Chilton (guitar) was a founding band member along with Jim Dickinson (guitar), Eric Hill (keyboard), & Ross Johnson (drums). The band has had a number of revolving members that now include Michael Lo (bass), Peter Dark (guitar), & Tall Cash (drums).
He also used to write songs under the name of Eugene Baffle.

During his early collaboration with Alex Chilton, Tav Falco obtained an unapproachable cult-like status, a position he since has been able to maintain with a repertoire and music that is a surprising mix of conversion of obscure rigmarole, tangos, sambas, mambos, ballads, and obscure pop standards. The PANTHER BURNS first record came out in 1980 on the band's own label FRENZI in the USA. Since then their records have been released by Rough Trade in London, New Rose in Paris, Marilyn and Munster in Spain, In The Red in Los Angeles, & Au Gogol in Melbourne, Australia.

Even if his own style was different, Tav Falco spent some time in 1980/1981 in New York, part of the No Wave movement, playing and making friends with such bands as DNA, Walter Stedding, James White, united around the concept of musical freedom and experimentation.

Because of its raw, unbridled, lurking sound the band has been called a ‘ballroom gothic junta billy garage band’. Still, Falco has received critical success in publications such as 'New York Times', 'Village Voice', 'Chicago Sun-Times', 'New Orleans Times-Picayune', 'Andy Warhol's Interview', etc. Even though Falco cultivates the image of a suave singer, his new records show his rough style lurking underneath polished productions. Singer and guitarist Tav Falco has always been very interested in making movies (see videos section). He has also appeared as an actor in movie bio of Jerry Lee Lewis, "Great Balls of Fire", as a motorcycle gang leader in the road movie, "Highway 61", and as a criminal mastermind in the forthcoming, "Wayne County Rambling".

His last music film/video clip "Love's Last Warning" was made with the American underground film pioneer, Kenneth Anger.
His last studio recordings Panther Phobia were realized in the late-2000, some 20 years after his first recordings.

2001 saw him played several concerts in Europe and USA, often 2 hours long, unanimously acclaimed to be great & brilliant, enthusiastic & full of energy.

2002 saw a wide autumn tour and also a winter tour (Austria, Germany, Russia, Finland, Sweden, Denmark, Belgium, France, Italy, Slovenia, Yugoslavia, Switzerland)

An album has been recorded, to be released soon !!

& 2003 begins with some dates in Spain (winter tour).




"Back in the mid-Nineties, when Primal Scream were recording their album Give Out But Don't Give Up in Memphis, they paid a call on Eggleston to ask if they could use Troubled Waters, his strange image of a neon Confederate flag and a palm tree, on the cover. 'I remember he was wearing jodhpurs and leather boots, some kind of military outfit, and walking about with a rifle and a bayonet,' recalls lead singer Bobby Gillespie. 'When he heard we were Scottish, he sat down at the piano and started reciting great chunks of Rabbie Burns. It was surreal.' Gillespie's friend, the filmmaker Douglas Hart, takes up the story. 'William and his wife were knocking back these massive drinks. He asked us to let him hear a song, and then he would decide if we could have the picture. We played him 'Moving On Up', and he fell on his knees and started shouting, 'Bo Diddley! Bo Diddley! Y'all love Bo Diddley!' He rummaged through his records and pulled out 'I'm the Meat Man', by Jerry Lee [Lewis] and played it so loud the speakers blew. Then his wife shouted, 'Y'all want ribs?' She insisted we all go to a local rib joint. It was wild.' Gillespie nods in agreement. 'He let us have the picture though. He was a true gent.'"
Poke around and you get these Eggleston anecdotes: the time he pulled a butter knife on a professor at the Harvard faculty club while he was teaching there, the long affair he had in the 70s with Viva from Andy Warhol’s Factory, his cameo in the movie “Great Ball of Fire” as Jerry Lee Lewis’ father, his interest in antigue guns, especially shooting them indoors in the dark, the Gatling gun he has pointed at his front door in his Memphis mansion (which can shoot 1,100 rounds a minute), the time he was stranded in a small town Mississippi motel by an enraged girlfriend with just the clothes on his back and his box of colored pencils.
William Eggleston: 5X7



1939 Born July 27, 1939 in Memphis, Tennessee.

1957 Acquires his first camera, a Canon rangefinder.

1958 Acquires his first Leica.

1959 Sees Henri Cartier-Bresson's "The Decisive Moment" and Walker Evans' "American Photographs".

1965 Begins to experiment with color transparency film.

1967 Starts to use color negative film. Goes to New York and meets Garry Winogrand, Lee Friedlander and Diane Arbus. Presents his work to John Szarkowski at the Museum of Modern Art, New York.

1974 Harry Lunn publishes the first portfolio of dye-transfer photographs, "14 Pictures." Receives a Guggenheim Fellowship. Appointed Lecturer in Visual and Environmental Studies at The Carpenter Center, Harvard University. Completes his "Los Alamos" project.

1975 Receives a National Endowment for the Arts Photographer's Fellowship.

1976 The Museum of Modern Art exhibits work in first solo exhibition of color photographs accompanied by a monograph, "William Eggleston's Guide." Commissioned by Rolling Stone to photograph Plains, Georgia before the election of President Jimmy Carter. Project becomes "Election Eve," the first of the artist's books of original photographs published by Caldecot Chubb.

1978 Appointed Researcher in Color Video at Massachusetts Institute of Technology at the invitation of Richard Leacock. Photographs the Gulf states on a commission from A.T. & T. Receives another award from the National Endowment for the Arts. Visits Jamaica.

1979 Chubb published three smaller volumes of original photographs, "Morals of Vision," "Wedgwood Blue," and "Flowers."

1980 Travels to Kenya with Caldecot Chubb and creates a body of work known as "The Streets Are Clean on Jupiter." Commissioned to produce the "Louisiana Project" and to photograph throughout the state.

1982 Invited to photograph the set of John Huston's film "Annie".

1983 Begins to photograph in Berlin, Salzburg and Graz and titles the series "Kiss me Kracow". Commissioned to photograph the mansion of Elvis Presley, Graceland.

1986 Invited by director David Byrne to visit and photograph the making of his film "True Stories". Commissioned by the Memphis Brooks Museum of Art to photograph in Egypt.

1988 Begins a series of color photographs of England he calls "English Rose".

1989 Photographs in the orange groves of the Transvaal. Accepts one of 54 Master Photographers of 1960-1979 awards from Photographic Society of Japan. Plays the role of musician Jerry Lee Lewis' father in the movie "Great Balls of Fire".

1992 Travels to China, mainly photographing in Beijing.

1993 Commissioned by Delta Pine and Land to photograph Scott, Mississippi.

1996 Commissioned by Coca-Cola to photograph their plants in four cities in the U.S. Invited by producer Caldecot Chubb to visit and photograph the making of the film "Eve's Bayou". Receives the University of Memphis Distinguished Achievement Award.

1999 Invited by director Gus Van Sant to visit and photograph the making of the film "Easter". Invited by the J. Paul Getty Museum to photograph the museum and its grounds. Also photographs religious locations in Orange County, California.

2000 Commissioned by Paramount Pictures to photograph studio lot in Hollywood, California. Commissioned by the Cartier Foundation to photograph the American desert.

2001 Travels to Japan and photographs Kyoto.

2002 Travels extensively and photographs locations including Pasadena, California; the New Jersey Shore; Queens, New York; St. Petersburg, Russia; and Tuscany, Italy.

2003 Travels to and photographs the Niagara Falls area. Travels to Arles, France to attend Rencontres d'Arles and meets Henri Cartier-Bresson. Accepts Gold Medal for Photography from National Arts Club, New York.

2004 Receives the Getty Images Lifetime Achievement Award at the International Center of Photography (ICP) Infinity Awards. Travels to Hawaii and photographs with new panoramic format camera. Travels to Madrid to accept 2004 Photoespana Award. Travels to Clovis, New Mexico and photographs the city and Norman Petty Recording Studios.

2005 William Eggleston In The Real World, a documentary film on Eggleston by Michael Almereyda is completed.

Gore Gore Girls - Up All Night (live)


Added by fringecakeboy

Brenda Lee - Medley


"Sweet Nothins" / "I'm Sorry" / "Too Many Rivers" / "As Usual" / "Jambalaya"

Added by TStilge

Dick Dale & The Del Tones - Misirlou


Added by aathanasiadi

A Single Thread - Theme from Shaft


"My cover version of the Theme from Shaft, the 1971 groundbreaking action movie. It stars my 8 year old German Shepherd "Jasmine". I played the funky rhythm guitar part on a bowed instrument called an "igil" (pronounced eh-GIL). It is a traditional bowed instrument from the country of Tuva, and is traditionally used to accompany Tuvan Throat Singing. I play it a little differently though :)

I tried to stick close to the original song, and I recorded all the backing tracks on keyboards with the help of Jasmine. Once I got this percussive bowing technique down, I was going to record a kind of funky electronic original. Every time I tried to describe the sound I was getting to someone, I'd eventually say: it's kind of like the wacka-wacka guitar sound, like from the song "Shaft". So I thought what the heck, I dig that song, so I decided to do my own cover of it... a tribute to the great Isaac Hayes and a tune that broke a lot of ground, making Isaac Hayes the first African-American composer to win an Academy Award.

A couple years ago I was trying to learn a kind of rhythmic bowing style from a video of Tuvan master igil player and singer Kaigal-ool Khovalyg of the band Huun Huur Tu. Using this igil (made by Aldar Tamdyn of the group Chirgilchin) along with a handmade wooden bow he made, I tried learning Kaigal-ool's bowing style, but being new to it, the bow bounced around a lot all over the place, which is not what it supposed to do.

I kind of liked the percussive nature this produced, but it wasn't very rhythmic and hard to control, so I set out on trying to get a handle on it and see if I could control it and use it for something down the road. After some months of messing around with it, I got so I could keep a pretty good syncopated beat, though it works best using the crude handmade bow, because it is much heavier than the Erhu bows that most igils are played with, and it also has some flex to it. The bowhair on this bow is made of fine nylon strands (as are the strings on the igil) so they flex more than horsehair which my other bows are made of. Plus I'm bouncing more towards the middle of the neck, so I get more bounce than closer to the bridge, where you'd usually bow.

So basically what's happening is that every time I make a full downstroke and upstroke, the bow is flexing bouncing off the strings 4 times. So in this song it's bouncing and scratching on the strings 480 times per minute, or 4 times per beat, or every time you hear the cymbal hi-hat."

Added (and performed) by oddmusic

Big Walter Horton - Shakey's Blues


In 1965

Added by visualguidance

Robert Pete Williams - Scrap Iron Blues


"Robert Pete Williams, bluesman from Baton Rouge, Louisiana, captured here in the process of improvising a new composition, Scrap Iron Blues, in 1971. Not only does he describe his current job, but he also explains the circumstances that led to his arrest for murder and incarceration in the notorious Angola Penitentiary."

Added by lupine22

Andre Williams & The Hot-Club - Jailbait


live on stage at the Gloria, Cologne, 2006

Added by RayCollinsHotClub

Wizzard - Rock & Roll Winter


Top of the Pops 1977

Added by thecatkeaton

Teddy Parker - Copacabana


Scopitone

Added by jeankebos

Freddy Cannon & The Rockin Ramrods -Tallahassee Lassie / Buzz-Buzz


Added by thomassixies

Ray Charles - Hallelujah I Love Her So


Brazil, September 1963

Added by mambobici

Slayer - Bloodline


Added by JeffKerryS

Buck Owens & Susan Raye - Love Is Strange

T. S. Monk - Bon Bon Vie (the Good Life)


Added by fff3k

Fairport Convention - Now Be Thankful

In 1970.

The O'Kaysions - (I'm a) Girl Watcher


Added by Gatorrock786

July 14, 2007

David Hasselhoff - Pingu Dance Rap


"In 1989, David Hasselhoff released (in Switzerland only) the single "Pingu Dance", a rap song based on the Pingu shorts and featuring a number of samples of Pinguish. ..."

Added by awwwkward

(Via Finding the Filth)

Lalo Schifrin - Magnum Force


Magnum Force, 1973, opening credits

Score by Lalo Schifrin

Added by visualguidance

Lalo Schifrin - Dirty Harry


Dirty Harry, 1971, Opening credits.

Score by Lalo Schifrin

Added by visualguidance

Lalo Schifrin - Bullitt


Bullitt, 1968, opening credits.

Score by Lalo Schifrin

Added by visualguidance

Thelonious Monk - Off Minor


In 1963, Germany

Added by visualguidance

QUACKed ACTORs


"I was country music's national drunk and drug addict."
george jones


George Jones


1979
Exit/In



NASHVEGAS








QUACK ADDICT

"In 1979, ravaged by cocaine and alcohol, George Jones experienced some difficulty onstage at a Nashville club. The wobbly country star could open his mouth, but he was unable to sing. 'My friend Deedoodle [a duck] is going to take over this show, because Deedoodle can do what George Jones can't,' the singer improvised. Jones sang the entire set in a Donald Duck-inspired quack."
[Deedoodle was later joined in Jones's troubled head by another 'character': a drawling old-timer.]
the duck destROYs IT ridiculous and sings so

For much of 1979, Jones wallowed in severe whiskey and cocaine addiction. Eventually, his whole personality cracked


(perhaps "quacked" is a better word)

into two distinct beings: One was George Jones, washed-up country singer, while the other was Donald, or sometimes Deedoodle Duck, who spoke in quack-talk. Jonesduck voice. The duck's debut came at Nashville showcase venue the Exit-In before an audience of industry insiders, at what was supposed to have been a comeback show.

George 'Ragged But Right' Jones' came onstage and announced that George Jones was washed up, a has-been, but that on that night a new star was born who was going all the way to the top. As George stood onstage, face drawn, with his pants falling down-- the duck destROYs IT ridiculous and sings so like a, you could see tears in most of the audience's eyes.
AFTERQUACK
Donald continued the quacky-tonkin'
until he was carted offstage in a straitjacket.




George Jones
Deedoodle





THAT'S RICH


Charlie Rich


Country Music Awards


Nashville
to announce his successor as CMA Entertainer of the Year, Rich opened the envelope, announced that his "good friend John Denver" had won, and then set fire to the envelope and results card. Earlier in the evening, Rich had been spotted backstage swilling gin and tonics and autographing a woman's bare breast.

AFTERBURN
Rich's spin doctors went into overdrive: His gaffe, they said, came as a result of a negative reaction to a pain medication he was taking to overcome an agonizing spider bite he'd incurred while mowing his lawn. (Yeah, that's the ticket.) Rich was pretty much finished by this incident, and the CMA continues to hold a grudge long after his death -- despite being both a critical fave and the biggest artist in country music for a few years in the early '70s, he is still not a member of the Country Music Hall of Fame.




Hawkwind, BBC 4 Documentary

Part 1 - Part 2 - Part 3 - Part 4 - Part 5 - Part 6 - Part 7 (still to be uploaded) - Part 8 - Part 9

(Via Frenzy of the Visible)

Run DMC - King Of Rock

Nina Hagen - Du Hast Den Farbfilm Vergessen


Added by mariae71

Herb Alpert - This guy's in love with you


In 1968

Added by visualguidance

Grace Chang - I Love Cha Cha


1961

Added by MrHuangHK

(Via Baikinange over at PCL LinkDump)

July 13, 2007

Knifenstein Pemphigus Chris Stein







Chris Stein (born 5 January 1950, Brooklyn, New York) In 1983, Stein was diagnosed with a rare and usually fatal genetic disease called Pemphigus. After a long battle with the disease, he fully recovered. As of 2005, he is still touring and recording music with BlondiE


Blondie: ET Reunion











Debbie Harry & Andy Warhol

FRENCH KISSIN' IN THE U.S.A. - 1986






Pemphigus is an autoimmune disorder that causes blistering and raw sores on skin and mucous membranes. As with other autoimmune disorders, it is caused when the body's defenses mistake its own tissues as foreign, and attack the cells. This particular autoimmune reaction is sometimes associated with the use of Penicillamine. Pemphigus is derived from the Greek pemphix, meaning bubble or blister.






Debbie Harry & Andy Warhol 1986Debbie Harry & Andy Warhol 1986

"My boss and house stage manager Chad Houseknecht pulled me aside and told me to go score some cocaine for Debbie's guitarist/lover Chris Stein. He told me, "It's kind of complicated, because Chris is really weird, he said he can't buy drugs from strangers, so he gave me this knife as a present, so that meant we were friends, and so now I can sell him drugs..."


For those craving the true roots of rap, Wild Style (1982) captured the hard core South Bronx scene at its birth. The stars of Wild Style form the pantheon of hip hop's pioneers: DJ's Grand Master Flash, Grand Wizard Theodore, D.St.; rappers Grand Master Caz and The Cold Crush Bros, The Chief Rocker Busy Bee, Double Trouble, Fantastic Freaks and RAMMELLZEE and bboy champions The Rock Steady Crew. Beat Music by legendary Blondie guitarist Chris Stein and Fred Brathwaite.


There had recently been a Rolling Stone article on him, and he showed me a knife that had been mentioned in the article. This knife folded up into a rectangular case about the size of a credit card. It had been given to him, I believe, by John Steinbeck, Jr. He mused that if you didn’t like your bill at the restaurant, you could casually pull this thing out of your credit card pouch and- poof- you’d have a dead waiter before he could even protest. He also showed me a magazine article on the proposed Biosphere Project in Arizona. This project was to build an enclosed atmosphere, intended to study the possibilities of maintaining life on another planet. He was interested in this project, and planned to visit it.



Blondie est un groupe de musique américain, fondé en 1974 à New York par Deborah Harry (ex-Wind in the Willows) et Chris Stein (ex-The Stilettos), qui a connu son heure de gloire à la fin des années 1970 et au début des années 1980.
Deborah Harry - chant
Chris Stein - guitare
Clem Burke - batterie
Jimmy Destri - claviers
Gary Valentine - guitare basse


1977 : Frank Infante remplace Gary Valentine, il passe ensuite à la guitare après l'arrivée en 1978 de Nigel Harrison à la basse.

1998 : Reformation du groupe avec Deborah Harry, Chris Stein, Clem Burke, Jimmy Destri

2000 : Paul Carbonara (guitare) et Leigh Foxx (guitare basse) rejoignent le groupe.





Andy decided what kind he wanted to paint in a manner typical for him. He asked Jay to buy some kitchen knives and bring them to the studio. He was living in Andys building at 342 Bowery, near many restaurant supply businesses. Jay brought Andy an assortment of knives and of course, the receipt for them. Andy then took Polaroids of the knives in various combination's and formations. He was also looking around for different types of knives and daggers. We knew our friend Chris Stein (co-founder of the band Blondie) collected knives. It was some of his more exotic and sinister knives that Andy took Polaroids of in many different configurations. After the photography, the editing started. People would assume Andys choice for the paintings would be Chris's group of unusual daggers and handmade knives. Instead he chooses the common object, considered by most of us as nothing special, and elevating it to art. Kitchen knives never looked more interesting or beautiful.



Ramones  Chris Stein

Ramones and Chris Stein of Blondie 1987
Ramones play 'Bonzo Goes to Bitburg'



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July 12, 2007

Pizzicato Five - Baby Love Child


Added by HanRiordan

Fats Domino - The Big Beat


from the 1958 movie of the same name

Added by rockolaray

Johnny Cash & Hank Williams jr - Kaw Liga


Added by jacco9

Tuxedomoon - Desire


Added by Negatron

pedophilé gumbo meaux

Huey P. Meaux :
"I'm going to record 'Old Shep' in rock and roll - only Old Shep is gonna die in my song. I think I'll send him up to Elvis's place and let it bite the hell out of him."-- Jerry Lee Lewis



Huey Meaux's non-stop chatter in the regional patois made him local celebrity.
The 'Crazy Cajun' put Swamp Pop' on the map.



1959: Rod Bernard This Should Go On Forever




Barbara Lynn Ozen born in Beaumont in 1942



The daughter of Creole parents from the other Golden Triangle (LA)

'Black Elvis' Barbara

You'll Lose A Good Thing- June, '62:
spent three weeks at #1 R&B toppling
Ray Charles'
I Can't Stop Loving Yo
u
At 20 years old, Barbara was one of the first female guitar playing singer-songwriters (black or white) to make the charts.











As a promoter, his most brilliant stroke was the Sir Douglas Quintet:
Sir Douglas Quintet She's About A Mover #13 pop 1965


"She's About a Mover" was a hit, but by 1966 Meaux was struggling to get his other artists on the air.

"Huey called and asked if I knew any party girls,"
recalls a friend, eager to please the local music legend. The kid convinced a 16-year-old hanger-on at the radio station to accompany Meaux to a Nashville convention for $300. Unfortunately for Meaux, not long after the convention ended, his contact was busted on narcotics charges. The young man cut a deal with the authorities to have the drug charges dropped in return for telling them what he knew about Meaux and the underage girl. Meaux was convicted of conspiring to violate the White Slave Traffic Act.

Sentenced to three years in federal prison, Meaux was incarcerated for eight months at a federal facility in Seagoville, Texas and received a full pardon from President Carter.

After his release from prison in 1969, Meaux seemed to be a changed man. According to associates at the time, it wasn't a change for the better.

"Huey came out of prison with a lot of new friends," recalls promoter Steve Gladson. "It was very intimidating for a lot of us. We had never met convicted murderers."


KILLER
ROOTS

Jerry pictured with Tony Joe White, Mack Vickery and producer Huey Meaux
Southern Roots Session TMI Studio, Memphis
29 September 1973
- it was Jerry's birthday - he was 38!

Down in Memphis, the Killer was in rare form. Yep, Jerry Lee Lewis was making a record - 18 cuts, to be precise, at TMI Studios. "It's just like a circus," said Jerry Williams, president of TMI, casting an eye over the 30-odd souls gathered in the control room. Now, this was no ordinary session - if any Jerry Lee session can be called ordinary, and that's open to doubt. The Killer was going back to his roots, and he was, taking Carl Perkins, the MG's (Steve Cropper, Duck Dunn, and Al Jackson, Jr.), Tony Joe White, Mark Lindsay (of Paul Revere's Raiders), the Memphis Horns, and his own Memphis Beats along with him.

The album? Southern Roots.

"We fought," Huey P. Meaux told Colin Escott, "but we delivered."

Meaux was one of those colorful characters who gave southern writers prime source material and who made outsiders wonder if they were being put on. A Cajun named after Louisiana dictator Huey ("Kingfish") Long, Meaux had worked in all aspects of the record business, and in September 1973 he was glad to be in his own loud clothes instead of what he had been wearing most recently: prison garb. Upon his release he had re-established contact with Mercury. Now, after agreeing with Mercury's vice president of artists and repertoire Charlie Fach that a pure Jerry Lee album was the cure to everyone's ills, he was signed to produce such an LP.

The resulting set, Southern Roots, was recorded virtually nonstop over three days and nights in Memphis. Meaux enjoyed extraordinary connections, so he was able to assemble a group that was undoubtedly Jerry Lee's most sympathetic accompaniment since his 1964 tour. He recruited guitarist Steve Cropper, bassist Donald ("Duck") Dunn, and drummer Al Jackson, the essential Stax rhythm section, as the core band. Then he added other top-of-the line musicians like organist Augie Meyers of the Sir Douglas Quintet, the original Memphis Horns, members of the Memphis Beats, and Carl Perkins. Mack Vickery contributed harmonica, vocals, and enough craziness to be allowed in the same room with Meaux and Jerry Lee.

Recording conditions were chaotic, to put it mildly. Musicians, family members, delivery men, ex-girlfriends, and people just off the street wandered around, pushed engineers out of the way, and slept on the floor. Unlike the London session earlier in the year, where producer Steve Rowland tried to tone down his charges' behavior and instead made everyone more nervous, Meaux encouraged all in his kingdom to whoop it up. The unwieldy Southern Roots sessions were not designed with controlled behavior in mind, but they did yield what was unquestionably the most spirited and sustained studio album of Jerry Lee's long and spirited career. The album was subtitled Back Home to Memphis and featured Jerry Lee's only post-Sun studio performances that consistently captured what made him special, different, and impossible to pigeonhole.

A filthy Mack Vickery tune written with Jerry Lee in mind, "Meat Man," kicked off the album and pinned itself in fifth gear. "Meat Man" was two minutes and forty seconds of vivid sexual boasts, delivered furiously and convincingly:

"They call me the meat man/You oughta see me eat ma'am." He did not sing as if there were any possibility that the woman might decline his offer. Jerry Lee made listeners believe he had a "Maytag tongue with a sensitive taster."
He whooped it up in an avalanche of a solo and his least practiced shouting in years. His mind wasn't in a studio; as far as he was concerned he was in the darkest, toughest roadhouse in Mississippi. "Meat Man" was the most frankly sexual song of Jerry Lee's career, no small achievement. It was the first time in the studio since his glory days at Sun that he sounded truly free. Even when the song ended, he refused to stop, shouting, "Meat man, you mother!" until Meaux shut off the tape.

The second side of Southern Roots erupted to life with "Haunted House," originally a novelty hit for Memphis singer Gene Simmons. Those listening closely could hear liquor and pills rattling through the vocal.

In Vickery, a fan as well as a professional, Jerry Lee had found someone who could articulate his troubles better than he himself ever could.

Instead of reviving Jerry Lee's career, Southern Roots condemned it. The album never hit the Billboard chart because its ridiculous cover, a drawing of the Killer that looked positively antebellum, gave the LP all the appearances of yet another reissue of old cuts. All but the most loyal fans did not know that there were any new hits because nothing from Southern Roots got on the radio. In a pea-brained marketing move, Mercury opted for "Meat Man" as the first single. Granted, it was a stupendous song, but part of what made it fantastic was that it was a defiant, upraised middle finger at countrypolitan record formats. Jerry Lee made a sublime album, but nobody got to hear it. He resigned himself to the inevitable.

He ribbed producer Huey Meaux throughout the 50 hours of sessions, calling him "Papa Thibodeaux." One night he declared,

"I'm going to record 'Old Shep' in rock and roll - only Old Shep is gonna die in my song. I think I'll send him up to Elvis's place and let it bite the hell out of him."

The sessions were the setting for one auspicious occasion: Jerry was surprised by a birthday cake and champagne.

While Meaux was working to re-establish himself, Tex-Mex singer Freddy Fender was attempting to revive his own career. Like Meaux, Fender was an ex-con, having served time at Angola State Prison in Louisiana for a pot bust in the early '60s. Fender and Meaux had known each other for years but had never collaborated. At a dead end in his career, Fender turned to Meaux. He would later say that he had felt that he could trust Huey, since they had both been to prison.

By the end of the ride, in 1980, Fender was strung out on dope and booze and bankrupt with $10 million in debts. He was also accusing Meaux of taking advantage of him through unscrupulous contracts. Huey, who had previously specialized in one-hit wonders, was ready to sever the relationship too, blaming Freddy for squandering his earnings.


watch the 45


1981
Meaux survived a bout with throat cancer. Save for one last novelty hit--Rockin' Sidney Simien's 1985 (Don't Mess With) My Toot-Toot.

Meaux starting buying the rights to songs that were already hits. He claimed, for instance, to have bought the rights to Desi Arnaz's "Babalu" and boasted that the song netted him $12,000 a year; he also reportedly owns a good portion of soul singer Isaac Hayes' 1970s output.

In the studio, Meaux would at times become agitated and incoherent. His mouth was often dry and he was constantly smacking his lips -- telltale signs of cocaine use.
Detectives received a call claiming that Meaux was producing child pornography, they were more than a little intrigued -- especially since the tipster was Ben Meaux (huey's dad). After ten years of spiraling cocaine use and its attendant difficulties, the Houston Police (acting on tips from Meaux's own family) arrested him and brought him to his office at Sugar Hill to execute a search warrant in early 1996. Breaking down a locked door of his playroom was a physician's examining table, complete with gynecological stirrups, and just under 15 grams of cocaine in one of the drawers. There was also a king-sized bed and a dozen or so sex toys nearby. And strewn about the room and stuffed inside a large chest were hundreds of photographs and dozens of videos that police say Meaux had produced himself at Sugar Hill over the past 20 years. According to investigators, some of the photos were of nude girls as young as seven. Some of the videos (n/a) showed Meaux having sex with girls ranging in age from 12 to 16--among them, the two daughters of Meaux's former live-in girlfriend.

The 66-year-old Meaux was charged with possession of a controlled substance, possession of child pornography and two counts of aggravated sexual assault of a child. A few days later, he was slapped with a civil lawsuit by his two former common-law stepdaughters, who accused him of having sexually abused them for years. A frail, wasted-looking Meaux showed up for his court arraignment on January 31, but a few days later, he failed to keep an appointment to be fitted with an electronic monitoring device that a judge had ordered him to wear while out of jail on his $130,000 bond.

Huey Meaux was on the run, and he remains at large as of this writing.
After his release in 2002, he was shipped back to jail for violating his parole in February of 2003--TRY KAPLAN!





July 11, 2007

Doris D & The Pins - Shine Up


Added by Kinburst

Dizzy Gillespie - Girl Of My Dreams

"Let's stick around Montreux a little bit longer for yet another concert given there on July 14, 1977, a 30-year jubilee of sorts, team up Dizzy Gillespie with Milt Jackson, Monty Alexander, Jon Faddis, Ray Brown and Jimmie Smith and see what happens."

Gang Starr - Ex Girl To The Next Girl

Black Star ft. Common - Respiration


Added by Kretzschmar

(Via VideoSift)

Nina Simone - Ain't Got No...I've Got Life


Added by steve5224

R. Stevie Moore - I Not Listening


Added by autosam

until these two: spedding--motorbikin' twofer (new rose records)


motorbikin
chris spedding
totp



motorbikin
chris spedding
promo vid

Bass Rocks: Willie Alexander

another new rose recs. stablemate from the 80s and my fav. yt craunchy of the week: willie "loco" alexander: bass rocks


dennis glen brian mike


dennis Wilson & Rumbo (Daryl Dragon)
Sound Of Free
Dennis Wilson's first solo release Lady (
December 4, 1970-- also known as "Fallin' In Love") early version SUNFLOWER
Background vocals (American Spring)



dennis wilson
You Are So Beautiful



dennis wilson
you are so beautiful & barbara ann


dennis wilson
Forever


dennis wilson
Angel Come Home
april 27, 1979




glen cambell
guess i'm dumb
by Brian Wilson and Russ Titleman
features the Beach Boys on backing vocals
Shindig, 1965



brian wilson
Mike Douglas Show

nov 28, 1976
Part 1 of 2



be true to your school
Mike Love

Full House 1990

July 10, 2007

tv movie craunchy


little egypt
elvis
roustabout



Bill Black's Combo
yogi
From Teenage Millionaire (1961)




Jimmie Nicol
Spotnicks documentary (Sweden 1983)
Jimmie Nicol was stand-in drummer for Ringo Starr June, 1964
drummer The Spotnicks (Sweden) 65-67



It'll be me (1963)
Johnny Taylor & The Strangers
french TV



Surboum
Billy Bridge et Les Mustangs
Italian TV 1962



andre brasseur