Curt Weiss
Backbeat Books
Behind the lamentably tabloid title – drugs and fashion cited before music – lurks a sincere appreciation of Nolan, a much underrated drummer who provided the muscle behind a variety of bands. Weiss is himself a drummer, and occasionally he discusses Nolan’s technique in some detail: I wish there was more of this.
The story Weiss relates is a familiar one, though no less tragic for that. A father who left early on left Nolan insecure and lacking in confidence which he managed through self-medication leading to a premature AIDS-related death in 1991 at the age of 45. Weiss has talked to an impressive number of fellow musicians, friends and relatives but they all apparently say the same thing. On the one hand a phenomenal musician, a fastidious and stylish dresser and a wry New York wit with real charisma. On the other hand a racist, a junky and a ruthless exploiter of the many women who fell for him.
I checked the latter out with a number of musicians, writers and industry-types who knew Nolan during his time living in London. They give a very different picture of a man who was attracted to strong women and had no problem playing with black musicians. I wonder if Curt was tempted to play up these elements in order to make the book more attractive to a publisher. Context and balance are important here.
I would have liked to know more about the major relationship in Nolans life: the bromance with Dolls and Heartbreakers guitarist Johnny Thunders. The key quote comes from longsuffering Heartbreakers manager Leee Childers “Johnny and Jerry were one of the great unrequited love affairs…they fought like lovers, broke up like lovers, reunited like lovers. “ In her own books Nina Antonia has done a good job of covering the Thunders side of the relationship, it would have been fascinating to better understand the relationship from Nolan’s perspective. Thunders certainly looked up to the older Nolan as a father figure, respect that may have been undermined by the scuzzy drug-related behaviour documented throughout Weiss’ book.
Curtis started writing the book as a fan and amazingly he finished it 11 years later with much of his high regard for Nolan intact. Certainly even a cursory listen to either of The Dolls studio albums or the Heartbreakers sole effort will demonstrate how Nolan did more than hold down the beat. Instead he drove the songs, never flashy but always playing what the song demanded. In this book he is compared to Moon, Watts and Baker: Nolan himself would have preferred Gene Krupa. My favourite Nolan musical memory occurs during the Dolls’ feisty interpretation of ‘(There’s Gonna Be A) Showdown’ when singer David JoHansen entreats “Gimme one, Jerry!”. As always, Nolan obliges. Remember him this way.
Postscript
Nina Antonia’s comments here https://ninaantoniaauthor.com/
For the first time ever I have had two live reviews published in the same (September 2017) edition – Tom Petty @ Hyde Park and Bash & Pop @ Islington. Here they are:
Sonic Kicks / Severn CD 0069
Reunion LPs don’t work. Think Byrds, Stooges, Big Star. Once the initial spark has been lost, that’s it. So why is this album – the first recordings in 28 years released by the classic Groovies line-up of Cyril Jordan (guitar, vocals). George Alexander (bass) and Chris Wilson (guitar, vocals) – so damn good ?
The last LP made by this iteration of San Francisco veterans was 1979’s Jumpin’ In The Night. Fantastic Plastic is more of the same: a combination of Jordan/Wilson compositions and judiciously chosen covers, here the Beau Brummels Don’t Talk To Strangers and the NRBQs I Want You Bad. The latter is a long time staple of the Groovies live set: to finally have a studio version is very welcome. Both tracks showcase the timeless sound created by producers Jordan and Joel Jaffe, where the crisp rhythm section of Alexander and principal drummer Victor Penlosa underpins the many layered guitars and vocals of Jordan and Wilson.
Of the originals, opener What The Hell’s Going On is a fine Stones/Beatles hybrid, with Cryin’ Shame adding the Byrds to complete the Groovies holy trinity. End Of The World enters on a bed of backward guitars and develops into a real stomper which should work well live. Let Me Rock is allegedly the first song that Cyril and Chris wrote together and here it is completely upgraded from the rough demo first heard on the Skydog Grease tapes, although thankfully the Street Fighting Man bass runs remain. Lonely Hearts adds a simple piano part and additional harmonies to provide an uptempo Beach Boys ballad.
Even though this is a proper length recording – 12 tracks, 40 minutes – the album slightly runs out of puff with Crazy Macy, Just Like A Hurricane (aka Let’s Work Together) and Fallen Star being less inspired. I’d Rather Spend My Time With You is a rather unexpected instrumental in a Shadows / Ventures vein, recorded with Tubes drummer Prairie Prince and producer-archivist Alec Palao.
Accompanying the release of this recording is the news that George Alexander is no longer a member of the band he has played with since 1965. Victor Penlosa too is no more. The new rhythm section of Chris Von Sneidern (bass) and Tony Sales (drums) will have a chance to show their mettle on September’s European tour but George and Victor brought a lot to the live show and they will be missed.
There is an understandable tendency to overrate the results achieved by a favourite band getting back together again (hence all the great reviews for Blue And Lonesome). I have only lived with this recording for a few days and I might regret giving it such a good review in six months time. But for now Fantastic Plastic is the exception to the rule – a reunion LP that does not disappoint. Will 2017 be the year of the Groovies ?
Peter Wolf and The Midnight Travellers
Boston TD Gardens, 20/7/17
View: Elevated Section, Stage Left
Supporting Tom Petty at this 17,500 seater stadium ex-J Geils band vocalist and long-time Boston resident Peter Wolf was afforded a full hour set and proper lights and sound. His five piece band rose to the occasion and played like headliners. The set cherry-picked jewels from Wolf’s solo career such as Piece Of Mind and Wastin’ Time but the biggest response was reserved for Geils classics such as the closing trio of Start All Over Again, Give It To Me and Lookin’ For A Love. Tom West played some tasteful organ and Duke Levine and Kevin Barry exchanged unflashy but effective guitar parts throughout, supported by Tom Arey on drums and Kevin Barry on bass. Wolf has moved with the times – the rap that preceded a mighty Musta Got Lost now has the lovers communicating by text message and the bottle of bubbles that Wolf totes on stage has a screw top (we were very near the stage). What hasn’t changed is Wolf’s glam bohemian chic, onstage exuberance and masterful performance. Simply the coolest 71 year old on the planet.
And now how the review appeared in Record Collector magazine (October 2017):
Tom Petty and the Heartbreakers / Stevie Nicks
BST London Hyde Park
July 9th 2017
View: Stage Centre, Diamond Circle
Once again BST was blessed with a stunning summer evening. Stevie Nicks played a judicious blend of solo hits and Fleetwood Mac numbers with Waddy Wachtel outstanding on a series of mouthwatering vintage guitars. Stevie gave us a second opportunity to be amazed by her dress sense (white fur coat? fingerless gloves ? in July ??) when she re-appeared to duet with Petty on Stop Draggin’ My Heart Around, a highlight of the entire concert. Petty played the same 40th Anniversary set he has been touring in the US: strong on Wildflowers and solo material, sadly lacking in songs from the Heartbreakers golden period of 1977 – 1985. Mike Campbell on guitar and Benmont Tench on piano shone throughout, whilst adding the Webb Sisters has extended both the vocal and visual side – great dancing on an extended Don’t Come Around Here No More. The set was book-ended by the first and last tracks of that self-tiled debut LP: Rockin’ Around (With You) and American Girl gave glimpses of this extraordinary band’s capabilities.
(written for Record Collector magazine)
View: On the decks, in front of the mixing desk
The Deadcuts set the tone for the evening: short, sharp songs played with economy and a minimum of fuss. I’d like to hear the songs again somewhere with better acoustics. Bash and Pop is the name ex-Replacement Tommy Stinson uses for his more Faces / Stones-orientated material, so far recorded on two CDs separated by a mere 25 years. Tommy handles lead vocals and rhythm guitar, sympathetically supported by Joe Sirois on he-means-it drums, Justin Perkins on bass and Steve Selvidge on lead guitar and birthday cake. From the first CD, Fast and Hard and Never Aim To Please were impressive statements of intent, followed by a version of The Kids Are Alright that had everyone grinning. From the newer CD, Not This Time and Anybody Else impressed, and Tommy starting Anytime Soon on his own to bring a welcome change of pace. Any hint of a mid-set lull was dispelled by the appearance of John Perry and Peter Perrett from the Only Ones for an excellent four guitar version of Another Girl, Another Planet. This moved the set up a gear, with a triumphant finish of Anything Could Happen, First Steps and Friday Night is Killing Me getting a great response from the select crowd. Tommy, now don’t be a stranger…
Photo credit: Ronny Dap
Action Time Vision – Alternative TV
No Matter What – Badfinger
Autonomy – Buzzcocks
Television Screen – Radiators From Space
Long Live Rock – The Who
Public Image – Public Image
Elected – Alice Cooper
Complete Control – The Clash
Smash It Up – The Damned
This Perfect Day – The Saints
Freak Scene – Dinosaur Jr
Ain’t That Nothin’ – Television
This Ain’t The Summer Of Love – Blue Oyster Cult
Seven Deadly Finns – Eno
Surrender – Cheap Trick
I Saw Her Standing There – The Beatles
Rockaway Beach – The Ramones
Chinese Rocks – Heartbreakers
I Don’t Care – The Boys
She’s Got Everything – Kinks
Tall Stories – PPK
Panic In Detroit – David Bowie
Ghosts Of Princes In Towers – Rich Kids
Let It Rock – The Rolling Stones
Dyslexic Heart – Paul Westerberg
Brand New Cadillac – The Clash
As My Wife Says – The Only Ones
I’m Not Like Everybody Else – The Kinks
Slow Death – Flamin’ Groovies
Neat Neat Neat – Damned
Beck’s Bolero – Jeff Beck Group
Pump It Up – Elvis Costello & The Attractions
Slaughter On Tenth Avenue – Mick Ronson
You’re My Favourite Waste Of Time – Marshall Crenshaw
I got more compliments about my choice of records last night than I have ever got before (including some kind words from band and crew).
One guy took my picture and posted it online with the tag “ They say the devil has all the best tunes – nah it’s this fella!”
This one is from the new edition of Shindig! magazine – issue number 67. Not as positive as the review in Record Collector but all names are spelt correctly, the sound quality is praised and there is a colour picture of the picture sleeve. See for yourself!
…as it says on the front cover. Here’s the story:
Unheard Robert Palmer track for Record Store Day 2017
R’nB Records are delighted to announce the release of a brand new 7” vinyl single by the trio PPK – Robert Palmer, John Perry & Mike Kellie. Bearing catalogue number RB1978 the tracks are
- Tall Stories (Palmer / Perry / Kellie)
- Kellie’s Blues (Perry / Kellie)
Personnel:
Robert Palmer – Bass and Vocals
John Perry – Guitars
Mike Kellie – Drums
Underneath Island Records HQ in St. Peter’s Square, Hammersmith lay a compact 24 track studio much favoured by cognescenti on account of its fabulous sound. Unlikely combos of musicians from Steve Winwood to Peter Tosh jammed together there.
One such evening in the summer of 1978 saw John Perry and Mike Kellie of The Only Ones record with Robert Palmer. The Tall Stories track that resulted took Palmer in a new, grittier direction. Kellie’s rock-steady beat aligned with Palmer’s own bass playing and Perry’s melodic guitar brought the sparse loping sound of Free bang up to date.
Sadly record company politics prevented the release of this track and the tapes were mislaid until 2016, when intense sleuthing by Pedro Mercedes turned up a cassette version. Careful tape transfer by Rob Keyloch and remastering by Nick Duckett has polished this performance into a jewel that does all three musicians great credit. The B-side instrumental was cut at the same session.
This record is a fitting tribute to the late Robert Palmer and to Mike Kellie, who sadly died whilst we were working on this release. Kellie told John Perry he was delighted by this record. He liked the finished product and loved the spontaneity of the session. He recalled the session as inspired and enjoyed recalling times when a high level of inspiration flowed with such ease.
Here is what Record Collector Editor Ian McCann said about the record:
From May 1st you can order here http://www.1960s.london/ (scroll down). Vinyl copies are already selling on eBay and Discogs.
Bash & Pop
Fat Possum FP1582-2
Way back in 1991 when the Replacements split up for the first time the consensus was that Paul Westerberg would be the Mat to watch. Not true. His excellent solo work on the Singles OST proved an early highspot, after that it all got very grown up and a bit dull. The Mats dishonourable tradition was best upheld by bassist Tommy Stinson, who formed Bash & Pop and released Friday Night Is Killing Me in 1993. Overlooked at the time, it’s reputation has grown subsequently, aided by a vinyl release this year (which sounds fabulous). The band did not hold, but after years as a solo act Tommy has now formed a new Bash & Pop and released a follow-up.
It was worth the 14 year wait. A thankfully modest dozen songs, split equally between upbeat rockers and more reflective numbers with a faint country feel. Luther Dickinson’s guitar on opening track Not This Time sounds like a party that has already started, whilst the following On The Rocks has a suitably dishevelled everyone-falling-over extended ending. The title track makes it three rockers in a row with the catchiest melody here. Breathing Room is more reflective and evidence lyrically of an emerging theme of broken relationships, personal and/or musical. A welcome change of pace follows as Tony Keraldo’s keyboards drive Anybody Else, which containins my favourite lyric: “If you’re going to tell me all my faults, I’ll tell you the ones I’m gonna keep’”. The song shifts up a gear to a strong bridge nicked from Absolutely Sweet Marie. Languid slide and acoustic guitars run through Can’t Be Bothered, recorded at the London Roundhouse in London when Tommy and Luther were in town for the 2015 farewell Replacements gigs (detailed in Bucketful of Brains 83). After that things drop away slightly on the songwriting front, although Unf*ck You has such a fantastic Faces ending that, to borrow from Charles Shaar-Murray, if you woke Kenny Jones or Ronnie Wood up in the middle of the night they would be convinced they’d played on it. Anything Could Happen is definitely the best Faces album since Ooh La La.
I fully expect these songs to come to life when played live and I look forward to Tommy’s forthcoming UK visit. Clearly being in a band setting brings out the best in Tommy’s songwriting. I am less convinced that he is his own best producer – Don Smith got a wider range of sounds and textures on Friday Night Is Killing Me. And the sleeve design here is brown and sludgy. But these are minor concerns. It is great to have Bash & Pop back again, bashing and popping.
Only Rock 'n' Roll 