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The Times that Bond: The Clash on Broadway at 40

The Clash and their epic residency at Bond’s International Casino in Times Square, was that really 40 years ago this month? Yup, I was one of the lucky 30,000 or so who were there for one of the 17 nights. It would have been the same number of fans over only eight shows before the NY Fire Dept. reduced the capacity. Not the Clash’s fault it seems, they honored ticket holders by doubling the amount of shows when the overselling promoters were found out.

Oh, to be 23 years old again, am I right? Me and my two friends who had gotten tickets had the date changed because of this snafu. Our plans for a Saturday night gig and a neat New York City weekend were upended when the expanded schedule had our tickets transferred to the following Monday night. How we even found this out in the pre-Internet age is lost to history. All I recall now is scheming with my partner from work, tooling around in our van that we drove for the General Services dept. at Charlestown Savings Bank in Boston. He did me a solid by agreeing to speak to our manager on Monday morning and say that I was stuck in NY for some obscure reason and/or sick and would not be in until Tuesday.

The Clash at Bond’s, June 1981. From l to r: Paul Simonon, Joe Strumer, Mick Jones. Unseen: drummer Topper Headon

As usual, we had the van’s AM radio turned to WILD, the late lamented soul music station that broadcast out of Roxbury, the city’s predominant African-American neighborhood. Suddenly, the Clash’s “Magnificent Dance” came on, a rare record from a white act for that station. I excitedly told him that this was the group that was drawing me away for a punk-rock weekend in the Big Apple. I was a bit disappointed that this was the instrumental dance mix of ”The Magnificent Seven,” sans Joe Strummer’s witty white-guy rapping. But it struck a blow for the black-white-unite impulse that was floating around back then as musical elements of rock, funk, reggae and rap seemed to be in allegiance.

The weekend was a blast. Those who were there will remember the vital (and often tense) scene that held sway in front of Bond’s as lingering confusion over what tickets were for what day meant cops and crowds and media coverage almost every day. The famous Times Square NYPD sub-station was directly across the street. At one point, Mr. Strummer walked thru the crush to get to the venue’s front door, the closest I would come to meeting him.

Bond’s Casino was an iconic place with an interesting backstory. In the !930’s and 40s it was a large supper-club type establishment. Under the same name it was later a clothing store with its gargantuan signage being a Times Square landmark, the O in the word Bond often sporting a clock to go along with the miles of neon, garish statuary and news ticker. By 1981, it had converted back to a nightclub but that wouldn’t last for much longer.

The Bond’s building was quite an attraction in and of itself back in the day.

Inside the club on Clash night, I remember mostly the winding, undulating ramp that led to the concert room. I also recall hat the 1750 peeps in attendance did a fair job of filling the place, I couldn’t imagine double that number as the unscrupulous promoters wanted. I enjoyed the opening act (the legendary Slits) but also remember being pretty disappointed with the Clash’s performance that night. It seems a bit like false-memory syndrome now. This was the fifth out of six times I saw them and maybe it was the law of diminishing returns. The second time (at the Orpheum Theater in Boston with no less than Sam & Dave and the Undertones opening) was maybe the best concert ever in my personal history. I thought the guys were sort of defaulting to the dub-wise sounds of that era’s edition of the band, but the typical setlist from then doesn’t really bear it out. They opened with the blazing 1-2 punch of “London Calling” and “Safe European Home” while the Mick Jones-sung hit “Train in Vain” and the current rave single “This is Radio Clash” soon followed. But songs from the current triple-album (the eclectic and meandering “Sandinista!”) seemed to dominate the middle of the set. But I like “Sandinista” a lot more nowadays and a time-travel loop back to that gig would surely find me deliriously entertained.

Live at Bond’s, June 13, 1981

The Bond’s residency would find the Clash not only at “The Crossroads of the World” but at a career crossroads as well. They were reaching a bigger audience and not always in a way that suited some of them. Joe Strummer, God bless his soul, was incensed when some of the group’s adventurous choices for opening slots (notably Grandmaster Flash) were mercilessly booed. The group’s radical roots could only take them so far and the attracting of a more mainstream fan base did not necessarily bring the enlightenment they sought.

But that’s a story for another day. As for me, I went straight from Bond’s to Penn Station ten blocks south and caught the red eye train back to Boston. It reached Boston just in time to stumble into work Tuesday morning where I got the expected comeuppance from the boss man. So I stood there and took it and lived to rock another day.

A four-minute snippet of Don Lett’s “Clash on Broadway” footage

The closest thing to a documentary record of this event is the 20 minutes of Don Lett’s unfinished “Clash on Broadway” project. This is available on YouTube in three parts or as a bonus feature on the DVD of Lett’s exemplary Clash doc “Westway to the World.”

Rick Ouellette is the author of Rock Docs: A Fifty-Year Cinematic Journey. Click on the book icon above to find out more!

Make Mine a Double #22: Jerry Lee Lewis, “The Session.. Recorded in London (1973)

In 2006, original rock ‘n’ roll wild man Jerry Lee Lewis released an album called Last Man Standing. Typically brash, the title has taken on a more poignant and literal meaning in the last fifteen years as many of the genre pioneers still around at the time (Little Richard, Bo Diddley, Chuck Berry, Fats Domino) have passed on. But Jerry Lee kept pushing on, performing regularly until a minor stroke in 2019 slowed him down. Even though, there were still plans for the 85-year-old to record a new gospel album with T-Bone Burnett, but the start date was in March 2020 just as Covid-19 flipped the world on its head.

Well-known for his riotous performances and for marrying his 13-year-old cousin in 1958, Lewis was one of rock music’s first controversy-courters and his career had many ups and downs. An up period came for him in 1973 when he added his name to the list of iconic blues and rock ‘n’ roll figures who had recorded albums in London that featured many of the top names of the British pop scene (Berry, Howlin’ Wolf and B.B. King had preceded him there). Jerry Lee came away from it with a big double album and a hit single in “Drinking Wine, Spo-Dee-O-Dee.” After several years of performing for the country-and-western circuit, he re-established himself as one of the top figureheads in the game, a status he was not to surrender after the release of The Session… Recorded in London.

The album kicks off impressively with “Drinking Wine” and sets the template for much of what is to follow. It’s some great ol’ roadhouse boogie with Jerry leading the charge, singing enthusiastically of hedonistic pursuits and pounding away at his piano in that familiar staccato style. Alvin Lee of Ten Years After, the first of many hotshot guitarists to heed the star’s command to “Pick it, son,” gives some 70s firepower to a 50s-style solo. The promised “Great Guest Artists” roster continues with Irish blues-rock master Rory Gallagher (see photo below) on bottleneck guitar for the barroom jaunt “Music to the Man.” Others include the main rhythm section of then-Faces drummer Kenney Jones and Beatles bestie Klaus Voorman on bass, while organists include Gary Wright, Tony Ashton and Procol Harum’s Matthew Fisher—and there were a few extra players on most songs, some were Jerry Lee’s boys that were brought over. But it’s the six-string slingers (or as JLL calls them, “son”) that get the attention and include both Alvin and (unrelated) Albert Lee, Chas Hodges, Peter Frampton and future-Foreigner Mick Jones. Never mind that many of these “sons” were only 5-10 years younger. As Jon Landau put it in is contemporary review in Rolling Stone: “I have a feeling (Lewis) doesn’t care which son or how long he plays, just as long as the spotlight returns to where it belongs when the son is finished.”

UNSPECIFIED – CIRCA 1970: Photo of Jerry Lee Lewis Photo by Michael Ochs Archives/Getty Images

Although only in his late thirties, Jerry Lee was on the cusp of his elder statesman years and reportedly felt somewhat ill-at-ease during the sessions. He had rarely recorded outside of Memphis or Nashville and was surrounded by long-haired whipper snappers. He was even said to have told his son Jerry Lee Lewis, Jr. (who appears on percussion here) that he thought he had maybe made a mistake. That may explain some of the “son” stuff and calling himself The Killer. The Brits were (of course) reverential in any regard and Lewis would look back more fondly on this event in an interview years later.

When these disparate elements come together the record can be great fun, with the accompanists’ amped-up backing giving Lewis a solid platform to hit his attitudinal sweet spot halfway between blasé and berserk. It’s a rush to hear Rory Gallagher and Peter Frampton trading solos as the man bulls his way thru “Johnny B. Goode” and to have pro’s pro Albert Lee move the crew full-steam-ahead on “Sea Cruise” as Captain Killer runs thru his paces of piano razzle-dazzle, esp. in those sweeping glissandos that flash by like Zorro’s sword. Brian Parrish (then with Yes spin-off group Badger) juices up a couple of blues numbers with some wily harmonica and the session dudes go country-rock on JLL’s decent readings of Credence Clearwater’s “Bad Moon Rising” and Gordon Lightfoot’s “Early Morning Rain.”

Jerry Lee pulls off a little old-school gamesmanship on second pianist Tony Ashton, inviting the younger man to play a solo then brashly besting him with an over-the-top display on the ivories. Albert Lee does the guitar solo in between.

In other places, The Session does appear “overstuffed” (per the RS review) with, say, the wayward take on Berry’s “Memphis” or on an underwhelming version of “What’d I Say” that does not come within a country mile of the Ray Charles original. A certain boredom with some of these already Golden Oldies may have played a part, as could Jerry Lee’s drinking and pill-intake at the time, even though (by his own account) his admiring British sessioneers did not so much as a light a joint in studio.

It does come all together for the concluding “Rock & Roll Medley” as the Killer whiplashes thru four Little Richard classics before climaxing with his immortal “Whole Lotta Shakin’ Going On.” Jerry Lee whoops it up like it’s 1957 and attacks his piano keys with karate-chop comping while Alvin Lee flies off into Woodstock guitar-hero land. It’s a satisfying ending to an imperfect album that is still a “great party record” (again, Landau’s words) and will be a fun vinyl time no matter which of the four sides you drop the needle on. In 1973 it was lifted into gold record status on the wings of the era’s revival interest in early rock ‘n’ roll. While The Session hit #37 on the pop charts, it pushed all the way to #4 on the country countdown, and Lewis would soon return to the C&W genre: “Drinking Wine, Spo-Dee-O-Dee” would be his last rock hit single. But the album did a lot to help cement his status in the pantheon of original rock ‘n’ roll greats, a status that will remain long after he is no longer the Last Man Standing.

A “Pale Beyond” Portfolio

In the realm of urban exploration, the general spirit of the thing is “the morbid the merrier” (as Curly Howard once put it after the Stooges had stumbled into a haunted house). The popular fascination with abandoned sites shows little sign of abating, a phenomenon I explored in my series called “The Pale Beyond” some years back (see links below). My own interest in this subject has now extended beyond my photography and occasional blog post to the realm of comic books. I am working on a graphic novel called “The Ministry of Dark Tourism” with artist Ian Miller. I will be posting the first chapter of this some time this spring.

In the meantime, here are some related photographs of mine, mostly taken the last year during our Covid Year. Hope you like them, let me know if you’d like more info on any of them.

—-Rick Ouellette

Chapel of the Holy Innocents, former Fernald School, Waltham MA

The Fernald School went from notorious exploiters of unwanted youth to caretakers of the state’s most severely disabled adults in the course of its long history. Closed in 2014 and currently off limits, the Fernald campus was the site of a Christmas lights drive-thru attraction in 2020, the former chapel lurking behind the Candy Land section.

Tewksbury Hospital tour, Tewksbury MA

My tour of historic Tewksbury Hospital was canceled in April of 2020 at the start of the pandemic, but the good folks at Silver Crescent Photography rescheduled it for October, and was so glad they did. The hospital, like many such institutions from the 19th century is spread over a large campus. Parts of it are still a working hospital and the main building also houses the Massachusetts Public Health Museum. Although it was an early innovator in special services for indigent and disabled people, Tewksbury did have its darker side as evidenced in the Violent Female Offenders Ward seen at the top of this article. The shuttered MacDonald Building (exterior shot above) was used in the TV adaptation of Stephen King’s “Castle Rock.” The Rice Building (the two shots below that) have also been used for horror film locations.

Sometimes you never know what you’ll see on one of these tours. Unexpected beauty (like sunlight illuminating a vintage school desk), unexpected utilizations (the basement of one building had been used as a state trooper training facility) and unexpected chills (the basement storage area of the Public Health Museum sported an old electroshock machine).

Danvers State Hospital Auxiliary Patient Cemetery, Middleton Colony, MA

The fabled Danvers State Hospital, the once-idealistic sanatorium whose fearsome Gothic exterior loomed over Danvers, Mass. for 130 years, was demolished (except for the façade of the main building) in 2007; it has been replaced by (ho-hum) condominiums. It’s two patient cemeteries, where grave markers only bear numbers, still remain and bear witness to the institutional callousness that marked its 20th century incarnation. One cemetery is in a hollow down the hill from the main site. The other, pictured above, is about a mile away and eluded me until a year or two ago. It’s surrounded by fields and farmland and has gained a memorial that lists the names of many of the unfortunate souls laid to rest there.

World War II Ammo Bunkers, Assabet River National Wildlife Refuge

There are more WW2 ruins in the America than you might expect, esp. along the two coasts. There are a couple of dozen giant ammunition storage bunkers in the woods of Massachusetts in what is now a wildlife refuge. The ammo was shipped here some 30+ miles from Charlestown Navy Yard in Boston, to be out of range of German warships. Sadly, this bit of local history has a down side too. The military took this once-populated area by eminent domain, with only ten days notice for residents and ten-cents-on-the-dollar compensation for their property.

Follow and watch this space for more Dark Tourism photos and comix!

Thanks, Rick

Rock Docs Spotlight: “Out of Ireland: From a Whisper to a Scream” (2000)

Irish musicians have had a broad, if rather diffuse, impact on the history of pop music. The relative social and geographical isolation of the Emerald Isle until well into the Sixties may have had a lot do with that. Since then there has been a smattering of superstars (Van Morison, U2, Phil Lynott of Thin Lizzy), notable genre artists (blues-rock master Rory Gallagher, indie-rock darlings the Cranberries) and iconoclastic greats like Sinead O’Connor and the Pogues’ Shane McGowan.

Originally released in 2000, the entertaining and encyclopedic “Out of Ireland” was a three-part program produced for Dublin-based RTE television and its 158 minutes should satisfy even the most ardent fan of Irish popular music. Director David Hefferman starts with an overview of the country’s lively but derivative show bands that dominated the music scene while rock ‘n’ roll came to the fore in the Fifties and early Sixties. But the influence of the Beatles and other British Invasion groups on the other side of the Irish Sea could not be denied, though the response at first came in fits and starts. Tellingly, it was from a wide range of emerging acts, from the gritty garage rock of Van Morrison and Them (whose “Gloria” would be a starter-kit tune for innumerable bands to follow) to the lightweight pop of Gilbert O’Sullivan and Dana, whose candy-coated “All Kinds of Everything” won the 1970 Eurovision song contest.


A ten-minute clip of “Out of Ireland,” covering the punk years.

There is a lot to get to here and Hefferman gets to a lot of it, even if things here feel a little puddle-deep at times. He does counterbalance this tendency by returning to major artists like Van and Rory and U2, at various points and stages of their careers. One interesting point that gets echoed at different junctures is that many Irish rockers reached back past the show bands to find inspiration (even if by osmosis) to the greater example of traditional Irish music, literature, and storytelling. Morrison’s observational/impressionistic lyrics on his landmark Astral Weeks LP echoed James Joyce’s ability to lend grandeur to the everyday. Thin Lizzy’s first hit was a rocked-up version of the traditional “Whiskey in the Jar.” The progressive folk band Horslips dressed up archetypal Celtic themes in glam-rock finery while the Pogues spoke (both wildly and poignantly) to the modern Irish diaspora. There’s a keen sense that Irish rock often finds that bittersweet, happy-sad symmetry so typical of Irish culture.


This video of Phil Lynott’s “Old Town” (featured and discussed in the film) shows both the charismatic and troubled side of the Thin Lizzy frontman, who died at age 36.

The film, aptly sub-titled “From a Whisper to a Scream”, does well to ground this thematic thread from the Erie as a lightly-populated backwater to dynamic player in the global pop scene with regularly placed commentary from creative consultant (and editor of Ireland’s music magazine, Hot Press) Niall Stokes. This is esp. advisable when you’ve got a rhetorical road race of musical personalities like the flinty Van the Man, the sharp but soft-spoken Sinead, and the road-hogging conceits of the notably self-regarding Bono and Bob Geldof, who continues to over-estimate the pre-Live Aid influence of his band the Boomtown Rats.


The Cranberries’ lovely “Ode to My Family,” another video steeped in rich Irish ambience

Speaking of screaming, “Out of Ireland” also provides a good overview of the country’s contributions to the punk revolution, with segments on Belfast bangers like Stiff Little Fingers, the Undertones and the Blades (bands that really had something to yell about in that town during The Troubles) and Dublin’s Radiators from Space, whose guitarist, the late Philip Chevron, later joined the Pogues. There are also sidebars on important Irish-English performers of the era (Johnny Rotten, Elvis Costello, Boy George) and 80s bands that never broke out bigtime but are still plugging away, like the Saw Doctors and Hothouse Flowers.

Of course, U2 are still plugging away as well, and their international popularity does not seem to be waning anytime soon. A section towards the end of “Out of Ireland” makes the odd connection that the group’s gargantuan “Pop” and “Zoo TV” tours may be a more modern version of those old show bands (the stage show “Riverdance” is also edged into that category). I agree with that to an extent, but don’t see it necessarily as a compliment. But that’s put aside for Hefferman’s final point that although the lightly-populated island has put itself on the world music map it is no time for complacency. I think all can agree on that, even if it means overthrowing the “show bands” all over again.

If you like my music documentary posts, feel free to click on the book cover above right to check out a 30-page excerpt of my Rock Docs: A 50-Year Cinemtaic Journey and/or join my Facebook group simply called Rock Docs. Thanks, Rick Ouellette

Adventures in Mega-Rock: Festival albums after Woodstock

I am likely to live out the rest of my days forever fascinated and repelled by the idea that millions of young folks once trudged off to over-populated music festivals to hear various rock ‘n’ roll legends in conditions that ranged from beatific sunshine and starry nights to suffocating humidity and apocalyptic rainstorms yielding vast mud fields. Of course, they still do if you count pre-Covid gatherings like Coachella and Glastonbury.

I was a little too young for the original wave of iconic rock festivals and by the time I came of age the business model was superstar bands playing in sports arenas and second-tier groups gigging at theaters. I was never destined to be one of those peeps rising in unison to say, cheer on Richie Havens at Woodstock or to complain to a film crew that the authorities don’t like me because of my long hair or because “I smoke a little shit.” But then again, I never took an unwanted mud bath or had to thumb home two hundred miles because I was short on “bread.”


The Allman Bros. Band at Atlanta Pop

These contemplations took hold recently when I finally secured a copy of The First Great Rock Festivals of the Seventies fifty years after its 1971 release. As a young teen I eyed this whopping three-LP set the way a Little League pitcher may have seen Bob Gibson. It covered the summer-of-1970 Atlanta Pop Festival (sides 1 & 2) and the gargantuan Isle of Wight affair in the UK (sides 3-6). The names of the fourteen artists featured were center-aligned on the cover (Hendrix! Sly Stone! Allman Bros.!) but this was a little rich for my blood and my wallet at the time. Festival burnout was setting in post-Altamont and “First Great Rock Festivals” never came near the stature of the 3-LP Woodstock set (or even the double album follow-up Woodstock 2) and it came to be a curio relegated to the “Various Artists” used-record bins.

The second Atlanta Pop Festival was not in the city. After various official roadblocks (not least of all from Georgia’s then-governor, the infamous reactionary Lester Maddox) it was moved way out to pasture in the little town of Byron, where a couple of hundred thousand kids gathered in a sun-baked soybean field, for the 4th of July event where temps reached just over 100 degrees. The album kicks off with Johnny Winter doing “Mean Mistreater,” the sort of emphatic blooze-rock that was a key genre at the time and which is well represented on TFGRFOTS. But so to is the stylistic hop-scotching of these huge events. We get a couple of nice country-rock numbers by Poco (the romantic “Kind Woman” and the up-tempo instrumental “Grand Junction”) and the groovy soul of the Chambers Brothers. Next up are favorites sons the Allman Brothers. The Macon GA stalwarts do “Statesboro Blues” and the proverbial “Whippen Post” (sic) though neither version matches up to the ones on their landmark At Fillmore East, also released in ’71.

The real acid test (literally and figuratively) of this six-sided foray comes at the end of the Atlanta disc with the 19-minute indulgence that is Mountain’s take on the T-Bone Walker blues standard “Stormy Monday.” I love Leslie West and the gang but this is not their finest moment. Mountain may have preferred the steamroller method when it came to their decibel-cranking concerts, but they could be ingenious as well (just check out the multi-sectional joyride that is the 25-minute live side of their Flowers of Evil album). Here you get a pro-forma jam where the usual Leslie West/Felix Pappalardi guitar-bass interplay is pushed along by Corky Laing’s rat-a-tat drumming, but it never gets to that next level. The crowd seem to enjoy it and these lengthy excursions (both musical and geographical) were part of the scene then. To get a pair of eyes on the ’70 Atlanta Pop Festival, check out the 2015 concert doc Jimi Hendrix: Electric Church. It begins and ends with 10-15 minute segments about the event and in the middle you get an uninterrupted (and most excellent) one hour set of what amounts to a best-of-Hendrix show, complete with 4th of July fireworks.

Jimi would also appear at the Isle of Wight festival off the coast of southern England a month later. Despite the logistics (ferry-access only) some 600,000 made it to the island for the tumultuous five-day festival. There is a full documentary of this third annual Wight festival, Murray Lerner’s essential Message to Love, which due to money issues was not released until 1997. In my book Rock Docs: A Fifty-Year Cinematic Journey I wrote about how the film shows how a happening that was supposed to be an English Woodstock descended into “chaos as the Aquarian hippie ideal knocked heads with the emerging notion that rock music was ripe for mass-market exploitation.” French anarchists and freeloading freaks unwilling or unable to pay the three pounds sterling entrance fee tried to knock down the corrugated fencing erected by the youngish promoters who thought they were onto a good thing but took a financial beating (hence the delay in the release of Lerner’s commissioned film).


I miss all the fun! Part of the crowd at the 1970 Isle of Wight.

Peter Goddard, in the Wight liner notes here, compared the festival to a “medieval joust up-dated and passed through a time loop. An interviewed fan in the film used a similar metaphor, describing a “feudal court scene” with the rock stars as royalty, the groupies as courtiers and the audience as serfs. When it boiled down to the music, though, there was a lot less to grouse about. Jimi Hendrix was headlining again and though people who were in the know at that time said it wasn’t his best show, there’s a lot to like in his 15-minute segment here, esp. his razor-edge soloing on “Power to Love” and a wild take on “Foxy Lady.” Ten Years After, not to be outdone by Mountain, offer up there own 19-minute warhorse with far better results. Anyone familiar with the group’s 1973 live album will recognize their version of Al Kooper’s “I Can’t Keep from Crying” with its extended speed-freak guitar workout by Alvin Lee and its little side excursions into “Cat’s Squirrel” and the “Peter Gunn” theme. Despite the pyrotechnics preceding it, Procol Harum’s stately “A Salty Dog” comes off well.


Great excerpt of TYA’s above-mentioned jam from the Murray Lerner film “Message to Love: The Isle of Wight Festival 1970”

Sly and the Family Stone, who like TYA had a big boost from Woodstock film and record, do a morale-boosting medley of “Stand!” and “You Can Make it if You Try.” The restive crowd that is so evident in Lerner’s documentary spills into the record via the poorly-received appearance from Oxford-educated cowpoke Kris Kristofferson. Tensions between fans and promoters were peaking and seemingly taken out on cocky Kris, who tries to win back the crowd with the coy redneck parody “Blame it on the Stones.” In the film, he is seen waving dismissively while exiting before finishing “Me and Bobby McGee.” Faring better in the singer-songwriter department are David Bromberg with a tender “Mr. Bojangles” and Leonard Cohen. The bard of Montreal gives an unusually empathetic vocal on the jaunty “Tonight Will be Fine.”

That leaves Miles Davis to close out Side Six with a 17-minute bracing jazz-fusion outburst titled here as “Call it Anything.” That was probably Miles’ wily wit at work given the free-flowing improvisations of the trumpeting legend who was at a career peak and crossing over to a rock audience at the time. We know that from the 2011 CD release of Bitches Brew Live that this track compromises the last half of his allotted time (the whole 35-minute set is on the CD) and consists of a wired and inspired clutch of compositions centered around “Spanish Key.” His band consisted of both Chick Corea and Keith Jarrett on keyboards, Gary Bartz on sax, Dave Holland on bass, drummer Jack DeJohnette and percussionist Airto Moreira. Whew.

Peter Goddard, towards the end of his liner notes, opines that the age of the great rock festival was “kaput” despite the promise of the more to come in the title. I wouldn’t own The First Great Rock Festivals of the Seventies for many years to come although in 1972 I bought a discounted copy of Mar-y-Sol, a double LP from a Puerto Rican festival from the same year. Its line-up was typical of the eclectic roster of artists so typical of these outside multi-day events, which would continue, great or not. Everyone from Jonathan Edwards to the Mahavishnu Orchestra to Afro-rockers Osibisa were featured. And the age of the various-artist mega-rock album was not over either. By the end of 1971 we had George Harrison & Friends with the 3-LP benefit album Concert for Bangla-Desh. Other triple-deckers included 1972’s Fillmore: The Last Days, where the Bay Area’s finest congregated to mark the closing of Bill Graham’s fabled ballroom the Fillmore West, and the dreaded No Nukes from 1979. (John Hall, anyone?).


Gong’s side-filler from the Glastonbury Fayre triple album. You’re welcome!

There’s even a three-bagger form the 1971 Glastonbury Festival, called Glastonbury Fayre (an accompanying film of the same name is worth seeking out). This six-sider is rare and bound to test the patience of even the hardiest mega-rock aficionado. It boasted songs ranging from 16 to 23 minutes from Mighty Baby (“A Blanket in My Muesli’), The Pink Fairies (“Uncle Harry’s Last Freak-Out”), Edgar Broughton Band (“Out Demons Out” and Daevid Allen & Gong with the immortal “Glad Stoned Buried Fielding Flash and Fresh Fest Footprint in My Memory.” I don’t know if any of those works would have made much sense away from the Glastonbury grounds, where the pot was plentiful and there was plenty of room for twirly freeform dancing in the days before the event exploded in popularity.
But like they say nowadays, “Go big or go home.” Luckily, we can also go virtually exploring into the far-off fields of adventurous rock exploration. Go big and stay home, to save yourself the unwanted mud-caked blue jeans and acid hangover.
–Rick Ouellette
Leave a message in the comments section if you are interested in getting a discounted copy of my book “Rock Docs: A Fifty Year Cinematic Journey”

So Long, John Nash (Part One)

A view from behind a John Nash-designed Regent Street archway, 2016 (All photos by author unless otherwise noted)

I have come here tonight to praise the former Regent Palace Hotel, just off Piccadilly Circus in London. At 1028 rooms, it was the world’s biggest hotel on completion in 1915. I did not know this tidy little fact when I stayed there for a week in May of 1976. This would have surprised me back then. The hotel had a rounded, impressive Edwardian façade but it didn’t seem especially large. That’s maybe because many of the rooms (like mine) were small and communal bathrooms were in the hall, which was the case until the place finally closed in 2006.


The white-washed ghost of the Regent Palace Hotel in 2016. Seemingly empty save for an Ugg store. Ugh.

So the Regent Palace was not much of a palace, but it did back up to rear of the Regent Street quadrant. That famously curved shopping street was laid out by John Nash, the master architect of Regency/Georgian England. His work also includes Buckingham Palace, the Brighton Royal Pavilion, and Marble Arch. The elegant sweep of Lower Regent Street led into Piccadilly Circus, anchoring London’s West End entertainment district, before taking a sharp turn and proceeding thru a stately institutional area to the The Mall, which of course leads to the Queen’s pad.


For 8 pounds a night, the Regent Palace Hotel was a place where “You enjoy all the amenities of a modern hotel, including telephone, radio and razor point.” (!!)

I’ve always had a thing about architecture and John Nash (1752-1835) is my favorite practitioner, except maybe for American Samuel McIntire, the Federalist architect/carver who’s greatest works were also done in the early 19th century. Sam’s not only a fellow countryman but lived and worked primarily in my hometown of Salem, Mass. Anyway, I cribbed the title for this post from the Simon & Garfunkel song “So Long, Frank Lloyd Wright.” After all, there just aren’t enough tribute songs to famous architects, I mean how much can you say in that format? Even S&G are pretty much reduced to saying how they and ol’ Frank would “harmonize ‘til dawn.” Sounds funny, but city-building can have its own musical richness and John Nash was a symphony-level composer. He found his fame as a patron of the Prince Regent (later King George IV) and his master plan started with a design for Regent’s Park (ringed by his terraces and great-houses) and proceeded south in a grand avenue procession down to Regent Street and the Circus. So very royal, yes, but it also gave London some of its greatest public spaces. But more on all that in a bit.


Ray Davies makes the rounds of Swinging London in this satirical Kinks Klassic from 1966.

I was 18 at the time of my first visit to the city that had so captured my boyhood imagination, mainly stirred by my steady diet of Kinks albums and Chares Dickens novels. This trip to England I had planned for some time, funded by my high-school job as a busboy and by a nice little fund put aside from my godfather that he gave me when I had turned the big 1-8. I had gone with my mom to a local travel agent (remember them?) and the guy, seeing that I was a bright young lad off on his own for the first time, suggested that the Regent Palace Hotel, a literal stone’s throw away from London’s version of Times Square, would be a good base camp. My mom was already nervous about me going but it was quickly a done deal.


Your humble blogger at age 18, captured by a street photographer near my hotel.

Piccadilly Circus in the post-war years became world-famous for its neon-lit nightlife and its giant advertising signs for films, shows and a bewildering array of consumer goods. But ten paces away from these bright lights and rushing traffic, and thru the corner entrance of the Regent Palace it was a different story. The hotel had a certain frumpy charm, it was like a character in a Graham Greene novel, with a certain faded elegance and a hint of intrigue. (I was certainly intrigued by the occasional hooker loitering at a staircase landing). The Circus came to be one of those great gathering places, both for Londoners and tourists, but ol’ John Nash was way ahead of the curve. Lower Regent Street (completed around 1825) featured a covered arcade that kept window shoppers out of the elements and maybe give a chance for sweethearts to have a tete-a-tete, reportedly a consideration in the planning.


Panorama of Nash’s Regent St. quadrant. (Photo by Benh Lieu Song via Wikipedia)

Rock ‘n’ Roll Circus

Society took over from their and certainly by the 1960’s it was (like Carnaby Street) a place to see and be seen. Many of the nightclubs of Swinging London, hosting future rock mega-bands like the Who and Pink Floyd, were in adjacent areas like Leicester Square and Soho. It was well past the prime of that golden era by the time I got there in ’76. The place was considered tawdry by many, with its illicit street dealings and dignified old buildings covered in advertising hoardings and movie marquees. But it was transformational for me, the spark that started a lifetime of sporadic European travel. So I went boldly where all men had gone before and sat myself on the steps of the Shaftsbury Memorial (see below) topped by the famous statue of Eros though it is actually his brother Anteros, the god of requited love. Either way, point well taken.


Piccadilly Circus, 1976

Across from the steps was the grand façade of the London Pavilion, where the Beatles’ Hard Day’s Night and Yellow Submarine had had their world premieres. Currently, the theater’s 3-story high sign was boosting it’s first-run showing of Death Race 2000, the pedestrians-as-points cult film; a die-cut image of David Carradine as the black-masked driver loomed over the square. Instead, I opted for a walk down Coventry Street to the now-demolished Odeon West End to see The Man Who Fell to Earth, the futuristic mind-bender starring David Bowie. The bottom of the Odeon marquee, for all of Leicester Square to see, read “Kinky Sex”—The Evening Standard. Well, your average perv may have been disappointed to buy a ticket based on that alone, but I took up my seat in the balcony (smoking allowed) not unlike the girl in Bowie’s song “Life on Mars?” who’s “hooked to the silver screen.” After having my mind suitably blown, I walked past a Piccadilly pub where an hour later, a few of the Rolling Stones stopped by a drink. I read that the next day in the (wait for it) Evening Standard.

Jumping ahead nearly 45 years, I found out something that I had long suspected, a possible brush with rock and roll history that would have been more significant than catching a glimpse of a few Black and Blue-era Stones. The pre-Sid Vicious Sex Pistols were gigging in Central London the same month in the spring of ‘76 that I was first visited my fabled London. Mainly, they had a Tuesday night residency at the nearby 100 Club. Not that I necessarily would have known what to do with a Johnny Rotten back then (I was more of a Ray Davies and Ian Anderson kind of guy), but I did miss being present at the crossroads of rock history at a time when the band were not yet tabloid fodder. But ten months later the Pistols, now with Sid in tow, the group’s manager arranged a publicity-stunting signing of a contract with A&M Records, in front of the John Nash-designed Buckingham Palace. The competing symbolism was clear, even if the band didn’t release their groundbreaking, vitriolic anthem “God Save the Queen” until several weeks later. After that, they repaired to one of the lobby bars at the Regent Palace Hotel where they were over-served by the staff, according to (I believe) Jon Savage’s definitive book “England’s Dreaming.” Just think, only a gob’s throw away from where I sat in the RPH’s breakfast room, or the Carvery restaurant, whose sliced-roasts station, dessert cart and great big Imperial pints of lager were already legends in my own mind. The group’s drunken hijinks continued over at the A&M office, where their punkified misdemeanors had them booted off the label by week’s end. Twenty years would pass by the time I saw the re-formed Sex Pistols at an outdoor venue I the summer of 1996.

10 Mar 1977, London, England, UK — The punk rock group, The Sex Pistols, are about to be moved by a policeman as they sign a copy of their new recording contract with A & M Records outside Buckingham Palace. The next record to be released is called “God Save the Queen”. The band members (from far left to right) are John Lydon, Steve Jones, Paul Cook and Sid Vicious. — Image by © Bettmann/CORBIS

I would visit London alone again in 1994 and in 2016 with family. I was older and a bit wiser and able to take much better photographs, including those of John Nash’s greatest architectural hits (more in Part Two!). In ’94, I took a nostalgic stroll thru the Regent Palace lobby and out the side door. Also by then, the obstructing sign was down at the London Pavilion and it had been turned into a rock-themed wax museum; there were David Bowie and Mick Jagger effigies looking out imperiously from the revealed balconies. In 2016, the RPH was long-closed when I showed my son where I had stayed in another lifetime. The building, like many others in the Piccadilly/Regent Street area, had been scrubbed of their age-old London grime and white-washed to within an inch of their lives. The “people’s palace” hotel had only ghost of the memories of the lone travelers, wandering-eye businessmen and tour-group tag-a-longs that once issued forth the lobby into the whirlwind of London’s famous/infamous crossroads. But I’m still here to tell you my tale where the secret lives of buildings, people and pop culture intersect and will be back for more in Part Two.
—Rick Ouellette

From the MODT files: “A Descent Into the Uncanny Valley”

Here’s a little homemade seasonal comic from myself as writer and Eric Bornstein as the artist. It takes its cue from my work “The Ministry of Dark Tourism” part one of which is under way in graphic novel form with illustrator Ian J. Miller. More on that later and hope you can enjoy your socially-distanced Halloween! –Rick Ouellette




Rock Docs Spotlight: A Kouple from the Kinks

Is it “a small observation of a big thing” that makes The Kinks are the Village Green Preservation Society, the group’s once-ignored and now-cherished 1968 album, so special? That comment by XTC frontman Andy Partridge is one of the more interesting takes in this vivid and engrossing new documentary of the iconic band’s “lost” masterpiece. Echoes of a World: The Story of The Kinks are the Village Green Preservation Society features interviews (and two recent duet performances) by founding Kink brothers Dave and Ray Davies, as well as their drummer Mick Avory. Typical of rock docs nowadays, there is a parade of well-known musician/acolytes, including Paul Weller, Noel Gallagher, Natalie Merchant, Graham Coxon, and Suggs from Madness.

There is also a lot of archival footage of both the band and the North London locales so central to their songs. A nice added touch is B&W filming in nearby Highgate Wood, where a young actor playing Ray delivers his thoughts on the record’s beguiling depictions of small-town Britannica. Overlooking the districts he would write about, actor Ray says that the album was a chance to “speak from inside myself.” This device works esp. well within the idea that the album was “not nostalgia but time travel.”


“I’m glad we stood our ground.” The simulated young Ray Davies mulls over the making of his unfashionable tour de force.

But oh, for those small observations of big things (actually, the inverse of that saying is probably more accurate). In late 1967, the Kinks’ released a single so great that Partridge (a pretty dang good songwriter himself) freely admits “I spent my whole life chasing that song.” This was “Autumn Almanac” a hit in the UK which preceded (and pointed the way to) the Village Green. The song, inspired by Ray Davies’ gardener, celebrated the prosaic joys of lawn work, a Sunday roast, a beach holiday in Blackpool and neighbors who will love you ‘til you’re 99. Not exactly the hippest subject matter during rock’s psychedelic era. Although “Autumn Almanac” would reach #3 in the UK charts, the band’s popularity started to fade as they went further down their rabbit hole of ethereal old-timeliness.


The last 11-minutes of “Echoes of the World.”

The Village Green album, which followed in the fall of 1968, doubled down on that lost sense of community and shared spaces. The title and lead-off track (one of the two tunes that the Davies are shown performing in a parlor) extols the virtues of Tudor houses, custard pies, George Cross medal recipients, obscure British pop-culture figures like Desperate Dan and Mrs. Mopp, and even virginity itself. The society is also quite clear on what they are against (“We are the Skyscraper Condemnation Affiliate”). More poignantly, the brothers also do “Do You Remember Walter,” a bittersweet ode to the lost ideals of youth.

Echoes of a World also looks back fondly on the albums rich picaresques. The family remembrances (“Picture Book”), the indifferent-universe hymnal (“Big Sky”), the exquisite rural escapism of “Animal Farm.” Just as memorable are the inhabitants of Ray’s “dream space”: the rebel “Johnny Thunder,” the local temptress “Monica,” the legendary “Phenomenal Cat” and the neighborhood witch, “Wicked Annabella.” These people and places are so ingrained in the minds of fans that several of the interviewees here—including Partridge, Natalie Merchant, record producer Greg Kurstin and even Dave Davies—proudly show hand-made illustrations of various tunes.


“American tourists flock to see the village green” A picture of your humble blogger in 2016 in the Kinks Room at the Cliswold Arms pub, where the Kinks did their first show. Ray and Dave grew up directly across in the Fortis Green/Muswell Hill area.

In an age of social disconnectedness, the yearning for a solid sense of place and community is only enhanced. Maybe that is one of the reasons that Village Green Preservation Society took so long to be fully appreciated. Paul Weller likens it to “a longing for something that wasn’t really there.” True, the fraternity may be amorphous but it is still there and still vital. As it says under the credits on the back cover of the original album: “You are our friends for playing this record.”

Another Kinks-related piece that has been made available for Amazon streaming is 1985’s Return to Waterloo, a 57-minute fictional film directed by Ray Davies. Its title suggests the band’s signature ballad “Waterloo Sunset,” but the urban romance depicted in that beloved Kink Klassic gives way to a grim premise here.

The mostly dialogue-free story stars Ken Colley as the dark-eyed, haunted “Traveler” who goes to and from work on a commuter train whose terminus is the iconic station of the title. There is a serial rapist at large and our man bears an uncomfortable resemblance to the police sketch of the suspect. It is never made quite clear whether he’s the guy or not, although the lockdown stare he gets from Ray himself (as a subway busker) is ominous enough. Return to Waterloo functions more as a downbeat tone poem, encompassing feelings of disconnection, loneliness, parent-child alienation and disheartened nostalgia, in contrast to the mostly nourishing nostalgia of the Village Green album sixteen years earlier.

I know it doesn’t sound very chipper, but the strong songs here by Ray move along the story. (A few of the tunes from the soundtrack also made it onto the Kinks’ latter-day highlight Word of Mouth, released in 1984). An evocative piece like “Expectations” can stand on its own as a pensive commentary on Britain’s post-empire decline and seems esp. relevant now in the UK’s post-Brexit era. As one can tell from the video below, Return to Waterloo boasts excellent production values. The cinematographer here is the acclaimed Roger Deakins, still early in a career that would see him be the director of photography for such movies as Fargo, The Big Lebowski, No Country for Old Men and Blade Runner 2049, among many others.

Return to Waterloo can be a bit of an odd duck in the viewing of it. It veers rather unsteadily between realism and the Traveler’s elaborate fantasy world. Everyday situations, like an encounter with a group of punk rockers, can shift into overdrive very suddenly (look for a young Tim Roth as one of the punkers). Elsewhere, a Pythonesque wit takes hold, as a matronly woman (within earshot of the Traveler) discussed her strategy if confronted by the rapist: “I’d give him a swift kick in the bollocks, that would sort him out.”
So while maybe not the thing to watch if you’re in the mood for a feel-good film, but a must for Kinks fans and clear-eyed Anglophiles. Make a note in your own autumn almanac to view one or both of these fine forays into the Kinkdom.

You can check out the excerpt of my book “Rock Docs: A fifty-Year Cinematic Jorney” at http://booklocker.com/books/8905.html or by clicking on the book cover image above. If interested in purchasing, you can also contact me directly for a special offer and free shipping! Thanks, Rick.
rick.ouellette@verizon.net

Now available: The complete “Teenage Proghead” comic book!

 

Comic Book

Postage included (even outside the USA), please provide mailing address in PayPal

$5.00

Spin yourself back down all the days to…
Wilsontown High School, 1974

It was a time when the hair was long and so were the musical attention spans. That fall the mellow vibe of Wilsontown High gets disrupted by a mysterious rich-kid bully. But he makes a “sad” miscalculation when he focuses his grievances on Sean and Paul—two know-it-all aspiring rock critics—and their two new friends: clairvoyant Jane Klancy and kung-fu enthusiast April Underwood. Things are going to get personal in a hurry…

It’s here! The complete 32-page “I Was a Teenage Proghead” is now available in a shiny new standard comic-book format. Text is by me (Rick Ouellette) and artwork is by Brian Bicknell. The recently added 8-page epilogue catches up with the kids in the summer of 1975, a year after the events of Part One.

This project is 100% author-funded. If you would like to support indie, rock ‘n’ roll-inspired comics, you can purchase your own copy (and/or buy one for a friend) for only $5, postage included.

Thanks, Rick Ouellette

Whistlestop Rock: Now Barreling thru your town, virtually

So many great rock ‘n’ roll origin stories begin in iconic locations like garages, basement and rec rooms. Of course, the whole idea is when greatness beckons, the next step is to find an audience in nightclubs and other places where rock-loving people congregate.

https://whistlestoprock1.bandcamp.com/track/queen-of-the-drive-in?fbclid=IwAR1drESl9R6mS1SJhZrpqWrtfZU3tgCpAB3vcnPQlX6p9jsUJ8ioC06T9AM
The new Whistlestop Rock all-star-cast single, “Queen of the Drive-In.” Check out the single on Bandcamp and the video for it on July 10th by following Whistlestop Rock on YouTube or Facebook.

Already you can see where this is going. In the upside-down world of the Covid-19 pandemic, it’s back to the origins for both musicians and fans. This unprecedented (in our lifetime) human tragedy and lockdown/social distancing that suddenly became a way of life (the “new abnormal” as I prefer to call it) has put a unique burden on the future of live music, given the now-risky practice of both singing in close quarters to crammed-in patrons. But of the many performers who have taken to sheltered performances, first have done with such aplomb as the deferred-but-not-derailed Whistlestop Rock tour here in New England.


“FROM OUR UNDISCLOSED BUNKERS TO YOURS” After two live gigs out of ten scheduled, the Whistlestop Rock crew pivoted quickly and by the third week of May had come up with this awesome one-hour virtual gig, complete with opening credits, nifty graphics and tag-team introductions of their colleagues for a series of great musical performances. More details below.

Back on February 22, I posted on article about a recently-launched travelling rock show called Whistlestop Rock that featured a clutch of mostly female-led, mixed-gender bands from the bustling and very vital eastern New England scene. This idea to pool resources and fan bases was a great idea that had grown organically from an initial conversation between Simone Berk of Kid Gulliver and scene doyenne Justine Covault, best known in the Boston area for heading up the hard-rocking Justine and the Unclean and for organizing the long-running monthly musical jamboree called The Mess-Around at the famous Plough and Stars pub in Cambridge.

The second date of that tour, with a big crowd at the roomy ONCE ballroom in Somerville, Mass. was a smashing success and bode well for a fruitful spring and summer of red-hot rock roll and great socializing. That show was on Feb. 29th and by just a few days later, it was terribly clear that something historically awful was afoot with the coronavirus. Even by that night there was an inkling, talk among the musicians of needing to be careful with microphone use, while a friend I met in the crowd was already using the elbow-bump greeting.

The self-named Whistle Sisters and Whistle Misters have not cursed their luck, as utterly disheartening as it must have been to have this carefully-curated rolling event squashed after only two of approximately ten planned shows. In addition to the one-hour online benefit show seen above (to help great local venues who are really struggling), with a new one airing on July 10th, This not-to-miss event will feature the all-star single and video “Queen of the Drive-In.” In the interim between these two virtual soirees, there have been individual song postings, videos and even cocktail recipes!

For any musicians looking for tips on how to get thru this unprecedented time, where the very proximity that binds bands to fans is indefinitely a no-no, can learn a lot from the Whistlestop rockers. Sure, the necessary at-home aspect of these performances brings on an Unplugged sort of vibe. But there are ways around this. Sometimes the strength of the songwriting will do it, witness Simone Berk and David Ammillotti do “Forget About Him” (starting at 2:35) and both of Justine Covault’s solo numbers (at 13:30 and 33:30). Local fave Linnea Herzog debuts “Non-Dramatic Breakup Song” in a mermaid suit (8:40). Lynda Mandolyn from the ass-kicking pride of Portland ME Tiger Bomb, does two of their garage rockers on acoustic guitar (5:43 and xxx) but does so with great panache. Not only does she perform with a spinning color globe with a vintage Gorgar pinball machine behind her (jealous!), but there’s an extra Lynda that pops up in the corner for the chorus harmonies. Kids today and they’re technology!

A couple of groups do manage a plugged-in full band sound, either because there are couples or quarantine buddies involved, or because they are so tech-savvy as to become split-screen combos. This worked out great with the rootsy sound of Steve Pyrgorda and Cold Expectations (at 20:38). The power-trio inventiveness of Providence’s Heather Rose in Clover was in evidence on the performance of “Red Vest” which is a scrappy post-punk rocker that suddenly veers off into a slowed-down psychedelic coda that would not have seemed out of place on Jefferson Airplane’s After Bathing at Baxter’s. Linda Bean Pardee and Tim Gillis from Mod-influenced Chelsea Curve (there was even a Vespa scooter parked in the garage where they played) did their “Don’t Look Down” (at 47:30) with Linda’s monster bass turned up so loud it almost drowned out their singing. But that’s rock ‘n’ roll, baby!

The supportive vibe of musical colleagues makes it no surprise that these guys have lots of pals to call for guest appearances. This first online edition included (at 24:40) Tanya Donelly and Dean Fisher, the former from Throwing Muses and Belly, the latter from the Juliana Hatfield Trio. Also appearing as an acoustic duos were Joyce Raskin White and Seana Carmody at 11:40.

Granted, it’s going to be a long way back for nightclubs and live music: a Phase 5 re-start in today’s parlance. In the long meantime, the music can carry on and even has a chance to broaden audience’s via the long reach of the Internet. Rock on, everyone!