Archive for the 'Treasure' Category

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Phoenix Punk Rock Days: John E. Precious & The Liars

About a year ago, I discovered a post on the Anti-Snob blog entitled “Because I Wasn’t There,” written by Will Tynor, aka Vil Vodka. Professing an odd outsider’s obsession with the late ’70s Phoenix punk rock scene (he didn’t actually move to town until 1988), Will set out to document those early years using whatever second-hand info he could find. Naturally, Will’s article stirred up my own memories, and it was all the excuse I needed to fish out some of my own ephemera from those days.

Perhaps my most cherished keepsake from back then is a beat up old cassette containing a live show from 1977 by three guys who used to call themselves The Liars. They were just some older guys from another high school who decided to put on thrift store sunglasses and take up instruments they didn’t play very well. But they were also the first “real” punk rock I ever heard, and though it seems like a stupid notion thirty years later, the Liars may have changed my life.

My friends and I first got to know John “John E. Precious” Vivier through our relentless search for a good pot connection. I no longer remember who introduced us, but it turned out that John not only had a taste for the good bud, but he and his pals also were into the same music we liked: cool obscure (for Phoenix, at least) groups like King Crimson, Gong, Eno and Kraftwerk. John’s band at the time was the Heavy Metal Frogs, a progressive sort of proto-punk noise outfit that would pound out abrasive renditions of “Helter Skelter” and “20th Century Schizoid Man.” They played at my high school once, but of course the students hated it. In fact, when they played one night at a local desert “boondocker,” John received a severe beating from one of our drunken redneck classmates who did not appreciate this “faggot” music.

To be honest, most of my friends hated it too. They preferred their good old Grateful Dead, Yes, Zappa or Crosby Stills Nash & Young. But I loved punk rock the minute I heard it, especially Los Angeles groups the Germs and the Dils, and of course the Sex Pistols. But it was John’s new group, the Liars — featuring John on guitar, Don Bolles on bass and Dale Smith on drums — that really got my blood flowing. They were the first band that really spoke my language. I don’t suppose you’d hear it any more, the passing of time having made what was so special about them commonplace now. But thirty years ago, their covers of Leif Garrett’s “That’s Rock And Roll” and Fleetwood Mac’s “Dreams,” played with such nihilistic abandon, hit me like a bolt from the blue. Their original songs, “Science Teacher,” “Just Like Your Mom” and their signature “Bionic Girl,” became the archetypes for my emerging aesthetic. Even the endless between-song tuning was a revelation to me.

I was so star struck by The Liars, that when I finally met them, the experience was actually traumatic. The only time I ever saw them actually play was in John’s living room (I was too young to get into clubs). I was so self-consciously awestruck, I could hardly stand to be in the same room with them. I’m sure the good bud didn’t help.

The Liars didn’t last long. Don moved to the coast and landed a spot with the Germs. John quickly joined every other punk rock band in town, including the Feederz, Killer Pussy, International Language, the Cicadas, Chicken A-Go-Go and the Precious Secrets. And as the Phoenix scene grew, John and I began to hang out more, though I had to masquerade as a Meat Puppet in order to work up the courage. But we were never close. He was older, and had his own crowd. And, though I was too naive to notice at the time, he was also seriously addicted to hard drugs.

As my own band’s future began to grow brighter, the parties at John’s house grew darker. New “friends” began to show up that I’d never seen before. And as doors began to open for me and my band, doors began to close for John. He became a no-show in his own home, rarely emerging from his bedroom. I finally stopped going over there. I had begun to feel like I was intruding.

John didn’t last very long either. Complications from his self-destructive lifestyle killed him before he managed to reach the age of thirty. Word quickly circulated that anyone who’d partied with him should visit a doctor and get a shot. His passing marked the end of an era in Phoenix. The same week they buried John, Phoenix’s first ever first punk club, The Hate House, was demolished. Shortly thereafter, Curt Kirkwood became the father of twins, and the Meat Puppets completed the record that would truly change my life, “Meat Puppets II.”

And so, the world moved on, without Johnny Precious. John was one of the few “heroes” I ever had, and the only one I ever actually got to know. And now that the endless nights of my youth are nothing but fading memories, I’m glad I hung on to these old tapes. There’s plenty from my past that I’d like to forget, but my memories of John and The Liars are some I’d like to keep.

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Watch Don Bolles & Vox Pop play “Just Like Your Mom” on “New Wave Theater”

Found Photos: Cats, Cabins & Lonely Women

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1957 Union Pacific Calendar Art

I couldn’t resist this calendar when I saw it last week during a visit to a local antique store. Not only are the photos exquisite, but each one comes with all the technical info: f-stop, exposure, film type, etc. Ironically enough, the photographers themselves are not credited! But here’s the real hell of it: the last page states that “prints suitable for framing of any of these calendar subjects…may be obtained free of charge by writing Union Pacific Railroad…!” Since I assume this offer is no longer valid, allow me to honor the spirit of their largess by offering them to you myself. Click on each photo for more info.

The stately temple in Salt Lake City, Utah is the chief sanctuary of the Mormon churchThe Domeliner "City of Portland" glides through the grandeur if the Columbia River Gorge in OregonHoover Dam lights reflect on the smooth surface of Lake Mead near Las Vegas, NevadaPikes Peak in Colorado, perhaps America's best known mountainCedar Breaks in Utah presents a series of vast chasms eroded into thousands of strange architectural formsSun Valley, Idaho provides everything for an ideal summer vacationThe Great White Throne and Angels Landing in Zion National Park, UtahYellowstone Lake mirrors the blue of the sky in Yellowstone National Park, WyomingOne of the many sublime views of the Grand Canyon from the north rim in ArizonaMount Hood, Oregon viewed across the fruitful Hood River valleyThe Teton Tower in rugged splendor above the Snake River valley in WyomingTipsoo Lake and Mount Rainier in Rainier National Park, WashingtonLooking west into the trackless Pacific from a colorful garden and Laguna Beach, CaliforniaSun Valley's year-round outdoor ice skating rink, recently enlarged to standard Olympic dimensionsThis powerful gas turbine-electric locomotive exemplifies progress, a Union Pacific watchwordThe smartly luxurious main dining room of an Astra Dome dining car

Report From The Country, Part Eleven: The Out-Of-Print Jim Ed Brown

People always ask me if I’ll ever do another installment of my “Report From The Country” series from a few years back. “More Connie Eaton,” they say. “More ‘Pass The Biscuits, Please.’” I guess I’ve been dragging my heels because the artist I want to honor is getting along in years, and I don’t want to jinx him right into the ground. But it’s almost criminal that Jim Ed Brown’s solo albums remain out of print, so I’ve decided to take my chances.

Despite lavish reissues devoted to his early work in The Browns with his sisters Bonnie & Maxine, and easy access to his duets with Helen Cornelius, Jim Ed Brown’s steady stream of solo albums from the late sixties and early seventies remains elusive to all but the most patient of Usenet users. One of two have shown up on the occasional share blog, but the majority are still out of reach.

The Browns were one of the first country artists to enjoy cross-over success, helping to define country music’s space in the mainstream. Hits like “Scarlet Ribbons,” The Old Lamplighter” and their smash folk-pop version of Edith Piaf’s “The Three Bells” were just as popular on college campuses as they were in Nashville. As a solo, Jim Ed Brown was a regular on the Grand Ole Opry, and even hosted his own syndicated television program for a few years. In 1967, his cheerful anthem to alcoholism, “Pop A Top,” became an instant classic.

After that, the hits were harder to come by. Unfortunately for Jim, he recorded for RCA-Victor and was often assigned to mainstay Elvis Presley producer, Felton Jarvis. Like Elvis, Jim’s records were suffused with the bland surface gloss that marks most of that label’s country fodder from the period. Just as they did with Elvis, RCA was content to churn out collection after faceless collection of commercial filler, overexposing the artist and bleeding his fans until the revenue stream dried up. But also like Elvis, Jim rose above the limitations of his output. The effect of Jim’s smooth control and sweet tone wedded to the wistful dark material provided for him produced unearthly performances of an odd ambivalence that sometimes borders on the surreal.

But don’t let my perverse assessment put you off these great records. The gems are plentiful and offer deep rewards. Even if all you ever hear is “Sunday In The Country,” “Barroom Pals and Good Time Gals,” or the essential “Ginger Is Gentle And Waiting For Me,” you’ll be better prepared to face the world. But if you want to mainline a full-on Jim Ed Brown overdose, you’ve found the right place.

(thanks to the LP Discography site for the cover scans.)

The Adam Ross Reeds: “Grazing In The Grass”

My old assistant was really into “affiliate programs.” He’d grab a bunch of info from Wikipedia about, say, Stevia, publish it to an ad-laden “blog,” and use all the SEO techniques he could think of. Naturally, since he was just out of his teens and still living with his parents, he thought he was making “good money.” He never understood why I don’t populate Bostworld with ads. Apparently, he saw no contradiction in profiting from the uncompensated work of others.

I like to hope this site trades in forms of capital that are in some ways more valuable than actual money. Obviously, we derive great pleasure from helping keep alive work by Les Humphries, Butterscotch and other forgotten artists. But it’s also about making connections. Fans aren’t the only ones who enjoy our posts about the Golddiggers or Love Workshop — so have the artists themselves. We’ve received nice notes from members of the Doodletown Pipers, The Going Thing, the Young Americans, as well as Michael Lloyd, Joe Scott and even Wonderful Russ himself. We’ve also heard from family members eager both to share memories of lost loved ones and to connect with fans who help them celebrate those memories.

And now we come to “Grazing in The Grass” by the Adam Ross Reeds. It’s a great album, certainly well worth the quarter we paid for it almost two decades ago. It’s a marvelously breezy souvenir from the late sixties, rendering such contemporary classics as “Summer Samba,” “Music To Watch Girls By,” ” Watermelon Man” and “The Theme From Black Orpheus” in eclectic up-tempo arrangements sure to please fans of the “turned on” big band discotheque jazz idiom. But as for Mr. Reed himself, we know nothing about him – never heard of him before this album. The liner notes confess that he worked on “The Donald O’Connor Show” and “Allan Ludden’s Gallery,” but let’s face it: that’s not much help. So, until we hear from Adam Jr., this is the best we can do.

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John Thomson: Superstar

When I was growing up, nobody could explain my grandfather’s job to me. Even when I was an adult, my mom couldn’t really tell me what he did for a living. I knew he was a Shriner, because I saw his hats. I knew he liked to collect restaurant menus, because I saw the blog posts. Beyond that, all I ever knew was he had an office downtown. Last month, I finally learned the truth.

My grandmother was a regular fangirl when it came to her husband. From the 1930s right up through the mid-sixties, she kept a huge scrapbook about my grandfather, tirelessly collecting hundreds of photos and newspaper clippings documenting the ups and downs of his career. And while my grandfather was no Frank Sinatra or Mikey Mantle, he was quite a superstar in his own right.

The story begins shortly after my grandparents’ marriage and finds my grandfather working for a liberal newspaper in Syracuse, Nebraska. In 1936, the Otoe County Democrats elected him the youngest party chairman in the nation.

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In short order, he was formally swept into the local bureaucracy, first as Assistant County Clerk, then as a trucking inspector for the Nebraska Railway Commission. Thanks to his ties to the newspaper business, or maybe just due to his basic inherent interestingness, my grandfather collected boatloads of ink throughout his career. He gathered tribute every time he climbed the ladder, garnering praise and support from peers and politicians. Along the way, he signed off on major issues of the day, and contributed “humorous” human-interest filler that would be considered inappropriate today.

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Alas, despite Nebraska’s deep roots of progressive populism (or maybe because of it), the state couldn’t sustain a consistent majority for FDR. In the spring of 1940, my grandfather managed the Democratic candidate in a special election to fill the vacancy left by the death of a sitting senator. The Republicans campaigned against the New Deal and won by a landslide. Later that year, after Nebraska awarded its electoral votes to Wendell Wilkie, my grandfather found himself out of power and planning his return to the private sector. He soon relocated to Minneapolis, reinvented himself as a successful businessman, immersed himself in the Chamber of Commerce, and continued to generate column inches in the local newspapers.

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Around this time, his media visibility expanded and took an unexpected turn. During the war, my grandfather began appearing as a model for print advertisements. (An earlier accident kept him out of the service.) Significantly, the roles he adopted charted both his own trajectory and the country’s — out of the Depression and the war, and into the boom of the late Forties and early Fifties. The earliest of these ads portray him as an overall-clad working class hero putting his back into the war effort. Later, he’s an upwardly mobile everyman in a hurry to claim his slice of postwar prosperity. Finally, he’s a successful self-made man, living the model suburban dream.

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After the war, my grandfather owned several successful businesses before he finally moved out west and joined CIT Corporation (yes, the very same CIT that’s been struggling for its life lately). As the vice president in charge of the Phoenix office, he doled out financing for many of the construction companies that built the modern Arizona. Here, he finally becomes recognizable to me as the man who became my grandfather — the guy with the carving utensils, serving up the holiday meals with a gruff efficiency and a policy of zero tolerance for tom-foolery at the dinner table. While these later years tend to strike me as anticlimactic, this period certainly brought him his greatest rewards. Like so many of the men of his generation who saw his country through the crises of the day, he was glad to take his place in line when it was time to reap the rewards he deserved.

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And yet, my grandfather lived long enough to watch his country become unrecognizable to him. He saw the Democratic party fall apart during the Sixties, prey to both its own hubris and events beyond its control. Unable to corral its own disparate elements, the party splintered. (Sounds familiar, doesn’t it?) Eventually my grandfather switched sympathies. But if he found any real satisfaction in the party of Richard Nixon and Ronald Reagan, he never said anything to me about it.

In the end, extreme age and deteriorating health telescoped his life into a series of restless nights and passing days. I got to know him a little better once I got older, and he always impressed me as a serious, savvy son-of-a-gun. To hear him tell it, he never knew a fool that he suffered gladly. As his photos clearly show, he was a good-old-boy to the core, even as a young man — a true big fish in a small pond. And though I might not have believed it when I was younger, nowadays I can’t help but see a little bit of him staring back at me in the mirror. I’m glad I finally found out what he did for a living.

Don’t You Know Butterscotch?

The songwriting/production team of Chris Arnold, David Martin and Geoff Morrow is probably best known for giving us Barry Manilow’s “Can’t Smile Without You,” and for bubblegum singles like Edison Lighthouse’s “It’s Up To You Petula” and Domino’s “Have You Had A Little Happiness Lately” (featuring Tony Burrows). They also wrote for Elvis (“This Is The Story,” “A Little Bit Of Green,” “Change Of Habit”). The trio released a few singles under their own names, but their only full-length album was 1970′s “Don’t You Know Butterscotch.”

I’ve been looking for this record for over a decade. I actually held it in my hands once, but I didn’t know what I had, balked at the price (probably under ten dollars) and foolishly let it go. Since then, I’ve never seen it for sale for anything less than 40 bucks, and only from obscure overseas dealers. But my most recent online search finally hit pay dirt. And I’m happy to say, the wait was worth it.

“Don’t You Know Butterscotch” is a kind of bridge from Petula to Barry, coming off almost like an early Bread album. The kiddie pop tracks released as singles are all here (“Don’t You Know,” “Surprise Surprise,” “Things I Do For You”), but it’s the “adult contemporary” cuts (“Us,” “Bye For Now,” “Cows”) that really balance out the program and add a depth never found on your average bubblegum album.

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