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Book’s Jook is a column dedicated to placing a record within my dream jukebox, if I were to have one. The Seeburg jukebox shown below is similar to the one I have wanted since I was a kid. To read more on why I started this column, click here.
Most of my choices in Book’s Jook have been the mainstream stuff, but for this week I decided to go to the underground for a bit of independent spirit. The Mummies were a garage rock band out of San Mateo, California who dressed up like mummies at live shows and terrorized the crowds with their music and passion. “Food, Sickles & Girls” was on their own label, Pre-B.S. (which stood for “Pre Bullshit”, the claim being that if you made music before The Beatles and rock’n’roll became more corrupt, it was “before the B.S.”), and was their second record following their debut 7″ EP. For the record, all of their songs were meant to sound like crap, or at least not as professional as what you’d expect to hear in the early 90′s. While everyone was reaching towards digital fascinations, the guys in The Mummies recorded and mixed everything in mono, and sometimes it sounded as if all instruments and vocals went through a single microphone. It had a bootleg feel, or like finding some local record by some local band rocking out, not sounding as professional as something on Capitol, Decca, or Atlantic but often times it had toe best music. I loved the attitude in “Food, Sickles & Girls”, especially as the lyric changed in the second half, particular what happened after they sang “food and eating girls”. The B-side was another fine rocker done on a different style called “One By One”, and that one sounded more like something you’d hear on an obscure B-side from 1962.
The band did a “reissue” of “Food, Sickles & Girls” for the Bellingham, Washington label Estrus Records, but it was a completely different recording, which pepped up the song but it was not the same. Nonetheless, they continued to release more 45′s, EP’s and albums for the next few years before calling it a day, with Maz Kattuah spending more time with The Phantom Surfers while drummer wizard Russell Quan ended up playing with almost every other band in the Bay Area. One of my favorite Quan-related articles was when he was interviewed to talk about his favorite food joints throughout the Bay Area, and whenever I get down to that area, I’d like to visit what remains open, in honor of food.
If Wolvves allegedly “make violent music with bad rap lyrics your parents hate and choruses you can fuck someone up to in a mosh pit”, it would be motivating enough to not only listen, but become a groupie based on their magical powers. Maybe you don’t want to do that just yet but you want to become a believer as if your name was Neil Diamond. The band have released an EP called Go Demon or Go Home (Rubber Brother) and from Side 1 comes a song called “Home”.
If you know of Dope Body, you may be surprised that they have a new album, considering they’ve been on the road for ages. Their debut was released on Drag City two years ago, pretty much stayed on the road for the last two years but they are returning with Lifer, again on Drag City, and will they take on another journey to the road? Most likely, but first you have to hear the new music first.
Yes, you got it, Dope Body already have shows set up for mid-October, with a few dates before that:
August 29… Brooklyn, NY (Brooklyn Night Bazaar)
September 26… College Park, MD (University of Maryland @ WMUC Third Rail)
October 16… New York, NY (Studio at Webster Hall)
October 17… Brooklyn, NY (Palisades)
October 18… Ithaca, NY (-Cornell University)
October 19… Happiness in Columbus, OH (Double Happiness)
October 20… Chicago, IL (Township)
October 21… Louisville, KY (Zanzabar)
October 22… Richmond, VA (Strange Matter)
October 24… Baltimore, MD (Metro Gallery)
October 25… Philadelphia, PA (Johnny Brenda’s)
Lifer will hit virtual and digital streets on the 21st of October.
After releasing two EP’s, Austin, Texas’ The Ghost Wolves have released their mammoth debut album, Man, Woman, Beast (Plowboy). The duo consists of nothing but guitar and drums, with vocalist/guitarist Carley Wolf getting deep in a rural blues way, partly sexy, partly alluring, but wholly threatening due to the lyrics and how she does it. Drummer Jonathan Wolf occasionally joins her on vocals but for the most part it’s Carley’s world. When you hear her sing “I don’t want to disappear/but I’m looking for my beans and bread here/I don’t wanna disappear//send me some dollars to my grave/I make my millions from my grave/pepperoni pizza to my grave” (in “Grave Dollars”), you realize The Ghost Wolves mean business and do it like the bishops of blues and rock but pull it off with a spirit that shows a pinch of humor, sarcasm, and a very direct-and-to-the-point approach that is sure to cause a ruckus in a live setting. Carley’s voice may remind a few of a cross between E.G. Daly and Altered Images’ Clare Grogan, but there’s more to that, which I think fans will discover and explore on this and future works. By keeping things to her and Jonathan’s drums, the duo lineup is great and I feel this will bring them to a wider audience as time goes on.
Martyr Privates are an Australian trio you may be familiar with in some context and if you are, you’ll be happy to know that their self-titled debut album was recorded, mixed, and mastered, and is ready for release in two months. Bedroom Suck (Fire) is what they’re calling it, and will be out on September 23rd, which will offer their slightly gritty, grimmy, and slushy garage rock with a pop edge to the compositions. As an example, listen to “Something To Sell”, which they will have for you in two month’s time. Cameron Hawes, Ashleigh Shipton, and Sam Dixon are sure to take you to new places with Bedroom Suck, so be prepared.
The song is called “Generic” but the music and the band are not. Further have released it as their latest single, a song that also finds a place on a new compilation called Where Were You Then?, gathering the “best” singles from the band. To make it more interesting, the entire album was mastered from the original records, so all surface noise and tentative crackle remain intact. This will be released by Bad Paintings on September 2nd. Vinyl pressing can be pre-ordered here while the CD pressing can be pre-ordered there. MP3′s can be pre-ordered below, courtesy of Amazon.
New York crust rock still very much exists, even though people will tell you that the city is too glamorous and gentrified beyond being saved. Fortunately, NYC’s gritty roots still shines in the muck and one band proving this are Beechwood, who will be releasing an appropriately-titled album on Lollipop Records called Trash Glamour. From it is a song that shows a love of the style of rock from the mid to late 70′s that still is as raw as it was over 35 years ago, and as you’ll hear, it’s not going away anytime soon. Listen to “City Boy Blue” and smother yourself in a stick of lips.
Beechwood’s next scheduled show will be in Brooklyn at Matchless on July 21st, with Scully and Bass Drum Of Death.
Lewis Knudsen is an artist who gets involved in a number of different genres, even if you’re unsure of what you’re exactly listening to. The mixture is quite nice and he displays it all on his debut studio album called Joy, Pain, Love, Songs. There’s a slightly nostalgic/classic feel to his material but listen to it deeper and it’s the kind of music that is quite timeless. He calls Rock Island, Illinois home but he is sure to do his share of traveling in the years to come. Listen to the lyrics, listen to the music, listen to the songs. Then listen to Lewos Knudsen. You’ll be very glad that you did.
The epitome of cool can be desribed in a number of ways but for the band known as White Reaper, this is what they are describing as “Cool”, and it’s a whale of a song complete with a garage rock feel and masks. It may sound confusing but sometimes music videos can be that way, and White Reaper make it that way because it’s fun. You’ll find more fun on their self-titled debut EP, released last week on Polyvinyl Records.
This song sounds like something straight out of the early 60′s, or something you might have played alongside The Mummies, The Phantom Surfers, or Thee Headcoats. They are Guantanamo Baywatch, who play a style of surf/garage rock that rips hard, and the song is from the split 7″ they did with Natural Child, to be released very soon on Suicide Squeeze Records.