This forum is supposed to be based on the roots of hip hop.
Digging, scratchin, mixing.
The most honest DJ's are the ones who scratch and mix from the inspiration they find from anywhere.
Rockabilly.
Who gives a fuck?
Bad Tunes.
I give a fuck.
Keb Darge can whip arse.
Make bootys shake fast.
Only heard him once live but the man is what a lot of people would like to be.
A master at the game.
get real. find shit. play the fukker. and destroy the floor.
b-boys live forever.
peace.......
its always funny to me when somebody with a post count of 5 that registered two years ago comments on what this forum is all about and how it should be run.
side note on big sandy, back in the late 80's big sandy caught a lot of heat for being one of the only if not the only Latino rocakbilly front men...
Great live act, one of the best in that scene, if not THE best. I respected the fact that they did their thing, and didn't try to go the 'Fonzie' route or cash-in on the Swing fad. I know they benefitted from it at the time, but it seemed like they were a bit too hardcore country swing for the trendys to really dig.
I spent the better part of a day in LA at this Dionysus Records Anniversary show in '96(or something like that, about 10 bands from the afternoon til close)where Big Sandy was the co-headliner along with the Humpers (LA scuzz-rock-punk-band, pretty good). I had partied the night before in San Diego to such an insane level that I was still hungover and sick in the club all damn day and the only band I was able to stand and watch was Big Sandy and the Fly-rite Boys! I just remember most of the crowd not 'getting it' since it was mostly mods and 6Ts heads and the Humpers fans. As ususal I was the oddball up front digging it. I passed out in a booth soon after and my friends had to wake me for the long drive back to SD.
Great live act, one of the best in that scene, if not THE best. I respected the fact that they did their thing, and didn't try to go the 'Fonzie' route or cash-in on the Swing fad. I know they benefitted from it at the time, but
A lot of it was cosmetic, anyway. Deke Dickerson (another L.A. rockabilly) once told me, right when the swing thing was peaking, that he got a lot of bookings simply because his band wore suits. And in a lot of club owners minds back then, band in suits=swing. I believe the same thing went for Big Sandy & co.
in regards to Keb Darge, realize that the rockabilly fad in the British Isles NEVER WENT AWAY EVER. like after their careers were dead here, guys like Gene Vincent could continue to tour and live off Europe, especially England (tho Germany and France loved it too... see: Vince Taylor)...
the British rockabilly dudes, known as "Teddy Boys" have been a constant in england since the 50's. you still see Teds now. in 1972, the MC5 got booked to open for Chuck Berry at Wembley Stadium (the gig Viviene Westwood and Malcolm McLaren created the "Let it Rock" Little Richard T-shirt that Gary Oldman wears all thru 'sid and nancy" for...) and all the Teds there almost bottled them off stage b/c they thought they were hippie bullshit and they wanted to see chuck berry...
in 1976, right before punk, Charley Records, in one of their first releases (before they did soul music), had a huge hit (def top 40) re-releasing "Jungle Rock" a dope Chicago (?!?) rockabilly record by Hank Mizell. to this day, you can find copies of that pressing around london for peanuts...
realizing his age, Keb Darge's rockabilly fixation is no suprise whatsoever.. fuck, doesn't andrew weatherall of 2 lone swordsman do a rockabilly night at his local?
the British rockabilly dudes, known as "Teddy Boys" have been a constant in england since the 50's. you still see Teds now. in 1972, the MC5 got booked to open for Chuck Berry at Wembley Stadium (the gig Viviene Westwood and Malcolm McLaren created the "Let it Rock" Little Richard T-shirt that Gary Oldman wears all thru 'sid and nancy" for...) and all the Teds there almost bottled them off stage b/c they thought they were hippie bullshit and they wanted to see chuck berry...
...which I always thought was slightly ironic, since the MC 5 were more of a throwback to pre-psych rock & roll than the average hippie band...but in a fairly subtle way that the Teds probably couldn't hear. A rootsier band like Commander Cody & his Lost Planet Airmen, Brownsville Station, NRBQ or the Flamin' Groovies probably would have gone over better with that kind of crowd. IF they could get past their long hair...
in 1976, right before punk, Charley Records, in one of their first releases (before they did soul music), had a huge hit (def top 40) re-releasing "Jungle Rock" a dope Chicago (?!?) rockabilly record by Hank Mizell.
I forget where Mizell was from, but as best as I can tell he wasn't based out of Chicago (or was he?).
the British rockabilly dudes, known as "Teddy Boys" have been a constant in england since the 50's. you still see Teds now. in 1972, the MC5 got booked to open for Chuck Berry at Wembley Stadium (the gig Viviene Westwood and Malcolm McLaren created the "Let it Rock" Little Richard T-shirt that Gary Oldman wears all thru 'sid and nancy" for...) and all the Teds there almost bottled them off stage b/c they thought they were hippie bullshit and they wanted to see chuck berry...
...which I always thought was slightly ironic, since the MC 5 were more of a throwback to pre-psych rock & roll than the average hippie band...but in a fairly subtle way that the Teds probably couldn't hear. A rootsier band like Commander Cody & his Lost Planet Airmen, Brownsville Station, NRBQ or the Flamin' Groovies probably would have gone over better with that kind of crowd. IF they could get past their long hair...
well if you have seen footage of said concert...one can understand why the Teddys were chucking their cans of Specail Brew at them...this was the era of MC5 tunes like "Gold"(far fuckin out space rock) also their appearance...Wayne was spraypainted silver, Tyner was covered in gold glitter and his afro was Angela Davis-big and here is a still of Fred from that concert:
so it is understandable why a bunch of slacked jawed dudes in DAs wanting to hear "Back in the USA" were kinda peeved at what they were presented with
the British rockabilly dudes, known as "Teddy Boys" have been a constant in england since the 50's. you still see Teds now. in 1972, the MC5 got booked to open for Chuck Berry at Wembley Stadium (the gig Viviene Westwood and Malcolm McLaren created the "Let it Rock" Little Richard T-shirt that Gary Oldman wears all thru 'sid and nancy" for...) and all the Teds there almost bottled them off stage b/c they thought they were hippie bullshit and they wanted to see chuck berry...
...which I always thought was slightly ironic, since the MC 5 were more of a throwback to pre-psych rock & roll than the average hippie band...but in a fairly subtle way that the Teds probably couldn't hear. A rootsier band like Commander Cody & his Lost Planet Airmen, Brownsville Station, NRBQ or the Flamin' Groovies probably would have gone over better with that kind of crowd. IF they could get past their long hair...
well if you have seen footage of said concert...one can understand why the Teddys were chucking their cans of Specail Brew at them...this was the era of MC5 tunes like "Gold"(far fuckin out space rock) also their appearance...Wayne was spraypainted silver, Tyner was covered in gold glitter and his afro was Angela Davis-big and here is a still of Fred from that concert:
so it is understandable why a bunch of slacked jawed dudes in DAs wanting to hear "Back in the USA" were kinda peeved at what they were presented with
It's coming back to me...I've heard about this incident several times, but was this shown in that MC 5 documentary?
in 1972, the MC5 got booked to open for Chuck Berry at Wembley Stadium... all the Teds there almost bottled them off stage b/c they thought they were hippie bullshit and they wanted to see chuck berry... Thus proving that: 1) Brits aint going to listen to nothing outside their narrow collecting area. 2) Brits like rockabilly and those funk45 collectors aint really Brits. 3) Chuck Berry is better than the MC5 or rockabilly.
in 1972, the MC5 got booked to open for Chuck Berry at Wembley Stadium... all the Teds there almost bottled them off stage b/c they thought they were hippie bullshit and they wanted to see chuck berry...
Thus proving that: 1) Brits aint going to listen to nothing outside their narrow collecting area. 2) Brits like rockabilly and those funk45 collectors aint really Brits. 3) Chuck Berry is better than the MC5 or rockabilly.
I'm going with 3. Was Yoko backing Chuck? Well they weren't about to throw shit at Chuck Berry so who else were they gonna throw shit at? Don't overanalyze the Brits. Anyway, it's sometimes a sign that they are actually enjoying the show.
Well they weren't about to throw shit at Chuck Berry so who else were they gonna throw shit at? Don't overanalyze the Brits. Anyway, it's sometimes a sign that they are actually enjoying the show.
in 1972, the MC5 got booked to open for Chuck Berry at Wembley Stadium... all the Teds there almost bottled them off stage b/c they thought they were hippie bullshit and they wanted to see chuck berry...
Thus proving that: 1) Brits aint going to listen to nothing outside their narrow collecting area.
Well then, how do you explain Keb Darge's wide range of interests? He's British, isn't he? Or is he secretly American? Besides, like the song sez, you like what you like 'cause you like it...
2) Brits like rockabilly and those funk45 collectors aint really Brits.
But who was collecting funk singles 35 years ago? When they were still new?
3) Chuck Berry is better than the MC5 or rockabilly.
Chuck Berry may as well BE rockabilly, since his music is more or less made from the same "blues-plus-country" recipe.
Was Yoko backing Chuck?
Those John Lennon B-sides she was on were funny as all hell, but I'm not fool enough to buy a whole Yoko Ono elpee.
in 1972, the MC5 got booked to open for Chuck Berry at Wembley Stadium... all the Teds there almost bottled them off stage b/c they thought they were hippie bullshit and they wanted to see chuck berry...
Thus proving that: 1) Brits aint going to listen to nothing outside their narrow collecting area.
Well then, how do you explain Keb Darge's wide range of interests? He's British, isn't he? Or is he secretly American? Besides, like the song sez, you like what you like 'cause you like it...
2) Brits like rockabilly and those funk45 collectors aint really Brits.
But who was collecting funk singles 35 years ago? When they were still new?
3) Chuck Berry is better than the MC5 or rockabilly.
Chuck Berry may as well BE rockabilly, since his music is more or less made from the same "blues-plus-country" recipe.
Was Yoko backing Chuck?
Those John Lennon B-sides she was on were funny as all hell, but I'm not fool enough to buy a whole Yoko Ono elpee.
You know I'm just playing. Yoko is a reference to the NAGL thread.
in 1976, right before punk, Charley Records, in one of their first releases (before they did soul music), had a huge hit (def top 40) re-releasing "Jungle Rock" a dope Chicago (?!?) rockabilly record by Hank Mizell.
I forget where Mizell was from, but as best as I can tell he wasn't based out of Chicago (or was he?).
Florida-born Bill Mizell was brought up by adoptive parents in Asheville, North Carolina. He served in the US Navy in World War II and took up singing after his discharge, moving to Montgomery, Alabama, where he sang on local radio, accompanying himself on acoustic guitar. A DJ there nicknamed him Hank, after C&W legend Hank Williams, and the name stuck. In 1956 he moved to Chicago where he formed a combo with guitarist Jim Bobo, bass player Eddie Boyd and drummer Bill Collins. They secured a residency at the Napoleon Lounge, a low-life redneck bar, playing there every night from Wednesday to Sunday.[/b]
In the autumn of 1958, Mizell and Bobo were approached by Gene Parsons, a local country vocalist who had set up his own record label, Eko Records. Parsons had converted his garage into a makeshift recording studio and it was here that Mizell and his band recorded the rockabilly novelty "Jungle Rock", as well as two other songs. Parsons achieved wonders with the limited technology at his disposal, conjuring up a thick, bottom heavy sound. The first pressings of "Jungle Rock" on Eko 506 wrongly credited Jim Bobo as both the writer and the artist, and Parsons had the single re-pressed with Mizell's name on the label. It was this pressing that got a favourable 3-star review in Billboard of November 10, 1958: "A persistent jungle blues item would make good swingin' dance fare. It's all about the jungle denizens doing the rock. Good sound and rhythm".
incidentally, that picture of Sonic Smith is priceless...
100% b-boy but i loooooove some rockabilly. i miss the swinging doors and shake the shack radio shows on KEXP in seattle.... almost no rockabilly in MPLS. i could give a fuck what anyone thinks about that. same with classic ska, some people give me the screwface but i love that music as well. fuckin twats.
100% b-boy but i loooooove some rockabilly. i miss the swinging doors and shake the shack radio shows on KEXP in seattle.... almost no rockabilly in MPLS. i could give a fuck what anyone thinks about that. same with classic ska, some people give me the screwface but i love that music as well. fuckin twats.
Things may have changed since I left Minneapolis in '96, but there used to be a thriving scene for Rockabilly and Roots music. It was a lot of wanna-be fonzies, but also a lot of hardcore, serious music heads too back then, but I imagine like a lot of scenes, people get older, go out less, and pack away their bowling shirts and pomade.
Same with the Ska scene there, hundreds of kids would turn out from nowhere to see 8th generation lame ska bands in the twin cities back in the day. Can't say I'm sad to hear that is no longer the case.
100% b-boy but i loooooove some rockabilly. i miss the swinging doors and shake the shack radio shows on KEXP in seattle.... almost no rockabilly in MPLS. i could give a fuck what anyone thinks about that. same with classic ska, some people give me the screwface but i love that music as well. fuckin twats.
Things may have changed since I left Minneapolis in '96, but there used to be a thriving scene for Rockabilly and Roots music. It was a lot of wanna-be fonzies, but also a lot of hardcore, serious music heads too back then, but I imagine like a lot of scenes, people get older, go out less, and pack away their bowling shirts and pomade.
Same with the Ska scene there, hundreds of kids would turn out from nowhere to see 8th generation lame ska bands in the twin cities back in the day. Can't say I'm sad to hear that is no longer the case.
could be that maybe they aren't as visible here as they are in seattle where old cars aren't corroded by salt and people aren't covered in furry hood parkas 5 months out of the year. i'm sure things have changed here though. they've changed just in the 5 years i've been here...
Comments
Going by that one guy's post up there, you'd think he was...
Great live act, one of the best in that scene, if not THE best. I respected the fact that they did their thing, and didn't try to go the 'Fonzie' route or cash-in on the Swing fad. I know they benefitted from it at the time, but it seemed like they were a bit too hardcore country swing for the trendys to really dig.
I spent the better part of a day in LA at this Dionysus Records Anniversary show in '96(or something like that, about 10 bands from the afternoon til close)where Big Sandy was the co-headliner along with the Humpers (LA scuzz-rock-punk-band, pretty good). I had partied the night before in San Diego to such an insane level that I was still hungover and sick in the club all damn day and the only band I was able to stand and watch was Big Sandy and the Fly-rite Boys! I just remember most of the crowd not 'getting it' since it was mostly mods and 6Ts heads and the Humpers fans. As ususal I was the oddball up front digging it. I passed out in a booth soon after and my friends had to wake me for the long drive back to SD.
A lot of it was cosmetic, anyway. Deke Dickerson (another L.A. rockabilly) once told me, right when the swing thing was peaking, that he got a lot of bookings simply because his band wore suits. And in a lot of club owners minds back then, band in suits=swing. I believe the same thing went for Big Sandy & co.
the British rockabilly dudes, known as "Teddy Boys" have been a constant in england since the 50's. you still see Teds now. in 1972, the MC5 got booked to open for Chuck Berry at Wembley Stadium (the gig Viviene Westwood and Malcolm McLaren created the "Let it Rock" Little Richard T-shirt that Gary Oldman wears all thru 'sid and nancy" for...) and all the Teds there almost bottled them off stage b/c they thought they were hippie bullshit and they wanted to see chuck berry...
in 1976, right before punk, Charley Records, in one of their first releases (before they did soul music), had a huge hit (def top 40) re-releasing "Jungle Rock" a dope Chicago (?!?) rockabilly record by Hank Mizell. to this day, you can find copies of that pressing around london for peanuts...
realizing his age, Keb Darge's rockabilly fixation is no suprise whatsoever.. fuck, doesn't andrew weatherall of 2 lone swordsman do a rockabilly night at his local?
...which I always thought was slightly ironic, since the MC 5 were more of a throwback to pre-psych rock & roll than the average hippie band...but in a fairly subtle way that the Teds probably couldn't hear. A rootsier band like Commander Cody & his Lost Planet Airmen, Brownsville Station, NRBQ or the Flamin' Groovies probably would have gone over better with that kind of crowd. IF they could get past their long hair...
I forget where Mizell was from, but as best as I can tell he wasn't based out of Chicago (or was he?).
well if you have seen footage of said concert...one can understand why the Teddys were chucking their cans of Specail Brew at them...this was the era of MC5 tunes like "Gold"(far fuckin out space rock) also their appearance...Wayne was spraypainted silver, Tyner was covered in gold glitter and his afro was Angela Davis-big and here is a still of Fred from that concert:
so it is understandable why a bunch of slacked jawed dudes in DAs wanting to hear "Back in the USA" were kinda peeved at what they were presented with
It's coming back to me...I've heard about this incident several times, but was this shown in that MC 5 documentary?
in 1972, the MC5 got booked to open for Chuck Berry at Wembley Stadium... all the Teds there almost bottled them off stage b/c they thought they were hippie bullshit and they wanted to see chuck berry...
Thus proving that:
1) Brits aint going to listen to nothing outside their narrow collecting area.
2) Brits like rockabilly and those funk45 collectors aint really Brits.
3) Chuck Berry is better than the MC5 or rockabilly.
I'm going with 3. Was Yoko backing Chuck?
Thus proving that:
1) Brits aint going to listen to nothing outside their narrow collecting area.
2) Brits like rockabilly and those funk45 collectors aint really Brits.
3) Chuck Berry is better than the MC5 or rockabilly.
I'm going with 3. Was Yoko backing Chuck?
Well they weren't about to throw shit at Chuck Berry so who else were they gonna throw shit at? Don't overanalyze the Brits. Anyway, it's sometimes a sign that they are actually enjoying the show.
G-Unit!
Receiving some Brit love.
Well then, how do you explain Keb Darge's wide range of interests? He's British, isn't he? Or is he secretly American? Besides, like the song sez, you like what you like 'cause you like it...
But who was collecting funk singles 35 years ago? When they were still new?
Chuck Berry may as well BE rockabilly, since his music is more or less made from the same "blues-plus-country" recipe.
Those John Lennon B-sides she was on were funny as all hell, but I'm not fool enough to buy a whole Yoko Ono elpee.
You know I'm just playing. Yoko is a reference to the NAGL thread.
Oh, sure.
But have you ever played the B-side of John Lennon's "Power To The People"? That song ("Touch Me" by Yoko Ono) is comedy gold!!!
i just found that and it's great.
one side is is funk/fuzz/echo yelp and the other is rockabilly dub.
yes.
that was where re recorded out of.
http://www.rockabillyeurope.com/references/messages/hank_mizell.htm
Florida-born Bill Mizell was brought up by adoptive parents in Asheville, North Carolina. He served in the US Navy in World War II and took up singing after his discharge, moving to Montgomery, Alabama, where he sang on local radio, accompanying himself on acoustic guitar. A DJ there nicknamed him Hank, after C&W legend Hank Williams, and the name stuck. In 1956 he moved to Chicago where he formed a combo with guitarist Jim Bobo, bass player Eddie Boyd and drummer Bill Collins. They secured a residency at the Napoleon Lounge, a low-life redneck bar, playing there every night from Wednesday to Sunday.[/b]
In the autumn of 1958, Mizell and Bobo were approached by Gene Parsons, a local country vocalist who had set up his own record label, Eko Records. Parsons had converted his garage into a makeshift recording studio and it was here that Mizell and his band recorded the rockabilly novelty "Jungle Rock", as well as two other songs. Parsons achieved wonders with the limited technology at his disposal, conjuring up a thick, bottom heavy sound. The first pressings of "Jungle Rock" on Eko 506 wrongly credited Jim Bobo as both the writer and the artist, and Parsons had the single re-pressed with Mizell's name on the label. It was this pressing that got a favourable 3-star review in Billboard of November 10, 1958: "A persistent jungle blues item would make good swingin' dance fare. It's all about the jungle denizens doing the rock. Good sound and rhythm".
incidentally, that picture of Sonic Smith is priceless...
Things may have changed since I left Minneapolis in '96, but there used to be a thriving scene for Rockabilly and Roots music. It was a lot of wanna-be fonzies, but also a lot of hardcore, serious music heads too back then, but I imagine like a lot of scenes, people get older, go out less, and pack away their bowling shirts and pomade.
Same with the Ska scene there, hundreds of kids would turn out from nowhere to see 8th generation lame ska bands in the twin cities back in the day. Can't say I'm sad to hear that is no longer the case.
could be that maybe they aren't as visible here as they are in seattle where old cars aren't corroded by salt and people aren't covered in furry hood parkas 5 months out of the year. i'm sure things have changed here though. they've changed just in the 5 years i've been here...