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ts well hello all you psychoca . t grea we've got another , or issue f you, full of news , , , reviews and typoes tipos . , tiepoes typos over the summer we plan to t ve gi you more tiki nights a the St James Tavern, bigger , t Stay sicks a the blind tiger our record label launch t a the green door store y), a full radio (probabl , show djing the playgroup val and much more!!! esti f
stay sick! turn blue! Chris & Neil Sick
TopIn10 Elvis records you’ve never heard of... amo
ngst the terrible movie vis did there are some gems Famous remixes of soundtracks El . “Li e Less Conversa n” and ttl tio “Rubberneckin’” have shown tha there is still li in t ve quiff corpse yet the old ed
1. A BIg Hunk o’ LovE – rev piano rock ‘n’ roll wi kilved up th ler twangy geetar from Hank gar land (i was the t first session tha did not inc t lud gui ist Scotty Moore and bas e tar sist Bill Black) 2. I goT STung – huh huh huh yeah, fast paced bopper b-side to “one night” from ‘58 3. FEvER – sul , smoulderi try of the Li e Willie John trang version ttl reeeeal cooooool fingerclicksck, full of . Like so…far… out!! 4. WITCHCRAFT – wri n by tte Dav and originall released by Thee Bartholomew y . El vis sticks a bossa nova bea Spiders t to the verse 5. BoSSA novA BABy – grea t Lei 1963’s “ Fun in Acapulco” souber & Stoller dancer from the ndtrack. 6. Long-LEggED gIRL (wi th the version ra r than the studio Short Dress on) – the movie the one- wonky 7. Spinout- ti tle track from EP’s 27th Albintro um, this songs have more incongruous motor innuendoes than you can sha a gearstick a ke t! 8. Do THE CLAM – f a man or ood thi clear y has another meaning who didn’t like seaf l (nudge dge wink, wink). s ,nu , This Bongo-based di tty was la ter their ’87 li album RockinnRe covered by The Cramps on ve elininAucklandnewZealandXXX 9. guITAR MAn – check out the funked up version from the black lea r jumpsui the ted ’68 comeback special 10. DIRTy RTy FEELIng- Fro ,DI "Ti " has some of the creepiest l m the Movies ckle Me this yrics El vis ever sung hidden in ji ’ li e track. More of vin ttl a rap hear you’re pretty good a run e song than a love song “I t ning / but pretty going to fall / tha t’s when I’ll drag you hom soon your e wi me gir th / and chain you to the wall” l Fri tzl would be proud of him!
ee Oh Sees Th
(you gotta love ‘em). Downstairs May 2012 t 26th has been at the Hydran revamped to become one of the By Chris Sick best medium sized venue in town. The sound is amazing and a broken Last May (2011), the Stay Sick unholy urinal (an essential for any proper trinity (me, Greg & Neil) put on these San punk venue), reminiscent of the old Fran alt garage punks and it was the best Hobgoblin. gig of the year. So we were so pleased to hear they were comin’ back for more. If First on the bill, you haven’t seen them, then this review will give them no justice… like Frank Zappa said “Talking about music is like dancing about architecture” SO GO SEE (Aussie garage rock’n’roll scientists) THIS BAND!!! has a slightly lighter touch than fellow Aussie punks as Radio Birdman and This was one of only two UK shows on The Saints, but with no less conviction. their 31-date European Tour and people They remind me of the bands I grew travelled far and wide. This included a up watching in the late 90s/ early 00s. baguette of Frenchmen from Cologne, an Back then, kids, it was called Indie, achtung of Germans (I think those are the before indie became a by-word for collective nouns?!?). The Hydrant had been drippy, floppy haired wank. And I’m double booked, so we were downstairs not talking about Oasis, Blur and and the UK Subs were upstairs. Cue a Coldplay, I’m yakkin’ ‘bout homegrown hundred beer-bellied, middle age punks (and largely unknown) bands like with balding mohicans and missing teeth Crashland, My Vitriol, JJ72, Ikara
Colt, Reuben & King Adora. With songs hewn from rock and hooks that lure you into this world 60s psych pop and pounding Indie Punk Rock, this band played a solid set.
Deadbeat Descendant, named
this holy band. Then a random fist to the face, a crowd surfer’s foot to the back of the head, launching me, eyeball first, straight at the kick drum mic stand. Bang! The sacrifice is made. The rest is a blur; I leave for the sidelines, blinded in one eye. But was it worth a scratched cornea, 2 hours in A&E and 2 days sat in the dark with my eyes shut? Oh Yeah!
after a Fall song, so you know where their coming from. Post-punk this gang of four consist of tight angular guitar playing razorblade riffs, stompin’ kraut rock drums, thumpin’ Stooges bass, Fallen spoken vocals, add a touch of Bauhaus and a Roxy/Iggy mince, all pumped up to boiling point. Sweat dripping off the ceiling as more and more of crowd piled in. The Deadbeats played like a nuclear holocaust as they fired off an arsenal of incendiary songs from their new album “Calibrate Now!”
Casualty Chris’s Sick Scale
Over the years I have managed to succumb to a number of rock’n’roll (and some not so r’n’r) injuries in the name of music. 1. SCRATCHING MY BALLS at thee Oh “eye” Sees- an accidental punch in the face from a fellow mosher with a skull ring on, leaves me with a scarred eyeball- 2h at A&E, 2 days in the dark with my eyes shut, no tv, no alcohol. 2. IGGY POPPED MY ‘ROIDS- after a case of the farmer, I ended up bleeding through my skinny black jeans for 4 days after a rather rough bout of moshing to the Stooges’ Raw Power Tour. 6h at A&E, shitting blood for a week. 3. WAx SPINNER- after a night of boozing and Djing, I blew out a candle that ignited from my alcohol-heavy breath, creating a disco inferno leaving me with boiling hot wax all over my face. 8h in A&E (because apparently you have to be sober to be treated) no eyebrows and a face like a boiled ham. 4. DEAFEN IN THE MOONLIGHT- after crashing a student ball in Bournemouth (don’t ask!), I got rather drunk and passed out with my ear next to the PA speaker whilst Toploader played their soporificly dull music. 2 days Tinitus and the rest of my life deaf in one ear. 5. BLEEDING IDIOT - When I was a guitarist in a band many moons ago, I once tried to play without a plectrum cos I thought it was cooler and more authentic. I ended up with bloody fingers, black nails, a bloody scratchplate, and the blood had even sprayed all over my pale jeans, right in the crotch. Not a sexy look when you are trying to pick up girls after a gig. 1 week of plasters all over my fingers, and no girls. So let that be a lesson to all you kids out there.
And finally, took to the small stage. Everyone held their breath. John Dwyer’s child like singing, peppered with tourettes-style yelps, pulling faces as if possessed by the spirit of 60s garage. But this was new and original, not another band trying to sound revivalist. This had elements of the Pixies and Sonic Youth. With a driving hypnotic rhythm section, the crowd enthralled by the bands every move. This was more like a cult gathering before a sacrifice. Blistering melodies float over the congregation like apocalyptic hymns as the sweaty steam fills the room. I push my way to the front in awe of
Thee Oh Sees
Crashland, My Vitriol, JJ72, Ikara photos by Colt, Reuben & King Adora.Greg Sick With songs hewn from rock and hooks that lure you into this world 60s psych pop and pounding Indie Punk Rock, this band played a solid set. Next
after a Fall song, so you know where
Deadbeat Descendant, named
Barry Gray – No Strings Attached.
Barry Gray is probably best known for his work on soundtracks during the 1960s with Gerry Anderson, creator of
Thunderbirds, Stingray, Captain Scarlet and the Mysterons and Joe 90.
own house. The rooms were lined with egg boxes for sound proofing and Gray would record each set of musicians (brass/ woodwind etc.) separately during the course of a day, overlaying these together and then mixing them as one whole song post-production. His first score with Anderson was The Adventures of Twizzle (1956), followed by the show Torchy The Battery Boy (1958). The next production was Four Feather Falls (1958), a Western-themed puppet show, of which Gray was writer of the pilot episode. But it was Gray’s later output in the 1960s that would put him on the musical map. He wrote the majority of his most famous themes during this period: Supercar (1960), Fireball XL5 (1962), Stingray (1963), Thunderbirds (1965) and its feature film Thunderbirds Are Go! (1966), Captain Scarlet and The Mysterons (1967), Joe 90 (1968) and The Secret Service (also 1968). The themes we now know and love went through various mutations before they were chosen for the show. The
Following the wartime stint in the RAF, Gray worked on projects for the BBC and with such artists as Vera Lynn, Eartha Kitt and Hoagy Carmichael. In 1957, Gray teamed up with legendary Producer Gerry Anderson where he began writing music for his production company AP Films – later r e n a m e d Century 21 Productions recording the scores in his
end credits theme was a pop-vocal arrangement. Captain Scarlet had Gray experimenting with vocals through one of his many early synthesisers, before recording it with the aptly-named group “Spectrum”. The guitar was twanged by none riff in other than Vic Flick, guitarist on the original James Bond Theme in Dr No (1962). His “Musieffects” as he dubbed them, were maybe the first journeys with sound effects using primitive electronic synthesisers. A
Dr Who and The Daleks and its
pioneer of sci-fi noises, including
Daleks’ Invasion Earth 2050 AD, Gray supplied the
sound effects for these movies such as Dr Who’s TARDIS, and the Daleks’ spaceship. Leitmotifs occurred frequently throughout the shows he worked on: a particular theme assigned to each of the Thunderbirds’ machines, or characters such as the moody music associated with Scarlet’s nemesis, the evil Mysteron agent Captain Black. Gray was an avid collector of the early versions of the modern day synthesiser. His love for sonic experimentation using - at the time – this relatively new technology in electronic music, as well as his overlaying of tracks DIY style in his own home has led to his influencing many sound engineers, music samplers and special effects wizards today. The themes are timeless, incorporating full orchestras with groovy vocals, twangin’ guitars and far-out space age effects. A special concert to celebrate the centenary of his birth was held in 2008 and there is currently an restoration of the full Barry Gray archive underway.
by Oli Lane
A Study in
The debut self-release (Vengeance 666, 1978) from the Cramps highlighted their obsession with vinyl. A brave choice of two covers: one showing off their rockabilly roots; the other a novelty hit for the Trashmen, itself a Frankenstein mash-up of two Rivingtons songs (“Papa Oom Mow Mow” and “The Bird’s the Word”), just proving the historical ancestry of rock ‘n’ roll. It shows the Cramps could steal and assimilate other people’s songs and present them as their own, stripped back to the bare bones. Even removing bass from the usual line up. This was in fact an accidental twist of fate when
lesson 1. ”Papa Oom Mow Mow” Bryan Gregory bought a guitar and Lux and Ivy didn’t have the heart to tell him he was pencilled in for playing bass.
was a vicious prod at the bloated carcass of pretentious Prog and the Stadium Rock that had lost its Roll along time ago. And a dangerous attack on the bland MOR of the US charts. Musicians had retreated into the safety of the studios to produce “art” and The Cramps wanted to get back to the days of the one-take live performances of the Sun and Chess Studio days. This stripped back R’n’R expressed the fun of Frat Garage and reintroduced the primitive that Chuck Berry and Bo Diddley pioneered in pop music. It inspired fellow CBGBers, The Ramones to record a version. The meaningless howls and screams pour out of Lux Interior like a possessed animal spewing junk tourettes, showing the raw, unrestrained power of the music over the cerebral Prog of the time. Punk – 1 Prog - 0 The song climaxes with a mess of guitars and orgasmic cries, with Nick Knox pounding out a tight hypnotic rhythm.
was a cover of Jack Scott’s single that reached 35 in the US charts in 1959 (on Carlton Records). The original is a little tame rockabilly track that the Cramps transform into a visceral “FUCK YOU” to mainstream society and a celebration of individualism. They discard of the barbershop backing vocals and replace it with Ivy’s screams. They also put more emphasise on illicit sexual urges than the Jack Scott would ever admit to. 6000 copies were made with handscreenprinted covers and the single became a minor hit with college radio stations. The Cramps manage to show that their music is teenage rock ‘n’ roll, full of angst and childish energy set to a primitive soundtrack. They also provided the template a new genre of music that they would later estrange themselves from: PSYCHOBILLY
“The Way I Walk”
If you want to live, you must die!!!
a punk noir cal
Innocent b l o o d
sick: my name's chris der Framed for a mur girl a I didn't commit, turns lled Ivy who periodi- ca t to be alive and ou er kicking ass. Aft and knocked out in, I stuffed in a coff of by get broken out Ivy. none other than ed Then being attack in a graveyard by es a bunch of zombi stop (don't ask!) who after the sinister chbell. Then peel of the chur sts with guns s. Now some ninja prie sh me unconsciou in a truck and ba rock up . in on with the show like a hangover with a sore head I woke up t of bongos for il's got a new se Hell, and the Dev
Christmas. I looked round and saw Ivy, gagged and bound like a fetish video. We managed to pull each other's gags of with our hands still tied behind our backs. "What the hell is happ'nin round here? I've been knocked out twice, gassed and buried alive, then attacked by zombies! And how come you're alive?? Last time I saw you, you were covered in blood and deader than toad with a brick up its ass!" I whispered gruffly like I'd been doing shots of sand, with a gravel chaser. "It's a long story" "Well I don't think we got much time, sweet lips, give me the crib notes." "On the night we met I was followed home by something in the shadows. After a bottle of bourbon you passed out on my sofa and I went to bed. Suddenly I woke up with a dozen dark
figures gnawing at my flesh, I was in a daze and slowly dying, being drained drier than a nuns nasty. I was powerless, my body screaming with a muffled pain that consumed me, then nothing. I awoke, shaking like a shitting dog, in a body bag. I was in a metal tube, colder than Christmas and smelt of death and bleach. I pushed hard above my head, and the drawer I lay on moved. Florescent light streamed in and I was blinded as I fell to the hard floor. I slowly opened my eyes and saw I was in a morgue, and looking down I saw a huge Y-shaped scar across my chest. Some fucking med. Student had done an autopsy on me whilst I was still alive!!! Then the craving started. The first time you crave blood is the worst. It's not addiction, its necessity. You either do it or you die. You don't feel like "you" until you've had a cup of crimson. It starts of a dull thumping pang in the pit of your stomach, and then shoots up to your head like black
needles. Your body throbs with nausea. Your dry mouth starts drooling a metallic tasting sputum and you start sweating a cold grease. Muscles start to twitch and you feel itches like a thousand crabs crawling over you. Instinctively, I opened up a draw and sunk my teeth into the black bodybag, piercing it with my canines, drinking deep. Its harder to feed when their dead. No warm heart pumping the blood through the veins. I had to chew a bit to get enough to sate my hunger. I pulled away, disgusted. What had come over me? I unzipped the bag only to discover I had mauled to face of a little girl. Blonde pigtails covered in sticky burgundy plasma. I threw up. As I looked down I noticed the autopsy scars had almost disappeared, just a red scratch was left. What the fuck was I? And where could I go?"
Will Chris Sick and Ivy Escape the evil clutches of the mysterious ninja priest? what has ivy Become? who's controlling the zombies? find out next time...
FoR all you Rs, RockERs, RollE s, 60s 50s thRowback s, GaRaGE ZombiE E black poison ivys, th t clad, lEathER JackE ddicts, punks, vinyl a Gys pool shaRks, iG and shakERs !!!
chec k o
t a y on iTunes w ut the S
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