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One Man's Garbage [Import allemand] Import
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Description du produit
Jetez également un coup Vol.2 (DEC 356) / Vinyl versions disponibles (NR 355/356)
I Saw Her First - BRUCE AND JERRY
LAte Late Show - PATTERNS
Bodacious - U.S.ROCKETS
This IS Paradise - RITUALS
Big Fat Alaskan - DONNIE & OUTCASTS
Charge - RENEGADES
The Rebel - PLAYERS
Daybreaker - KIM & SKIPPERS
The Yo Yo Song - MO AND JO
Inferno - JOHNNY C & BLAZERS
Music Is The Magic - FOWLEY, Kim
Moccasin - BLUE BELLS
Dedication Time - ALTHEA & MEMORIES
Underground Lady - FOWLEY, Kim
Surf Pigs - FOWLEY, Kim & MARS BONFIRE
Worst Record Ever Made - ALTHEA & MEMORIES
Commentaires client les plus utiles sur Amazon.com
"Responsible" in the sense that only the mind and sensibility, or perhaps vision, of Kim Fowley could have brought most of these creations into existence. I could have said, "Only someone like a Kim Fowley could have..." But that would be assuming that there's "another Kim Fowley type" out there in the music world, and I really don't believe there is. Fowley is unique.
At this juncture of the 21st Century (and what a dreary century it's been thus far) there is no one like him. There MAY HAVE BEEN others like him--in the last century, in decades long past--but Fowley has outlasted them all. There are a lot of guys who have radio programs (for instance), but there's only one Howard Stern. There have been a lot of guys who've had careers producing records. But there's only one Kim Fowley.
Yes, he's still here. Some people, his detractors (I've met a few myself), are bothered by that fact. Too bad. When someone (namely Fowley) has a touch of greatness, and it's not easily perceived or understood how that someone does what he does, you are typically NOT universally loved. Some people (usually the natural-born haters) will despise you for getting over, and will try like hell to tear you down. Not that Fowley is an angel--by no means. There are times in his life and career when he's been a very bad boy. He would admit to that. He might even say he's sorry. "Regrets, I've had a few..."
Thank goodness Fowley has never been thin-skinned, and that he's still around. "Don't let the bastards grind you down..." Fowley could have written that line, long before Bono came up with it for a U2 song. His radio program (part of the weekend lineup of "Little Steven's Underground Garage") is the most readily-available evidence of his brilliant mind and impeccable musical taste. Quite simply, Kim Fowley may very well be--in addition to being a walking encyclopedia of rock 'n' roll--the most intelligent, most insightful person in the music industry, as well as one of the funniest.
"I'm the one-hit wonder who stretched it for a long, long time," Fowley says. He was referring to a record he produced at the start of his career called "Alley-Oop," which was a hit before anyone in America had ever heard of The Beatles.
"One Man's Garbage" (Volume One) and "Another Man's Gold" (Volume Two) are a pair of discs full of Fowley recordings that came out before and after "Alley-Oop," when Fowley was in his twenties, running amok in Los Angeles, where he still lives (once again, for now, until he decides to leave his hometown once more for parts unknown). "Garbage" and "Gold" were compiled by Miriam Linna and Billy Miller, with total input and cooperation from Fowley himself, 16 songs on each disc. If you dig Fowley, there's no point in choosing one collection over the other, because both are fascinating documents of 1960s "B-movie rock 'n' roll."
Sure, many of these tracks are SO obscure it's a cinch you've never heard (or heard of) them, but you will want to. You will also want to read Fowley's eye-opening and hilarious liner notes, as well as Linna's and Miller's explanations of why Fowley's work from that era (1959 to 1969) still matters, and what it is about Fowley, and what he makes and puts out for public consumption, that hooks them (and us).
Yes, Brian Wilson is a musical genius (or at least once was, in the '60s), and the tragic Phil Spector also a genius of pop and rock 'n' roll in the '59-'69 time period (to name only two of Fowley's Hollywood contemporaries who probably always knew he deserved more recognition than he ever got back then). But Kim Fowley, too, had a measure of genius, which reveals itself in some of these creations. It was genius on a shoe-string budget.
Fowley talks about "scrap tracks" that he used to make some of these records. He explains that and then, if you think about it for a minute, you realize how brilliant he must have been on the basic level of practicality, constantly improvising, making deals with people based on little more than his engaging personality and the ability to talk people into helping him. A hustler? Sure, but he HAD to be, in order to compensate for the fact that he lacked the superior musical gifts that elevated Spector and Wilson.
Scrap tracks were (in some instances) instrumental recordings, beds, that were left over from other recording sessions--at studios such as Gold Star, where Spector made his classics--and were then tossed out by the producers of those sessions. Oftentimes, the recording engineers would simply erase these recordings, so that the tape could be re-used.
Fowley was friendly with various recording engineers, and would ask if he could use this or that existing track (at no charge, of course--the musicians had already been paid) before it got erased. The answer was often, "Yeah, go ahead." Fowley would then book studio time, bring in a singer, or group of singers, write some lyrics and come up with a melody, and use that discarded track as the foundation for his record.
Sometimes Fowley was the singer as well as the songwriter (as on "Daybreaker," "Music Is The Magic" or "Underground Lady"), sometimes he had a girl-group discovery such as Althea and the Memories.
But Fowley didn't always make records from "scraps." Sometimes they were made from whole cloth--when he had some money on hand to produce a record the more conventional way, with real musicians, live in the studio. Needless to say, these were never grandiose, Spector-like productions.
Fowley productions were garage-band in nature, "garage rock" ("garbage rock"?) being a genre he helped to originate--another reason why he is perfectly situated as a "radio actor" on Little Steven's Underground Garage. The Renegades and the U.S. Rockets are more in that category (several tracks from each), as well as the demo-like (one guitar) "Surf Pigs," Fowley's collaboration with Mars Bonfire (the guy who wrote Steppenwolf's immortal "Born To Be Wild").
The Renegades included the late, great Nik Venet, who also was to become a noted record producer, got The Beach Boys signed to Capitol Records and ushered them into the big time. A later member of The Beach Boys (and early Fowley associate), Bruce Johnston, is also represented on these compilations: "I Saw Her First" on "Garbage" and as the co-writer of the Rituals track "Gone" on "Gold".
Fowley also tells it like it is (or was): not everything he touched smacked of genius. He could cheerfully put out a record called "Worst Record Ever Made" (well, after all, it DID end up on "One Man's Garbage"), and he even acknowledges that the track "Bounty Hunter," credited to Donnie and the Outcasts, is nothing short of "horrible." Linna and Miller had their own rationale for wanting it included. "Donnie...didn't make any more records," Fowley notes. "He wasn't allowed to."
But, enough said. These two discs hold many delights, of one sort or another--even if you were, or still are, largely unfamiliar with Kim Fowley's work. Here's an ideal way, whether sifting through piles of garbage or nuggets of gold, to familiarize oneself further with the furtive but always fun Fowley.
Kim Fowley produced a ton of records during his career and this LP is an attempt to coral some of the more peculiar ones together. Even a devout fan of trash like myself would have to say that around ¼ of the tracks are too formulaic to hold any interest. However, there is at least one track here that EVERYONE should hear before they die - "Big Fat Alaskan" by Donnie & The Outcasts. This is one of the most magnificent examples of DIY Rock `n' Roll ever recorded! The lyrics are ultra-idiotic. In fact, they are so stupid that they make the Ramones "I Don't Care" seem like the work of literary PhDs. To me, this moronic record is EXACTLY what Rock `n' Roll is or should be. It shouldn't reside in a hall of fame and it shouldn't be fawned over as precious works of art. It's throwaway, disposable junk just like those Bazooka Joe cartoons that we used to get with the bubblegum. The lack of pretentiousness and immaturity is its appeal and this track, along with several others on this record, brutally rams home that aesthetic in a way that the square world of Modern Rock would barely comprehend.
Hope Vol II is equally stupid.