#freak rock

[micks-music-blog]

Will Wood and the Tapeworms - Cotard's Solution (Anatta, Dukkha, Anicca) [SELF-iSH, 2016]

[savage-kult-of-gorthaur]

SPEAKING OF MOTHERS DAY -- GET A LOAD OF THESE CRAZY MOTHERS.

PIC INFO: Spotlight on behind-the-scenes from the cover photo shoot of "We're Only in it for the Money," the third studio full-length album by American rock band THE MOTHERS OF INVENTION, c. July 1967.

FUN/MOTHERS FACT: Unlike the stand-ins similar to "Sgt. Pepper," it’s in fact the real Jimi Hendrix that stood in between Frank and wife Gail (pregnant at the time with Moon Unit).

Source: https://twitter.com/zappa/status/1151749719070269440.

[arterrorist]

On „Mirror Man” Captain Beefheart with his Magic Band perform their raw, dirty and wild version of blues. It sounds like music from the gutter, which is just perfect.

[falsestuff]

Bobby Conn - Never get ahead (1997)

[micks-music-blog]

The Dresden Dolls - Coin-Operated Boy [The Dresden Dolls, 2004]

[savage-kult-of-gorthaur]

DEATHROCK IN THE EARLY '60s? PROTO-DEATHPUNK? HORROR PUNK? PROTO-MONSTER KIDS?

PIC INFO: Spotlight on a mysterious, skull-faced "proto-punk/garage/death rocker," East London, UK, c. 1963. 📸: Pic courtesy of Sam Knee of @asceneinbetween. ☠️ 🔊🎶🦇🕷🕸🇬🇧🎸😱💀

When the SCREAMING LORD SUTCH [AND THE SAVAGES] underground music scene of the early '60s hits you too hard -- this is what happens. Tastefully spooky stuff indeed!

Source: An old Facebook post of mine, and the source of this image has now been lost to the sands of time.

[savage-kult-of-gorthaur]

"FORGET ABOUT THE BROTHERLY AND OTHERLY LOVE, MOTHERLY LOVE IS JUST THE THING FOR YOU..."

PIC(S) INFO: "Who are the Brain Police?" -- Spotlight on a psyche girl unknown, holding up the debut double album by FRANK ZAPPA & THE MOTHERS OF INVENTIONS, location also unknown, c. 1966-'67? 📸: ❓

ALBUM INFO: "Freak Out!" is the debut studio album by American rock band FRANK ZAPPA & THE MOTHERS OF INVENTION, released in 1966 under the Verve label. Often cited as one of rock music's first concept albums, the album is a satirical expression of FZ's then perception of American pop culture."

-- ZAPPA FAMILY TRUST (official)

Sources: www.picuki.com/media/3325368113862820803 & X (formerly Twitter).

[savage-kult-of-gorthaur]

FOR FANS OF '50s ROCK 'N ROLL, '60s GARAGE, FREAK ROCK, HORROR ROCK, & BRITISH ROCK.

PIC(S) INFO: Spotlight on "Screaming Lord Sutch and the Savages," a CD compilation by rock 'n' roll band SCREAMING LORD SUTCH & THE SAVAGES, released under the EMI label in 1991.

OVERVIEW: "Screaming Lord Sutch was an original, at least as far as British rock & roll was concerned -- with the obvious exception of Screamin' Jay Hawkins, to whom he owed an obvious debt -- there was no one in rock & roll on either side of the Atlantic who took anything like the approach he did to the music, mixing completely out-there playing and singing with mostly strange, dark novelty tunes.

PART II: This collection, 18 tracks of which were produced by Joe Meek, show off the highlights of Sutch's five years on the EMI label, and feature accompaniment by Ritchie Blackmore, Nick Simper, Jimmy Page, Jeff Beck, Matthew Fisher, and Nicky Hopkins, all future luminaries in the rock world. And between all of those talents, this collection would naturally pull in listeners on the American side of the Atlantic by sheer force of gravitation, as it were.

PART III: As it turns out, however, the music is entertaining in its own right, and at its best offers a refreshing dose of straight-ahead rock & roll: "'Till the Following Night" and "Jack the Ripper" hold up well enough among the novelty tunes, while others, such as "Monster in Black Tights" (think of a Goth adaptation of "Venus in Blue Jeans") are good for a laugh and not too much else; "Purple People Eater," by contrast, is a punchy rendition of the Sheb Wooley tune, and it's followed by a raw (and '70s punk-speed) rendition of "Good Golly Miss Molly" that can stand in any collection, and "Don't You Just Know It" is just as good.

PART IV: They open the middle section of this collection, which is the strongest part, as it has all of the mainstream rock & roll. Among the treats is a surprisingly effective slow-tempo version of "Train Kept A-Rollin'" and a pounding, driving interpretation of Big Joe Turner's "Honey Hush" that has room for a honking sax and a delightfully weird guitar break. And Sutch's take on Johnny Otis' "Bye Bye Baby" is worth the price of admission, even if you don't know precisely who's playing that guitar break; odds are it's Jimmy Page.

PART V: Sutch's own "You Don't Care" also demonstrates that the man himself could help his cause creatively. The end of the disc is devoted to some '80s-era tracks that play off of Sutch's (by then) longtime fame in a somewhat more sophisticated manner than Meek‘s old productions did. These are very self-conscious but effective in a suitably theatrical manner, with several ex-Savages participating: "London Rocker" is a superb Little Richard-style song, while "Murder in the Graveyard" and "Loony Rock" play beautifully off of other sides of Sutch's persona.

PART VI/END: It's all a lot of fun and well worth tracking down as a profile of this singular figure in British rock & roll. And for a change, it's an actual EMI production: this is one that Colin Miles' See for Miles Records didn't have to do for them in order for it to come out right."

-- ALLMUSIC (review by Brian Eder)

Sources: www.bear-family.de/sutch-screaming-lord-screaming-lord-sutch-and-the-savages-cd.html & Allmusic.