Louisville, KY - Zanzabar, the nicest place to see a show in my opinion, small and intimate and newly renovated, a great rock club! http://www.facebook.com/#!/group.php?gid=228752600576&ref=ts

Hi, I’m from Belgium, Il lived in a small town called La Louvière, which is about 50 kilometers south of Brussels. In La Louvière there is a place called “Taverne du Théâtre » who organise a lot of rock and roll performances . I think you could play there. If you pass around here, here is the weblink of that place. www.myspace.com/latavernedutheatre See you soon maybe Denis from the new capitalists

Hey guys we are looking at putting a tour together and need to find out some places that would be good for us. So if you could reply with where you live and maybe just type a few places that might fit we could do the research we need to do from there. And I' don't care what country you are in cause we will get there soon. Thanks ahead of time.

ps i think that this might end up being a good little database of venues for garage/psych/surf/trash/rand/soul/rock bands.

cool eh?

cheers
patrick

Untamed Youth "Supercharged Steamroller" Norton Records

Cool ass combo

...Well they're all my buddies so I can tell them the truth to thier face --"You guys suck in the most remarkable way!"...(ixnayray almost had it right) Mina said:

because you weren't in it? :o

HA HA HA! They suck in the best possible way! Gringo Starr said:

Die Zorros - the best worst band of all time!

Die Zorros - the best worst band of all time!

Does anyone know where I can get this book? Amazon says its still unreleased, but it was supposed to be released 3/1/10???? Borders.com says its on back order.....
What the F?!!!!!

Hey thanks a lot for the help I'm gonna see if I can figure out the rest.

Not sure at all,but I wish this can help you at least. Lyrics I got a new got a new little girl and they call her Miss Christine well.... well she's got little wings like a baby and she's sweet like a candy doll well .... Chorus: I said Christine x2 Christina oh can't you hear me calling me your name ? I won't call you loud/around I'm just calling you nice and plain yeah she'd/she'll make a blind man dream I believe she'd/she'll make a lame man walk she'd/she'll make a deaf man hear I think she'd/she'll make a dumb man talk all right I said oh yeah x2 I'd rather have what she's got than to have all silver and gold her richest you know it can't be told Chorus all right let's go The Mean Mean Men said:

Awesome-O bro!!!!!!!
Thanks a bunch. Anyone else on the Oblivians song???? Cheers Dead Boy.

Awesome-O bro!!!!!!!

Thanks a bunch.

Anyone else on the Oblivians song????

Cheers Dead Boy.

Here're the lyrics of both Mummies songs. "Jezebel" is a cover version. Jezebel If ever the devil was born, Without a pair of horns It was you, Jezebel, it was you. If ever an angel fell, Jezebel, It was you. Jezebel, it was you. If ever a pair of eyes, Promised paradise. Deceiving me, grieving me, Leavin' me blue. Jezebel, it was you. If ever the devil's plan, Was made to torment man, It was you, Jezebel, it was you. 'Twould be better I had I never known, A lover such as you. Forsaking dreams and all, For the siren call of your arms. Like a demon, love possessed me, You obsessed me constantly. What evil star is mine, That my fate's design, Should be Jezebel? If ever a pair of eyes, Promised paradise. Deceiving me, grieving me, Leavin' me blue. Jezebel, it was you. If ever the devil's plan, Was made to torment man, It was you, Night an' day, every way. Oh, Jezebel, Jezebel, Jezebel. Sooprize Package for Mr. Mineo I was walking with a friend of mine Doing nothing just a passin' time Got a notion that'll do you good Eat a pizza down in hollywood In the alley behind the laundromat Stab the motherfucker in the back! Marlon Brando & Jimmy Dean Stupid clowns didn't mean a thing I don't really care if he was gay, was he cuter than Doris Day With his shoes and his tailored slacks Stab the motherfucker in the back!

Ok so typically if I want to do someones song I either have no trouble finding the lyrics, I make up the lyrics as I go, or I go back to a tool of my youth-play,pause,play,pause, until I write them down. But there are a couple songs that I want to do and have not much of an idea so maybe ya'll here can help.

The Oblivians-Christina
The Mummies-Jezebel and Sooprize Package for Mr. Mineo

Tomorrow I try and play,pause,play,pause...

So see if you can help thanks ahead of time either way.

A Mean Mean Person

I see Buddy Holly as the true grandfather of Folk rock and alt country. Back in the 50s, POP was Frankie Avalon and Paul Anka which Buddy Holly pretty much bought into when he started recording Anka written material like "It Doesn't Matter Anymore". Nice song bout nothing POWER-ful about it. I mentioned "The Magic Touch" only because it sounded like an ATTEMPT at Power Pop and "Let Her Dance" has a modern edge to it but most of his stuff is Rock and Roll, pure and simple. troggy said:

Rockin Rod Strychnine said:

Bobby Fuller? Really?

I have that excellent double disc set by Munster of his complete Mustang recordings but I really don't see his stuff (Let Her Dance, The Magic Touch) as POWER pop.

troggy said:

Bobby Fuller.

You don't think "The Magic Touch" is power pop? He's right out of the Buddy Holly school and Buddy Holly is pretty much the grandfather of power pop.

Rockin Rod Strychnine said:

Bobby Fuller? Really?

I have that excellent double disc set by Munster of his complete Mustang recordings but I really don't see his stuff (Let Her Dance, The Magic Touch) as POWER pop.

troggy said:

Bobby Fuller.

Yes,I like all those little valve-heads as Tiny terror,Night train,Marshall haze,Epiphone,it seems the last moment trend,but I think it might be better than having just one amp.For live playing,a 30 w is more than enough.Once I had a Marshal 100w 4x12" and I never run it more than 3 volume level! Wasted. So I'd like to get one good cabinet,a 2x12" but having different kinds of mini-heads to stock. High Lord Mardy Pune said:

I'm using a Fender Blues De-Ville circa 1996 for live playing, I run a two by 12 J-Bin under it. When I'm at home I've got a Epiphone Valve Jnr. Great lil amp for the bucks.

I'm using a Fender Blues De-Ville circa 1996 for live playing, I run a two by 12 J-Bin under it. When I'm at home I've got a Epiphone Valve Jnr. Great lil amp for the bucks.

Plimfan I am! Got my copy on pre-order my local shop. Can't wait!

A version of this was published in The Santa Fe New Mexican
March 5, 2010

The Plimsouls are one of those rock ’n’ roll bands that never quite achieved mega-success at the commercial level. But nearly 30 years after they broke up, their adherents claim that they were one of the most vital groups of all time.

Those who believe that — and I’m one who has slowly been drifting to that conclusion — have some fresh new evidence for that argument, a newly released concert album titled Live! Beg, Borrow & Steal. Recorded Halloween night in 1981 at the Whiskey a Go Go in Los Angeles, it captures the band at the height of their considerable powers.

So who were these guys?

The Plimsouls were a quartet led by singer Peter Case, who had previously played with a punk-rock unit called The Nerves. (And before that, he was a street busker in San Francisco, where, Case told me several years ago, none other than Dan Hicks used to harass and harangue him as he tried to sing for tips on the streets of North Beach.) Case has since gone on to establish himself as a respected singer/songwriter and contemporary folk singer.

In the fertile L.A. punk/New Wave scene of the late ’70s and early ’80s, The Plimsouls became major contenders. With Eddie Muñoz on guitar, Dave Pahoa on bass, and drummer Louie Ramirez, the Plims created a sound with the chaotic energy of punk rock but featuring hook-heavy melodies with nods to mid-’60s folk-rock and soul (their first EP, 1980’s Zero Hour, had a cover of Otis Reddings’ “I Can’t Turn You Loose”). Rodney Bingenheimer championed their signature tune “A Million Miles Away” on his KROQ radio show (the song was later included in the cinematic classic Valley Girl). And somehow it got tagged with the label “power pop” — which might put off some potential listeners wary of anything pop.

After their maiden album on the independent Planet Records, the Plimsouls got snatched up by Geffen Records. Their one-and-only major-label outing, Everywhere at Once, contained some of their classic songs. But I found it way overproduced in a glitzy, ’80s kind of way.

The band broke up soon after the release of Everywhere at Once. Case was becoming more and more interested in his folk and blues roots and less and less enthralled at the prospect of leading a rock band.

Every decade or so, The Plimsouls reunite. They recorded an album of new songs in the mid-1990s — the criminally neglected Kool Trash. Though I never got to see them in the ’80s, I’ve been fortunate to see them in 1996 and 2006 at the South by Southwest Festival. The latter show was held in perhaps the most jam-packed bar I’ve ever been in. Both shows are among the most high-charged and energetic I’ve ever seen.

For my money, the best Plimsouls albums are the live ones — this new record, and 1988’s excellent One Night in America. While listening to their albums is not the same as seeing them live, you still can hear the sweat.

If you’re a Plimfan, chances are your favorite song by the group is on Live! Beg, Borrow & Steal. “Million Miles” is here, of course, as well as perhaps the finest version of “Zero Hour” I’ve ever heard and a not-too-shabby “Lost Time.” The set starts out with “Hush Hush” and moves straight to “Shaky City,” which sounds like some unknown old Yardbirds tune mutated with some unexpected chord changes.

One of the standouts is “I Want You Back.” No, it’s not the Jackson 5 hit. It’s a Case original and perhaps as closes to rockabilly as the Plimsouls ever sounded.

In addition to their original tunes, the Plimsouls honor their forefathers with several hopped-up covers of early rock ’n’ roll classics. Bo Diddley’s “Who Do You Love” sneaks in on a medley. The group pays tribute to the early L.A. Chicano rockers Thee Midnighters with a frenzied take on “Jump, Jive, and Harmonize.” There’s Larry Williams’ “Dizzy Miss Lizzy,” which was most famously done by the Beatles (this one also appeared on One Night in America).

And there’s a real treat. The Plimsouls are joined by The Fleshtones, who apparently were the opening act that night, on spirited covers of Gary “U.S.” Bonds’ “New Orleans” and Little Richards’ “Hey Hey Hey.” There’s an uncredited sax player who seems to come out of nowhere on “New Orleans.” Is it the late Gordon Spaeth, who frequently played with The Fleshtones? I hope this live album will spark enough interest to bring about a new Plimsouls reunion. This music is timeless and welcome in any decade.

Check out The Plimsouls at Alive Records. And there are songs and videos at their MySpace page, even though nobody’s updated the site in two or three years.

Boots box set...3 or 4 LP's by The Boots and have never seen it since.

There's lots of others, but i can't think of them right now.

We've all had that record(s) we saw and didn't buy, only to regret it later.  What were some of your greatest misses?

Here's a few of mine:

The Monks- Black Monk Time
This Is Boston, Not LA (hardcore comp)

Those prices are amazing. Looks like the vintage Japanese price bubble has burst.