Hermann's Corner - Dance music

 

A: Hey Hermann, how are you?

H: Very well, thanks Anders. I'm going to a dance tonight!

A: Nice! So you are to have with you a date then I presume?

H: Yes I do! She's called Bettie! Bettie Page!!

A: Yeah right! Perhaps with the help of chloroform and duck tape.

H: Well.... <coughs> Anyway I have my best uniform pressed and my finest shoes polished.

A: You're quite a fashion slave ain't you?

H: Well, my former boss was quite dedicated in terms of fashion, so I guess it grew on me.

A: Grew on you.. you can say that twice.

H: Hold on..

<Hermann takes a zip of a huge glass having an umbrella close to full size in it>

H: You wanna hear what songs we'll be twisting and shaking to at the Palomba Ballroom?

A: I'd love to!!

H: Well here goes..

Some of the wildest dancers came from the so called dead years of rock'n roll(1959-1962) up to around 1965 in USA. In the period of 1959-1962 rock music hardly made the charts in the US, at least compared to the years before and after. Elvis who had shaked his hips from the mid 50's came back from the army as a tamed lion, Chuck Berry was in jail and Jerry Lee Lewis lost popularity due to other than musical reasons. They were replaced in the charts by Johnny Horton, Bobby Darin, Bobby Vinton and so on.. Times were different in the UK too where Buddy Holly had enjoyed some good chart-time, but he would sadly die in a plane crash in early 1959. In 1963 the tides would change back again in USA as The Beach Boys would have a smash hit with Surfin' U.S.A. and The Ronettes with "Be My Baby", while the Beatles would follow up the next year.



Compare the top 100 of 1961 to today and you would find 1961 to be flooded with rockers in comparison. Although to say that rock are dead today would be a bold statement. Especially within the 60's revival genre there are a lot of promise, but the best rockers are somewhat hidden underground.. Good rockers you have to search for, as they are not served in your lap as they used to be in the 60's, unless of course you have access to some cool "retro" student radio-stations or garage-influenced fanzines. I believe there are many similarities between the now and 1959-1962 as there are some very cool rockers that exists, but they're all well under the commercial radar.


Looking behind the hits for 1959-1962 however, some fine music would be released. To mention a few: Jack Hammer("The Wiggle", "Wiggling Fool"), The Wailers("Tall Cool One", "The Fabulous Wailers" lp), The Moontrekkers("Night Of The Vampire"), Jody Reynholds & The Storms("Thunder", "Black Tarantula").. I could go on, but the finest years for rockers that could compete in out-twisting Little Richards(Not to forget his killer backing band, The Upsetters) did mainly come a few years later(Except perhaps The Wailers).

The rockabilly mania had not been laid to dead completely in the 60's even if the charts could suggest so. The style was hardly commercial anymore, but a few artists wouldn't care about such and would swear to the basics of rockabilly, although adding an extra fierce approach. Some of the best(and wildest) would have to be Hasil Adkins, Morty Shann & The Morticans and The Phantom("Love Me").



As a side note(but a very important one) Bill Rose's "The Stripper" would have good success in 1962 creating a minor boom for strip-related(basically music that you could picture Bettie Page dancing to) songs. And thus would help to influence some very interesting music like The Genteels' "Take It Off" that same year. Later around 1964 some very fun songs would apply to the sleazy gimmick like The Hollywood Hurricanes("Beaver Shot") and James "Red" Holloway("Ala Carte"). I would also recommend you to check out The Jesters who did an excellent cover of the "Peter Gunn Theme" called "Peter Gunn Twist" having some of the fiercest organ pounding I've ever heard. And of course anything with Bob Vidone(who I will try to come back to later) with or without The Rhythm Rockers.

If you want the wildest rockers you have to mainly look to the years 1964-1965, as the combination of rhythm & blues, punk and the outlawness of rockabilly would become an explosive one. No matter influences from styles, one thing was for sure.. You could never underestimate the influence of The Thrashmen's Surfin' Bird.. the wackiest hit ever produced.

Mad Mike & The Maniacs - The Hunch(1961)

Mad Mike & The Maniacs couldn't have chosen a better name. Only one single - a very obscure one, until it's revival on 80's garage compilation records - would ever be released. To be honest I don't know much more about this band other than that they were located in New York City, probably on Long Island.
The single was released on the unlikely year of 1961, seemingly out of nowhere. It's really hard to compare this song to anything, except to perhaps some of the craziest garage-songs appearing half a decade later. If anything it's a mental take on "The Twist" with a noise-level on par with the craziest material from Velvet Underground, but totally stripped of any progressive approach. The song's tight sound punches you right in your gut and never let's go, while the melody feels like it's leaning on 1 entire chord.
Have a listen!

The b-side "Quarter To Four" is an excellent surf instrumental with occasional shouting and noises, followed by a brilliant, screaming, dirty sax. A very cool song worth checking out if you can find it.

"Quarter To Four - HUNCH 345 - Rocking instrumental side with standout sax solo work and an infectious hard-driving tempo that builds. It's patterned much on the idea of the current "Quarter To Three" but without a vocal".

Mad Mike & The Maniacs discography:

The Hunch / Quarter To Four (1961), Hunch 345


Reissues("The Hunch") : 
Scum Of The Earth #1 (1984)
Limited Edition Oldies, Leo 504
The Big Itch #3
Sin Alley Volume 3, Crypt Records CB-1958

(There's a bus-load of re-issues of this song both as a repro single or as part of a compilation, so this list is by no means complete)

The Novas - The Crusher(1964)

Next up is a band which were located in Edina, Minnesota(Often listed as being from Minneapolis, but I believe Edina(just outside of Minnesota) is correct) called The Novas. Lead singer Bob Nolan is in this song describing a dance named The Crusher, which is basically the wrestling moves to wrestler Reggie "Crusher" Lisowski, commonly known as "The Crusher". His trademark yell can be heard throughout the song. 
The vocals are the standout as they're crude and aggressive to sound like the original wrestler. But the backing is doing a great job in creating a full and heavy blues-beat that work great for dancing or to nod your head aimless. 

This song made it as far as #88 on the national Billboard chart, and went to for example #6 in Chicago. This was helped much by radio-time from Minnesota stations like KDWB and WDGY.
Here.. have a listen.
 

A: So any chance you can teach me how the dance is like?

H: It's easy! Listen closely, here's the moves:

Do the hammerlock
Do the eye-gouge
Do the Crusher
Take your fist and put it on your waist
Do the Crusher



The b-side "Take 7" is a straightforward instrumental surf tune. A very good one, though I would imagine it was intended as a typical b-side filler.

The Novas discography:

The Crusher / Take 7 (1964)
Parrot PAR 45005V, USA
London Records HLU 9940, UK
London Records DL 20 773, Germany

 
Nova's Coaster / On The Road Again (1965), Twin Town 713 




Reissues ("The Crusher"):

Back From The Grave #2 (1983), Crypt RR 660(on some pressings: CR 002)

and on CD..
Back From The Grave #1 , Crypt CD-0123





Worth checking out.. 
Newer bands have come to embrace this song. And that is no wonder as it's an aggressive but at the same time very fun song. Some very fun covers are done by new bands like The Bucky Rage and Los Explosivos.

 

The Dinks - Nina-Kocka-Nina

The Dinks were located in Beloit, Kansas, and had their first single "Nina-Kocka-Nina released in 1965 on the Sully label.
First impression of this song is that it's quite similar to "Surfin' Bird" in many ways. The lyrics don't mean anything, except the words "english history, biology and chemistry", that's suddenly appearing in between some non-existing phrases. I'm guessing the words is meant as a nod to Sam Cooke's "Wonderful World"("Don't know much about history, don't know much about biology, don't much about science book"). 

Listen to it!

The b-side "Penny A Teardrop" is a quiet song, similar in build to "Louie Louie", having fine vocals complemented by a organ that's dancing through the entire song.



The year after, the single "Kocka-Mow-Mow" was released applying the same formula. A crazy surf-rocker, certainly good for a swing or two.

The Dinks discography:

Nina-Kocka-Nina / Penny A Tear Drop (1965)
Sully 914


Kocka-Mow-Mow / Ugly Girl (1966) 
Sully 925



Reissues("Nina-Kocka-Nina"):

Boulders #6 (1983), MLP 09 
The Madness Invasion (1987), GMG 75026
The Big Itch, Mr. Manicotti Records MM 328

..and on cd:
Midwest Garage Band Series - Kansas (1994), RDK/K-001
Madness Invasion Volume 1 (1992), Eva 842624/EVA B2

The Gamma Goochee Himself - The Gamma Goochee(1965)

 

 

  
A dominating keyboard set's the pace for this addictive song. The lyrics style as you've might have already been accustomed to by now - means nothing at all. The Gamma Gootchee Himself himself sings this with a great growling blues-voice. This is an obvious floor-filler for any occasion.
You know what? I'll stop jabbing about this song right now, and you can instead have a listen to the song, and find out for yourself. After all rock music was never meant to be analysed to death. 

The "Gamma Goochee Himself"'s real name is John Mangiagli. Originally from New York City, but would relocated to LA to start a career recording rockabilly music, before starting with an entirely different style of music. He would have a wealth of aliases from which he would credit a bunch of singles of impressive quality.

John's first single Rock & Roll Guitar / Shake Shake(credited to "Johnny Knight") are a brilliant two sided rockabilly record.

But his second single(credited to "Johnny Donn & Jazz Rockers") would have a quite unique approach, and is well worth to check out. The a-side called "Smog"(Featured on the highly recommended Wowswille compilation record) are a slow, brilliant and especially fun tune of the typical Las Vegas strip style of the early 60's. The b-side "What Happened Last Night" is where r&b meets rockabilly. A fast rocker enjoyable for both dancing and listening.

Discography

As "Johnny Knight":

Rock & Roll Guitar / Shake Shake (1958), Morocco M-1005

 

As "Johnny Donn & Jazz Rockers":

Smog / What Happened Last Night (1959), Crest 1058

As Johnny Marlo:

Everynight / Everlasting Love (195?), Reel 101

Two Ton Annie / Barcia Mi (1959), Reel 102

As Johnny Manjelli:

Five Foot Two(Eyes Of Blue) / What I Feel (1962), Highland 1024
 

As "Johnny Mangelli":

I Ain't Got / I Got It Made (1962), Ava 110

As "The Gamma Goochee Himself":

(You Got) The Gamma Goochee / I'm Gonna Buy Me A Hot Dog (1965)

USA: Colpix CP 786
Netherlands: Colpix CX 42.916
France(as EP): Colpix 8007 M 
Australia: Colpix CP 786


I'm So Glad She's My Little Girl / Sweet Violets (1966), Colpix 804

 

As "Gamma Goochee":

Booga-Loa / Everybody's Somebody's Fool (1967), MGM 13874
  

Re-releases("The Gamma Goochee"):

The Colpix-Dimension Story (1995)

On cd..

Great Googa Mooga (2003), Ace Records, CDCHD 880

Also worth checking out...
You might also want to hear The Kingsmen's(of "Louie Louie" fame) cover of "The Gamma Goochee". A great rocker, although quite similar to the original.

Achh.. That's the Mercedes. I will have to go now if I'm going to make the dance in time. I'll tell you about the rest of the songs when I'm back.. I promise!

A: No problem Hermann. Have fun!

The Dynamite Garage radio station

Direct link here.
Facebook page here.

  

It's all punk!

Yesterday's Children - Feelings(1966)
New York, USA, Showcase 9812

Adrian Lloyd - Got A Little Woman(1965)
Los Angeles, USA, Charger 112

Adrian Lloyd - Lorna(1965)
Los Angeles, USA, Charger 112

All Of Thus - It's All Right With Me(1965)
Century 27916

Beethoven 4 - Don't Call On Me(196?)
Tifton, Georgia, Tag 4000/1

The Benders - You Can't Tame Me(1966)
Marinette, Winsconsin, Big Sound 3006

Blue Embers - I Don't Want To See You(Previously Unreleased)
USA

Christopher & The Souls - Diamonds, Rats, And Gum(1966)
McAllen, Texas, USA, Paraoh P-151

Cicadelics - We're Gonna Love This Way(1967)
Angleton, Texas, USA; Psychidelic Sound 1001

Don Norman & The Other 4 - Low Man(1966)
Ottawa, Ontario, Canada, Sir John A. RG-1015 and Sir John A. SJA 3

Dry Gins - She's a Drag(1966)
Layfayette, Louisiana, Montel Michelle 959

The Eyes - I'm Rowed Out(1966)
London, UK, Mercury MF 881

Edges Of Wisdom - The Past(196?)
Illinois, USA, Redd Robb 2021

Esquires - Sadie's Way(1965)
Jonesboro, Arizona, USA, Alley 650a-1023

The Fugitives - I'll Hang Around(1966)
Lansing, Michigan, USA, Fenton 2075

Gonn - Don't Need Your Lovin'(1966)
Keokuk, Iowa, USA

The Great Believers - Comin' Up Fast(196?)
Houston, Texas, Cascade 365

Group - Tell Me Why(196?)
Oklahoma City, Oklahoma, USA, Shore Bird 1013

Just Too Much - She Gives Me Time(1966)
Los Angeles, USA, M-Gee 002

Lyn & The Invaders - Boy Is Gone(1966)
Michigan, USA, Fenton 2040

Lincolns - We Got Some(1966)
Bonneville, Washington, USA

Liverpool Set - Seventeen Tears To The End(1966)
Canada, Columbia C4-43512

Lord Crazy - Crazy Crazy(1966)
Phillipsthat, NOrdhessen, Germany, CCA 5020

Madd Inc - I'll Be The One(1966)
Marysville, California, Icon IER 508

Menerals - My Flash On You(Previously Unreleased)
Denton, Texas

Murphy & The Mob - Born Loser(196?)
Tyler, Texas, Talisman 1823

One Way Street - Joy And Sorrow(196?)
Pharr, Texas, USA, Deeek 103

The Outcasts - I'm In Pittsburgh(And It's Raining)(1966)
San Antonio, Texas, USA, Askel 102

Pleazers - Bald Headed Woman(1966)
Brisbane, Queensland, Australia, Zodiac EPZ-133

Ray Columbus & The Art Collection - Kick Me(1967)
Christchurch, New Zealand, Colstar 1001

Ravenz - Sleepless Nights(1965)
Danbury, Connecticut, USA, Haven 197

Satans - Makin' Deals(1966)
Fullerton, California, Manhattan 801

Shades Of Blue - Weak In The Knees(1966)
Tasmania, Australia, Life 4-024

The Swamp Rats - No Friend Of Mine(1967)
Pittsburg, Pennsylvania, USA, St Clair stc 711

Teddy Boys - Jezebel(1966)
Hyde Park, New York, USA, MGM 13515

Terry Knight & The Pack - How Much More(1966)
Flint, Michigan, USA, Lucky Eleven 225

Tigermen - Close That Door(1966)
Buffalo, New York, Buff 1005

Venetian Blinds - Quit Your Belly Aching Baby(1966)
San Atonio, Texas, USA, Grudge gr 1651


Positively 13 O'Clock - Psychotic Reaction(1966)
Tyler, Texas, USA, HBR 500

Previous list from the psychedelic week:

Beautiful Daze - City Jungle(1967)
California, USA, Spread City 101, and: RPR 101

The Bucket - I Can't Help Thinking of You(1968)
Adelaide, Australia, Festival FK-2063

Calico Wall - Flight Reaction(196?)
Minneapolis, Minnesota, USA, Turtle 1107

Calico Wall - I'm A Living Sickness(Previously Unreleased)
Minneapolis, Minnesota, USA

Children Of The Night - World Of Tears(1967)
Old Saybroo, Connecticut, USA, Bella 45-101

The Cirkit - Yesterday We Laughed(196?)
Michigan City, Indianapolis, USA, Unicorn 34941

The Dirty Filthy Mud - The Forest Of Black(1968)
Oakland, California, USA, Worex 2340

The Dovers - The Third Eye(1966)
Santa Barbara, California, USA, Miramar 123

The Electric Prunes - I Had Too Much to Dream (Last Night)(1966)
San Fernando Valley, California, USA, Reprise R/RS 6248(LP) / Reprise 0532

The Electric Prunes - Shadows(1968)
San Fernando Valley, California, USA, Soundtrack on The Name of the Game Is Kill(1968)

The Galaxies IV - Don't Lose Your Mind(1967)
Trenton, New Jersey, USA, RCA Victor 47-9235

Godfrey - Let's Take A Trip(1965)
Los Angeles, California, USA, Cee Jam 3

Grains Of Sand - Golden Apples Of The Sun(1966)
Los Angeles, California, USA, Genesis 101

Higher Elevation - The Diamond Mine(1967)
Greeley, Connecticut, USA, Chicory 408

The Inferno - The Inferno(196?)
Olivet, Michigan, USA, Plastik 15383

Last Knight - Shadow Of Fear(1968)
Chicago, Illinois, USA, Orlyn 5140-3520

The Livin' End - She's A Teaser(196?)
USA, Rickin 007

Lost Souls - This Life Of Mine(1966)
Melbourne, Victoria, Australia, Sunshine QK-1469

Mec Op Singers - Stop The Machine(1968)
Namur, Belgium, EMI C 006 23 096

The Monocles - Spider & The Fly(1967)
Greeley, Connecticut, USA, Chicory 407

The Mynd Gardeners - Discotheque(2010)
Adelaide, Australia, Smashed Records SMA 146

Neal Ford And The Fanatics - Shame On You(1967)
Houston, Texas, USA, Hickory 1433

The Night People - We Got It(196?)
Parma, Ohio, USA, Del-Nita 1002

Oedipus & The Mothers - (I Remember) How It Used To Be(196?)
Austin, Texas, USA, Beacon bd-1001

The Painted Faces - Anxious Color(1967)
Fort Myers, Florida, USA, Manhattan 808

Phorenbach Delegation - Tall Grass(196?)
Chicago, Illinois, USA, Fahrenheit Fah-100

The Remaining Few - Painted Air(1968)
San Angelo, Texas, USA, Askel 112

Ron Wray Light Show - Speed(196?)
Syracause, New York, USA, Eceip 015

Scorpio Tube - Yellow Listen(Previously Unreleased)
California, USA, Demo recorded 1970, B-side of "White Birches"

Thee Sixpence - In The Building(196?)
Glendale, California, USA, All-American 333

Stoics - Enough Of What I Need(1967)
San Antonio, Texas, USA, Brams 101

Things To Come - Darkness(Previously Unreleased)
Long Beach, California, USA, First time re-released on Sundazed KS-LP 5008

The Third Bardo - I'm Five Years Ahead Of My Time(1967)
New York, NY, USA, Roulette 4742

We Who Are - Last Trip(1967)
Waterloo, Iowa, USA, Love 6793

The Whatt Four - Our Love Should Last Forever(1966)
Riverside, California, USA, ESP 109

Yesterday's Children - I Wanna Be With You(1966)
New York, USA, Showcase 9812

The Headhunters - Times We Share(1967)
Minnesota, USA, Fenton 2518

Interview - William Hay(The Painted Ship)

If you're reading this piece or even this blog, you might be aware of the term 60's punk. If not, here's a very brief introduction for this short-lived style practiced in the period from 1965-1967(Some would say 1965-1966 or even only 1966). To put it in terms known to most, The 13th Floor Elevators' "You're Gonna Miss Me, Them's(With Van Morrison on vocals) "Gloria" or The Kinks "You Really Got Me" are prime examples on this aggressive approach. Notably by the snearing vocals and the primitive, hard thrust on the guitar, sometimes there is also a pumping organ. This style was mainly(but not only) an American phenomena as the result of the British invasion, led by the Beatles and the Stones caused kids all over the continent to pick up instruments and start practicing wherever they could.. some times in their parents garages(hence the expression "garage rock"). The result was a very minimalistic sound, witch would get a close relative later in the mid 70's when the term punk got the worlds attention.

Probably the first band that triggered my interest regarding this aggressive sound was the Canadian band The Painted Ship, located in Vancouver. They were one of the finest groups in the 60's punk genre, but would also have a touch of psychedelic(most evidently in the strange "Audience Reflections") rock, helped much by the hypnotic organ. Bands don't get much better than this no matter era or style. You might not agree with that of course, but then again maybe music is not something for you.

The Painted Ship had a captain, and his name was William Hay.

Discography

"The Painted Ship":

Frustration / Little White Lies(1966)
London M 17351(Canada) / Mercury 72662(USA) / Mercury MF 988(UK)

Audience Reflections / And She Said Yes(1966)
London M 17354(Canada)

With "The Worst":
You've Been Laughing(Demo)

The Painted Ship's first lineup(Frustration/Little White Lies)

From left to right: Ken Wain(keyboards), Rob Rowden(guitar), William Hay(vocals), Barry Rowden(drums)

Anders: In your home before you started in a band, what was played on the stereo on a typical evening? Did you hear music that would come to influence you in any way?


William: I listened almost exclusively to the Northwest sound. The Wailers. The Sonics. Paul Revere and the Raiders etc. I had an intense aversion to the commercial crap that dribbled out of the radio. As I've stated before: "To me, rock n roll should be the sound of leather boots slapping against broken pavement. It should reflect the bold pulse and hot sweat that you find high on the inside of a woman's thigh". This is rock n roll.

But, the stuff I heard on the radio was the exact opposite. Sweet. With inane, idiotic lyrics that didn't even come close to reflecting life as I saw it unfolding around me.
baby , baby
yes, it's love
you are my turtledove
PISS--------------OFF!

My house was also filled with an entirely different kind of music. I played in a youth orchestra for 6 years. We played classical and semi-classical music. I played trumpet and clarinet. (I actually made it all the way to first, solo trumpet--the result of hard work not talent)


A: We hear a lot of the British invasion's influence on USA(by basically sending back their own music), changing the way new American bands would sound. Did you feel the invasion set the standards for how Canadian bands were supposed to sound too?


W: Yes, almost without exception, the playlists of local bands were composed of covers of the British bands. Not us. We did do some covers, I always enjoy covering songs that I really like.. but from the start, I insisted that at least half of our songs had to be original material. At the time, I was told by local musicians that this was stupid and self-defeating.


A: You were called The Wee Beasties in the beginning. Can you tell me  how you got started?


W: I was attending the University of British Columbia. Puffed up with the bravado of a young university student I thought that I was writing poetry. Don't know why, but one day I had the thought that maybe I should combine the lyrics that I was writing with the music ideas that I had in my head. It was a bleak day in the library. No pretty women to pester so I somehow met Rob. He was playing guitar in a commercial R&B band. We talked and I told him of my plan to start a band and call it the Wee Beasties. (Anton Van Leeuwenhoek is credited with discovering- perfecting the first microscope. He called the creatures that he found with this new instrument: Wee Beasties)

Rob, said that he was interested in trying something new. I warned him that this band would be original, unlike anything he'd been in before, but he said that it would be fun to give it a try. This collaboration is a mistake. Let me be absolutely clear here. Rob and his brother Barry (R.I.P.) were VERY good musicians. Not good: very good. But not at all into the sounds that I wanted to do. I'm not placing any blame on anyone. Just saying that this was the wrong mix of people. A friend of mine(a musician) tried to warn me but I didn't pay attention. You were right Eduardo! Like many marriages in our situation, we soon break up over irreconcilable differences and I would recruit new musicians.


A: Why did you start playing in a band? Girls? Fame? Ideology?


W: Fame? Never. I think that fame in the entertainment industry is bullshit. To me it means that you settled for playing commercial bullshit; that you never attempted anything truly original and challenging. Besides, who needs it? 


A: How was the scene in Vancouver? Did local rock outfits like yourselves get support from the local radio stations?


W: You either played covers of the British bands or you played commercial R&B. Or you didn't play. Local musicians ridiculed us(well, me really) for my insistence on playing original "weirdo music". There was nowhere for us to play until the alternative San Francisco sound swept northward. Of course, we were never part of the "San Francisco hippie sound", but... suddenly people were willing to listen to stuff outside of the top 40 pablum. A few alternative clubs opened where we could play. And.. something else happened. Something important. FM radio was born with the mandate to play alternative music. Woooohoooo! We could now reach ears live and through the radio.


A: What kind of gigs did you get in the beginning?


W: As stated above, we were restricted to a few alternative clubs: The Afterthought, Retinal Circus. Other local bands played tv dance shows but we were never invited. Our manager was told that we could appear only if we played an acceptable cover song and if I promised to behave myself. I told them to "pump sand up their asses". I only mention this because I do get emails asking me why there are videos of other local bands but nothing of us.

 

A: Who was managing you back then?


W: Doug Hawthorne(R.I.P.), was the first manager of the band. He also had his own Transeuphoric Express light-show.


A: Was this light-show ever applied to Painted Ship gigs?


W: Yes, Doug would sometimes do a light-show at one of our gigs but not at all of them. The Transeuphoric Express was a separate entity and often illuminated other bands.


A: Coming from British Columbia you were closely located to Seattle and Tacoma, with their Northwest sound influenced by songs like "Louie Louie". Was The Painted Ship influenced by this movement in any way? Did you exchange ideas or come over and play at each others towns?


W: Our music was not influenced by my love for The Wailers and The Sonics but these bands did influence me in a profound way. They showed me that is was ok to do what you wanted. That there were people out there that were willing to listen to something other than top 40 crap. Yes, we played Seattle several times. Including some really fun gigs at the
University of Washington.

A: How would a typical evening on a Painted Ship gig turn out? Did you have any special antics?


W: I would like to take this opportunity to offer a sincere apology to everyone who attended one of our gigs. There is no excuse for my behavior. I understand this. You might find that a session or two of counseling would be helpful. A little mental tune-up. Sorry. As time passes I hope that you'll find it in your hearts to forgive me.


A: Did the name The Painted Ship come from the poem "The Rime of the Ancient Mariner”?
“Day after day, day after day
we stuck, nor breath nor motion
As idle as a painted ship
Upon a painted ocean”.


W: Well done, Anders. Yes, the band name must have come from the poem. Thank you, Sam. As I've stated earlier, I was reading and writing a lot of poetry (still am for that matter). I didn't consciously pluck the name from the poem; it just came to me one day. When it did I immediately realized just how appropriate it would be. It was going to be a struggle. I knew that "the suits" who ran the music business would pressure us to regurgitate some kind of commercial crap because it would be easier to sell. The name was a prophetic choice. It did often feel like we were like: a painted ship upon a painted ocean.


A: Both Painted Ship singles were released in Canada on London Records. Did they know how to handle an unconventional band like The Painted Ship?


W: London had a Vancouver office. That's why we chose it. At the time I thought: "we're doing something original, different, they'll love us". Looking back I realize just how naive I was. To put it succinctly: they didn't "handle us". We were told that they didn't understand our music and they didn't think that it would be all that commercial so they weren't going to put any money into promoting us. They told us that they'd put the songs out and see what happened. Which is exactly what they did. No more; no less. Still, credit goes to the Canadian division of London Records. They did release our second single. London-Mercury refused to do so in the U.S.A. or Europe. They complained that the songs were:" far too weird and way too primitive". It was suggested that I take a rest from performing-touring. Rest and relax. And, seriously rethink the musical direction of the band.

 
A: You've told me before that you are and was into meditation. Could you tell me more about that? Did meditating in any way help or influence you in songwriting?


W: I've always been an esoteric boy. It's just part of who I am. I studied Jungian psychology at university and I've been involved in several closed-door esoteric societies for years. Meditation is nothing weird or exotic. It's just a tool that people everywhere on the planet have used throughout time. You definitely don't have to pay big dollars to have someone special give you the secret word. Just google meditation and you'll find lots of free and useful information. Some folks like "The Relaxation Response" as an easy introduction to the subject. Just be cautious. There are many frauds and fools in the "spiritual business", and it's easy to get lost when you're walking unfamiliar paths.

It's hard to define exactly... but I'm certain that my esoteric training influences my writing. For example, I had just finished my Tantra training and initiation when I wrote "And She Said Yes". Was this a coincidence? Or was this song an exuberant celebration of my new found understanding of the exciting possibilities within the male-female dynamic? "Frustration" is a song that examines the necessary tug-of-war between individuation and enculturation. My study of Jungian archetypes
must have contributed something to this tune.

Certain types of esoteric studies are ingested and become part of one's psyche. In the same way as the foods we eat are incorporated and reflected in our bodies.
-------Put those potato chips down, Anders!


A: Did you have any particular favorites in poetry of those into esotericism, like for instance W.B. Yeats? Were you ever into/interested in the esoteric philosophy of organizations like the Golden Dawn?


W: William Butler Yeats... Yes, I read-studied his work. Especially, his attempts at a new understanding of Celtic spirituality. I'm also fond of the paintings and poetry of William Blake. I suppose I spend most of my time reading the works of the ancient Celtic bards and the Norse Eddas. This can be very rewarding for those who understand the deliberately disguised esoteric information.

I'm aware of the Golden Dawn(the infamous esoteric group --not the current political movement). I've known people who've walked that path but it has never resonated with me.

A: Can you tell me anything about the time when the first single Frustration/Little White Lies came out?


W: The nonsense that surrounded the release of our first single illustrates perfectly the serious problems that existed within the band. When I brought the basic ideas for Frustration and Little White Lies to the guys to work on I made it clear that Frustration would be the a-side. All agreed.

But, there is a problem. The other guys in the band do not like the song. Not one of them has anything good to say about it: "Too weird. Too strange. Not commercial enough". I find it more than a little amusing to read their recent comments on the song. Seems like they love it now. Oh, Yeah.

But back then things were very different. Without telling me the other guys in the band tell our manager to have London/Mercury put Little White Lies on the a-side of our first single. I know nothing about this until I'm driving in my car and I hear the dj announce: "a new song from a new band, The Painted Ship". And then he plays Little White Lies.

I'm pissed. This is a huge betrayal. That little voice spoke to me: "don't get mad;get even". Without telling the other guys I phoned the dj's and asked them to please stop playing Lies and play Frustration instead.

The dj's tried to talk me out of it because Lies was placing in some of the top 40 charts. They told me that I should be delighted. I wasn't delighted. Piss on the top 40 charts(have you noticed that I piss a lot? strong kidneys!). I was persistent with my demand and the dj's finally agreed to play Frustration instead of Lies. To the surprise of many, Frustration found supportive ears.

But the damage had been done. The first guitar player and drummer are replaced.

A: Do any tapes or acetates of unreleased PS material still exist?


W: Not to my knowledge. An albums worth of original songs was recorded for the London office of Polydor. The Who came to one of our gigs. We talked after the show and John Alec Entwistle gave me the name of an English producer that he thought would like to work with the stuff we were doing. The producer and I talked, and I sent him a rough tape with some of our songs. He liked what he heard and agreed to pay for an albums worth of tunes. We were getting ready to release an album out of England when the London producer got a directive from Polydor headquarters telling him that all North American acts must be handled out of a North American office.

The producer phoned me and we talked it over. He told me that if I came to England without the band that he'd set me up with some very good musicians and we would record. It was a fabulous offer but I couldn't just desert the other guys in the band so I declined. The producer was disappointed but he told me that he understood and that he'd send the master to the head office in Chicago. Somehow, somewhere the master disappears. Forever. The music is gone.

This was a horrible setback but we rallied with a plan. We'd record a live show. Sometimes magic is in the air. Who knows why? Maybe the stars are aligned. Maybe the women are especially playful. That show was one of those nights. It was lunacy at its finest. A full, all out assault on sanity. We took the audience to Pluto and back. And... we had it on tape!

The Fates can be cruel.
The girlfriend of one of the guys was moving the day after the gig. They borrowed the van and while they were busy moving stuff in and out of apartments some asshole stole her stereo system, her albums and ... our tape.
The Fates can be cruel.

John Entwistle(left), Keith Moon(at the drums), William Hay(with the hat). A cover of Satisfaction was played at the time of the picture. (Taken from the PS myspace page)

A: There is a picture of a Painted Ship button posted on the Painted Ship facebook page saying "The Painted Ship sails" which I find interesting. Having a button for the band was very common for 70's punk bands, but was it that common for bands not called The Monkees in the 60's? Also.. (coughs) do you still have some of these left?

W: We had buttons, buster! Some of the Vancouver and San Francisco bands had buttons. We had thousands made and gave them away at our shows. A few years ago I found a bag of about 20 of them in the attic of my parents house. They were in a suitcase along with some other stuff that I'd long forgotten. They all had the same defect; a scratch on one side. Perhaps that's why I'd kept them. Sorry, I gave them all away but, if I find more you will get one. 


A: When/why did The Painted Ship get dissolved?

W: I docked the Painted Ship in 1973. I'd just grown weary of the constant battle to do our music the way that we wanted it done. But, the wobbly Ship was docked not scuttled. She is still seaworthy. I have written more songs and I have received some very kind and generous offers from musicians who'd like to do some recording. 
We'll see. 
Perhaps the call of the Sirens will lure Captain Will back to the sea.

A: You recorded a song, "You've Been Laughing" with The Worst. Can you tell me more about this?

W: I met Greg Johnson(R.I.P.) the singer/writer for the Vancouver bands The Worst and The Fiends at a Plan 9 show. We got to know one another over the following months and he tells me that The Worst is planning to do some recordings. Greg wants to cover a Painted Ship song, but he wants one that he hasn't heard. I gave him a couple of choices and he liked You've Been Laughing the best. I sang some backup vocals with them and did a fun take on the song. If anyone's interested you can find it in a few places including SoundCloud. I liked The Worst. Good people and talented musicians. 

A: Thanks a lot for your insight and taking your time for this interview William. Any last words you would like to share? For instance to the kids influenced by 60's bands like The Painted Ship?

W: It's been my pleasure, Anders. Thank you for your interest and support. Advice for musicians drawn to playing garage-punk and psyche? Just this: be brutally honest with yourselves. Understand that you're doing this for the love of the sound. You will receive little, if any, help from those who run the music BUSINESS. I promise, it will be a humongous struggle. Last words? Garage-punk and psyche forever! hell, yeah.

The Dynamite Garage radio station

Direct link here.

Enough monkeybusiness. Here's the set for the week. Got plenty of raunching r&b songs from all over the world for you, so dust your best dancing shoes and grab your partner.

Zakary Thaks - Won't Come Back(1967)
Corpus Christi, Texas, USA J-Beck 1101

The Attack - Go Your Way(1966)
London, UK

The Blues Inc - Get Off My Back(1966)
Fort Wayne, Indiana, USA, Phalanx 1025

The Brogues - Don't Shoot Me Down(1965)
San Jose, California, USA Challenge 59316

The Caravelles - Lovin' Just My Style(1966)
Phoenix, Arizona, USA, Onacrest 502

The Chocolate Watchband - Sweet Young Thing(1967)
San Jose, California, USA, Uptown 740

The Cindermen - Don't Do It Some More(1966)
Fresno, California, USA, Moonglow 5012

The Easybeats - Sorry(1966)
Sydney, Australia, Parlophone 8224

The Electric Company - Scarey Business(1966)
San Fransisco, USA, Titan FF 1753

The Elois - By My Side(1967)
Maryborough, Victoria, Australia, In IN-S-8067

The Four Strangers - Sad & Lonely(1965)
Newcastle, Australia, Festival FK-1022

The Gentrys - Wild(1965)
California, USA, Kado 0074

The Lyrics - So What(1965)
San Diego, California, USA, Feather 101/Era 3153

Machine Gun Kelly's Rejects - I'm Going Back(Previously Unreleased)
Adelaide, South Australia, Australia

The Masters' Apprentices - Buried and Dead(1967)
Adelaide, South Australia, Australia, Astor A-7075

The Masters' Apprentices - Poor Boy(Previously Unreleased)
Recorded 1965, Adelaide, South Australia, Australia

Namelosers - That's Alright(1966)
Malmø, Sweeden, Columbia DS 2255

The Nomads - Be Nice(1966)
Fort Worth, Texas, USA, Spotlight 5019/5020

Outsiders - Won't You Listen(1967)
Amsterdam, Noord Holland, Holland, On LP: Relax 30,007

Pink Finks - Louie Louie(1965)
Melbourne, Victoria, Australia, Mojo 001

The Pretty Things - Road Runner(1965)
London, UK, Fontana TL 5239, 687 341 TL

The Purple Hearts - Just A Little Bit(1966)
Brisbane, Queensland, Australia, Sunshine qk 1448

Q-65 - It Came To Me(1967)
The Hague, Zuld Holland, Holland, Decca AT 10263

Red Beard & The Pirates - Go On(1966)
Blue Ridge, Georgia, USA, Gaye 3043

The Scumbugs - My Baby`s Gone Away(To be released 2013)
Bergen, Norway

The Scumbugs - Missing Link(To be released 2013)
Bergen, Norway

The Slaves - Slaves Time(1966)
Vienna, Austria, Philips 339414

The Sunsets - I Want Love(1967)
Newcastle, Australia, Fesival FK-1797

The Triumphs - Surfside Date(196?)
Milwaukee, Winsconsin, USA, IFF 151

We The People - Mirror Of Your Mind(1966)
Orlando, Florida, Challenge 59333

Hermann's Corner - The Dirty Wurds(Why)

A: So Hermann.. I've heard you've been vacating down south for a while now. How is the weather?

H: Thanks for asking Anders, the weather in Rio is sunny as always.

A: Anything new?

H: I'm hungry.

A: Uh.. sure. But Hermann, don't you have a song for for us today?

H: Well how about The Dirty Wurds, and their killer(and I should know what a killer is) a-side "Why". I think you first of all should listen to the song, as this is one of the crudest and most mental song you'll ever hear.

"Why"/"Takin' My Blues Away", 1965

Chicago, Illinois, Marina 502

re-released on: Pebbles #5

The line-up of The Dirty Wurds had a lot of changes in the bass and drums department. On the "Why" single however this was the line-up:

Mick Mackles - Vocals
Justin Pomeroy - Rhytm Guitar
Mike Peterson - Lead Guitar
Jim(James) Savage - Bass
Mark Bringman - Drums

Here's the lyrics.. As you can see nothing special. That was probably why the Dirty Wurds decided to spice things up a little, and made the songwriter(not a member of the band) seem like a mental case, with this neurotic way of singing these rather dull lyrics. Rumours says also that the songwriter was displeased after hearing that his song - thought of being a tender love-ballad - would end up like this. Well, I'm not. This is as good 60's punk as it gets.



Why, baby

(Why) I need your lovin'
(Why) I need you very much
(Why) I need your tender touch
(Why) I love you very much

And I say (why, why, why, why, why)

(Why) I want you near me
(Why) I want you very much
(Why) I wanna have you near me
(Why) I need you very much

And I say (why, why, why, why, why)

You notice that all the time I cry
And baby, I want you near me so I wont cry
So tell me, baby, why won't you come near me
You know I love you, baby, you know I really do

(why, why, why, why, why)

(Why) I need your lovin'
(Why) I need you very much
(Why) I need your tender touch
(Why) I love you very much

And I say (why, why, why, why, why)

Oh baby, I want you near me
Oh, why wont you come back
I wanna know, baby
Why wont you come back to me, baby
Why, why, why, why