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It was a quiet week in Memphis. Monday, January 4, 1954. Everyone
easing into the new year. Nobody paid any attention when, around
lunchtime, a truck from Crown Electric appliances pulled up outside the
Memphis Recording Service shop front at 706 Union Avenue and a teenager
with greasy blond hair climbed out, carrying a battered acoustic guitar.
He
went inside and told the man behind the desk -- the owner, Sam Phillips
-- that he wanted to record one of those double-sided acetates they did
for $3.98. Phillips said sure, waved him through to the tiny studio and
set the machine running. The kid skittered through a couple of
country-pop love songs "I'll Never Stand In Your Way" (a hit that
winter from Joni Jones) and "It Wouldn't Be The Same Without You" (a
late '40s success for Hollywood cowboy Jimmy Wakely).
This is Siouxsie and the Banshees/They are patient/They will win/In the end. Siouxsie is the frail-faced, tough-minded, strange-light-in-her-eyes voice/performer of Siouxsie and the Banshees.
NEW YORK: Big Pink is one of those middle class ranch houses of the type that you would expect to find in development row in the heart of suburbia rather than on an isolated mountain-top high above the barn architecture of New York State's rustic Woodstock.
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It is sometimes extremely difficult to separate an artist from the
trend he's involved in; even if there's only a single element that
makes him a part of that trend. Tom Waits falls victim to that dilemma on
two counts.
"After you trip, life opens up--you start doing what you wanna do...c'mon, C'MON let it happen to you..."
-- "Roller Coaster," 13th Floor Elevators, '66.
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Of all the great groups to have emerged out of San Francisco since the mid-sixties, Santana have retained a musical credibility that surpasses their home town bretheren.
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Clapham, that exotic part of town where folk of differing creed and colour mingle suitably inebriated with natural joie de vivre, will soon gain immortality not merely because yours sincerely has taken up residence within its sacred borders...
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I can tell you I was worried about this Pretenders thing. I thought they'd be too much for me--well, not so much "they" as Chrissie Hynde herself. Going on image, what I'd read in the music papers, rumors and the mutterings of acquaintances, I expected her to have the sort of voracious sophistication I've met in certain dyed-to-the-bone-marrow rock 'n' roll people and that it would wreck me.
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There is something about David Blue that screams "Handle With Care." Perhaps a quality attributable to a glass figurine that you hold up to the light, turn around and try to see into.
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One of the most rewarding and exciting aspects of taking any serious interest in any field of music is observing the artistic development and progress of a particular performer and when you witness the blossoming of talent, it's always a refreshing experience.
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What's your fascination with San
Francisco? Two years ago you staged 20 shows at the
Fillmore, and now you're here for seven days.
I thought the Fillmore would be the best place. The audience here is much
more forgiving; they let you experiment. We wanted to play a residency, which
we hadn't done since 1970.
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