The blog of author Dennis Cooper

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DC’s Writers Workshop #12: Positbreakup ‘Fecal Matters’

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Welcome back to DC’s Writers Workshop. This is the twelfth in a series of days on the blog where writers who are part of the blog’s community present work-in-progress in search of the opinions, responses, advice, and critiques of both readers who don’t normally post comments here and local inhabitants of this place. I ask everyone to please read these works with the same attention you give the normal brand of posts here and respond in some way in the comments section below. Obviously, the closer your attention and the more you’re able and willing to say to the writer the better. But any kind of related comment is welcome, even a simple sentence or two indicating you read the piece of writing and felt something or other about it would be helpful. The only guideline I’m going to give out regarding comments is that any response, whether lengthy or brief, praise filled or critical or anywhere inbetween, should be presented in a spirit of helping the writer in question. I’ll be responding to the work too in the Comments section towards the end of the weekend. So, I guess all of that is probably clear. Giving support to the artists of different kinds who read and post on the blog has always been a very important aspect of this project, and this workshop series represents an opportunity to make that aspect more formal and explicit. This weekend’s workshop features a new short story by Postitbreakup — writer, blog/site proprietor, and one of this blog’s longtime distinguished locals. He asks for any thoughts, support, or criticism you can give him. I thank him greatly for entrusting his work to us, and I thank you all in advance for your kind participation. — D.C.

*

FECAL MATTERS

—-I founded the premiere excrement-based social network, RateMyDump.com. It’s not the only place online appealing to both frat boys and scat fetishists, but it’s growing and profitable. (At least that’s what I tell my father.) So when I get Morrison’s email, I’m naturally intrigued, both by its subject line—that Nietzsche quote about the abyss—and the attached image, a scanned Polaroid of a shit the size of a baby.

—-Of course, it’s probably Photoshopped, or at least trick photography: a regular-sized turd in a kid’s training toilet, maybe. You’d be amazed the lengths people will go to get their shits Liked and retweeted. Usually I’d delete such a picture, or just upload and forget it, but the four vodka martinis I’ve swallowed (sans vermouth) convince me to do otherwise. A phone number’s written neatly on the Polaroid in brown Sharpie; I dial.

—-A gruff man picks up mid-ring, startling me.

—-I say, “This is Craig Richards, responding to your Dump Submission?”

—-“Christ…” Without muffling the receiver, he shouts, “It’s for you!”

—-A meek kid picks up, presumably the man’s son. “This is me, I mean he. Morrison.”

—-I tell him that I’ve seen a “shit-ton” (he doesn’t laugh) of submissions, yet his stands out by far. “Unless”—I pause here for drama, and to take another sip— “it’s fake.”

—-“No!” His voice cracks. “It’s real. I can prove it.”

*

Meeting an anonymous shitter is certainly not something my father—Mr. Arnold Richards, CEO—would have done, which makes the idea even more appealing. Plus I’m grateful to have plans on a Saturday night, and Morrison lives only fifteen minutes away.

—-I consider taking a cab, but my money’s tied up in paying for bandwidth, not to mention rent. Though RateMyDump gets a decent number of hits, the Google AdWords and the Amazon referrals to Everyone Poops haven’t generated much revenue. So I gargle mouthwash and stumble to my car.

—-Morrison instructed me not to ring the bell, said he’d come outside, but I’ve been waiting almost ten minutes and I’m starting to get uneasy, starting to think my night would have been better spent beginning the paper that’s due Monday—for someone who’s just changed his major to Art History, I sure hate writing about the Renaissance—but then a freckly kid with stringy hair is knocking at my window, which I awkwardly roll down, then up, before finally opening the door.

—-“Sorry I didn’t come out sooner,” Morrison says. “I thought my dad might have woken up, but it was just his restless leg.”

—-Morrison leads me inside, past the kitchen, where my first thought—to snag one of the liquor bottles from the cabinet—makes me wonder, not for the first time, if I’m developing a problem. We tiptoe past the recliner where his father sleeps, twitching, and head upstairs to Morrison’s room.

—-He shuts the door behind us and begins digging around in the closet while I pace, not wanting to sit on the bed, though it’s the only furniture in the room. I briefly worry that he’s going to pull out an axe and murder me or something, and I imagine how, at the funeral, my father would point out—in an impromptu deviation from the eulogy his secretary wrote—that I had it coming, God damn it, and this never would have happened if I’d completed an MBA.

—-Instead, Morrison presents me with a tremendous Tupperware, and there it is, the enormous poo, dry and crumbly, but unmistakably genuine. The smell makes my eyes water, almost buckles my knees.

—-I wasn’t initially that interested in feces; RateMyDump started as a passive-aggressive response to an odious assignment for the entrepreneurship class I eventually dropped. Yet the project soon began swallowing more and more of my time, as I—driven by the same childish mix of voyeurism and awe that causes one to watch pimple-popping videos on YouTube—couldn’t look away. Here was this natural but filthy thing we all pretend not to do, for once on display.

—-But Morrison’s shit seems like something beyond all this. Maybe even art.

—-“So do you like it?” he asks, sounding like a kid showing a bike trick to his mom.

—-I nod, but ask him how he did it, if it hurt. He tells me that he’s trained for this, that he’ll wait for days while the crap builds up inside him before unloading. “This is my biggest yet.”

—-Morrison stands there beaming, so proud, so hopeful. I’m nauseated, knocked back into sobriety.

—-“Well,” I say, “I’ll definitely upload this one to the Hall of Fame. And be sure to send me any more you… create.”

—-When I reach for the door, he asks, “Don’t you want to stay?” He clenches his Tupperware, unable to mask a frown.

—-“Sorry,” I say. “I have other pictures to authenticate.”

—-For a moment I’m pleased with my cleverness, but downstairs, creeping past Morrison’s father, I’m filthy and ashamed. The feeling worsens when I decide to snag a liquor bottle on my way out after all, and doesn’t abate until I return to my apartment and send my an advisor an email about switching back my major, an email I forward to my dad..

*

A few months later, during an excruciating accounting lecture, my phone buzzes. It’s an email from Morrison’s father, who evidently found on his son’s computer all the unanswered emails Morrison had written to me. Morrison is dead: fatal bowel obstruction.

—-I delete the email, pocket my phone, return my attention to the lecture. Shit happens.
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*

p.s. Hey. So, yes, please give your attention, thoughts, and some commentary to Postitbreakup’s short story this weekend. I would appreciate it greatly, and, obviously, so will he. I’ll pipe in with my own comments towards the end of Sunday. Thanks very much! I got okay sleep last night. My jetlag is sort of just a fuzz so far. We’ll see. D.l.s Joakim Almroth and Disco 3-way are in Paris, and I get to hang out with them today. I’ll tell them hi for you. ** Thursday ** Sypha, Hi. ‘Death Note’ … that’s a TV thing or what? I’ll find out. Thanks. I kind of want a movie theater franchise too. Some kind of quality populist dependable thing. Hm. Oh, you’re playing that Skyrim game. A few people I know are in its midst. I would play that in less than a heartbeat if there wasn’t so much battling and fighting all the time. It looks incredible. The ‘American Psycho’ remake is, obviously, an incredibly stupid, ghastly idea. I’m sure you know they’re going to set it now rather than in the ’80s. Why would Bret agree to that? I’m completely confused. ** Bernard Welt, Well, it was supposed to be a 5-way gang banging orgy type of deal, but none of us was able to make any of the rest of us hard, so it’s kind of a soft core deal. ** Posing at the Louvre, Hey, buddy! Yeah, I got the email/post, and it’s super awesome, and I’m very grateful, and I’ll give you the launch date very shortly. Some people have found melatonin helpful for jet lag. I take it every night, so I don’t know if it helps or not. I’ve scoured the net, airwaves, my fellow afflicted, you name it, for any help on that gruesome condition, and I’ve never found a thing that makes much difference. From Europe to LA is, whoa, hard. My strategy is just the simple one of doing what it takes to stay awake until at least 9 pm the first night. In my experience, the first night isn’t so bad, so you might be okayish for the thing you need to do. It’s the second night onwards when the lag really kicks in. Serious sympathy and hugs, man, but I would guess you’ll be okay. ** MANCY, Hey. Thanks, man. Wow, very cool that your friend’s band played with later era Sky Saxon. I had a few brief encounters with him in the 90s, and trippy is the word. I know of The Birds, but I’m not sure that I’ve ever actually heard them. If they’re kind of like The Creation, I’m definitely geared to dig them. I’ll hunt. Thanks again! ** Killer Luka, Who’s JKR? I know I’m going to slap myself and go ‘duh’ when you tell me. I do remember you talking about ‘House of Dolls’, sure. Well, it sounds intriguing to ay the least. I’ve already started looking into doing a Stalag post. Maybe I’ll have beginners luck. So, I’m guessing that bacon flavored floss tastes more like Bacos? I love Bacos. I eat them like popcorn. ** Kyler, The first cigarette post long flight is always a mixed blessing, which is strange. I think in my case it’s because I wear a nicotine patch when I fly, and so the reunion with my cigarettes feels more like a detour. Well, cool, about your novel. Look forward to it. G’morning. ** Pilgarlic, Hey. Great Garage Rock stories, man. I knew I could count on you. I saw Tommy James/ Shondells at one of those festival situation you describe, i.e. at a big, very hip LA rock festival in the late ’60s. Devonshire Downs, for the record. Same deal with groans upon their arrival and then a gradually won-over enthusiasm. That Tommy James fella was kind of a pop rock genius. The band on the bill at DD that arrived to groans and did the opposite of winning the crowd over was Creedence Clearwater, who did not sound good when one was tripping, not even in their famous attempt at trippiness, ‘Suzie Q’. Super glad the rehab has started and is making you feel good. Great! ** Bollo, Hey. I don’t when that NYT thing comes out. If I find out in advance, I’ll let you know. Soonish, I guess. Nice Xmas gift there, man. Nice lil brother. I’ve flown Air France so often lately that I ended up running out of movies that I could tolerate watching on that last flight. I did watch ‘Submarine’, which I liked ok. Still, how many more movies like less daring ‘Rushmore’ clones with a stick up their butts are people going to make? You hate Love? That’s crazy talk. I don’t even know what to say to that. Holy shit. ** Ken Baumann, Ken! Yeah, I mean, I walked to the photo studio (Chelsea Piers) in the rain from SoHo and they didn’t powder me or anything. I just wrote down that Lebanese restaurant’s name for future NYC reference. Cool. I ate at this kind of very good noodle place, Kelley & Ping. Greene Street between Houston and Prince. It’s been there for almost forever. Good stuff. My caffeine comedown is pretty mild. It doesn’t get emotional for me. It’s just a slow energy drain thing. I probably drink a lot more coffee more regularly than you do, and my body has probably built up some kind of defense system against the let down part. That sounds awful. How are you with sugar, sugar rushes, post-sugar come down? ** Misanthrope, Didn’t meet Amis, no. I hear he’s super short. I’ve met people who’ve known him a little, and some say he’s nice, and some say he’s a total prick, so maybe he’s both. I’m happy that, within your top 5 writers photo shoot, I’m still the weirdo of the bunch. Thank you! I’m starting to get this ‘Twin Peaks’ vibe from your work situation, which is not a bad thing, obviously. It was big Jim’s birthday two days ago? I’ll bet Pere Lachaise was hopping. ** Alan, Ooh, that sounds good. ‘Possession’. I’ll get myself an uncensored torrent from somewhere, you bet. I’m not too lagged, thanks. I’m really glad to hear you’re submitting the novel. Yeah, diligence, stay the course, don’t let any rejections you might receive mean much of anything to you. It’ll happen. ** Steevee, You saw ‘Possession’ too. Hm, yeah, it sounds well worth seeing. Thanks! ** David kelso-housman, I don’t think I’ll be writing any blockbusters. If I ever speak of such a goal, I hope someone here shakes me back to my senses. In fact, if I ever speak of wanting to write any kind of ‘genre’ book, even a YA book, I’ll expect a wake up call from people here. Originally, my Horror Hospital story was going to be the beginning of a YA kind of novel, but as I had apparently already crossed the no-no line within about six sentences, according to my agent, it never happened. ** James, Hey, James. I was put up at the Mondrian Hotel, Soho, on Crosby St. just south of Grand St. New, chic, but not obnoxious about it. If you ever stay there, ask for a room high up and on the corner of the building. That’s what I had. Really, the walls — or two of them — were windows. Crazy view. Love to you too, bud. ** Bill, Hi. The flight was okay. Great that you got to see Bill Jones. Yeah, he’s terrific, as is his work. 40+ dronesters? Excuse me if I get excited by that prospect. Can you say more? Will you do a sound drone or a visual drone or both or … ? ** Friday ** Marc Vallée, Hey, Mark. Yeah, Cameron is trying to bring down Europe singlehandedly, ha ha. Good luck with that one. Oh, Dom Lyne, awesome! He’s great! That’s fantastic that you guys are going to work together. How is that going to work? I would love to see the results, obviously. Give him a hug for me. Very cool! ** David Ehrenstein, Thanks for the Buckaroo hologram link. I remember that now. Nice. Very, very sad about Gilbert Adair’s death. Amazing guy for so many reasons. His Perec translations alone are totally heroic. RIP. ** David kelso-housman, Oh, ‘Wild Palms’. Back when TV took some chances briefly in the light of the initial popularity of ‘Twin Peaks’. ** Steevee, Hm, I’ll give Jacques Vallee a look. I don’t know his stuff at all. ** _Black_Acrylic, Nice to be back, thanks! Great about finishing your YnY article. The anticipation builds. Bawbag is quite a word for a scrotum. Wow. I’ve got to use that somewhere. ** Chris Cochrane, Hi, C. Well, Ira’s job change affects me in that he’s not my agent anymore. I have a new one now. It’s great for him, but it is weird ‘cos he had been my agent from the beginning, and I’ve always relied on his advice and counsel. Even though he’s younger than me, it kind of feels like losing a parental figure. But my new agent is going to be great, I think. That Fight Magazine thing isn’t online, right? All I could find was the issue’s cover. I do know ‘River of Orchids’, yes, and it is a very swell song, I agree. Bon weekend, my friend. ** Shannon, Hey, Shannon. I slept okay, thank goodness. Tonight’s the real test. Great, thank you for the link to your essay! I’ll read it when I’m done with the p.s. Everyone, it was mentioned here the other day that a nonfiction piece by the ultra-fine writer and d.l. Shannon has been nominated for a Pushcart Prize, and she has kindly linked us up. I very highly recommend that you go read it, ‘cos she’s awesome. She has a little pre-reading advice for potential readers, and here it is in her words: ‘Fair warning, if anyone does not want to read true words about my pussy don’t read this piece. It’s an essay about the first girl to ever make me squirt.’ Okay, now head over there. Can’t wait to read the piece. It’s fantastic that you’re on a writing jag. I’m sure someone will want those new pieces, strange or not. If places are foolish enough not to grab them, listen, this blog would be honored to have any of them anytime. ** Chilly Jay Chill, Hi, Jeff. I don’t know when the photo thing will run, but maybe I’ll be told in advance, and I’ll let you know, if so. Split on ‘Gummo’ is better than I expected based on their reticence with the other films you showed. No, I don’t know that Coleman Dowell novel. I think I’ve only read his diaries. I’ve been meaning to read his fiction for yonks, so maybe I’ll try that one first. Have a free as a bird weekend, pal. ** Okay. Now, please do spend some time with Postitbreakup’s short story over the next couple of days, and please give him your thoughts, however brief or in depth. I’ll see you in the comments arena on late-ish Sunday, and I’ll see you back here on Monday morning.

Gig #11: Garage Rock Journeymen

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count5

‘After Rock & Roll saw a relative decline in popularity during the early 1960s, new acts that had this genre as their main template as well as influences such as Surf Rock, Rhythm & Blues, British Beat Music and early Pop/Rock would emerge. Their musical approach was distinguished for being relatively raw and energetic, generally employing simple, fuzzbox-distorted guitar melodies and many times even shouting or screaming. Since many of these groups featured rather untrained musicians, aimed for an amateurish approach to their music and/or tended to practice in their garages, the style has been retroactively dubbed as Garage Rock.

‘Garage Rock has been considered as one of the most important precursors and influences to the Punk Rock explosion of the second half of the 1970s and the genre is strongly related to the so-called Proto-Punk phenomenon that predicted the style. While Garage Rock would suffer a decline of popularity during the last years of the 60s, bands from the Detroit Rock scene, including The Stooges and MC5 would continue with the legacy of the genre, playing an even more hard-edged and aggressive style than earlier artists did. This would also contribute not only to the development of Punk, but also of Hard Rock. The 1972 release of the first Nuggets compilation has also been credited for a continued popular interest in the genre.’ — The Garage Rock Hideout

 

 

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Music Machine

‘The Music Machine (1965–1969) was an American garage rock and psychedelic (sometimes referred to as garage punk) band from the late 1960s, headed by singer-songwriter Sean Bonniwell and based in Los Angeles. The band sound was often defined by fuzzy guitars and a Farfisa organ. Their original look consisted of all-black clothing, (dyed) black moptop hairstyles and a single black glove. Their debut album, (Turn On) The Music Machine, was released in 1966 on the Original Sound label. Seven of the twelve tracks were originals, written by Bonniwell. One of these, “Talk Talk”, became a Top 20 hit in the U.S. The follow-up single, “The People In Me”, peaked at #66. Bonniwell blamed the weak showing of this single on a supposed feud between the band’s manager and a top record executive. In 2000, Bonniwell wrote about his life and The Music Machine in the autobiography Beyond The Garage, published by the small press publisher Christian Vision.’ — Beyond the Garage


‘Talk Talk’


Music Machine ‘Talk Talk’

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Syndicate of Sound

‘Formed in San Jose, California in 1964, the Syndicate of Sound are considered to be one of the forerunners of psychedelic rock, establishing a national following based on one massive 1966 hit, “Little Girl”. Comprised of vocalist / guitarist Don Baskin, guitarist / keyboardist John Sharkey, lead guitarist Larry Ray, bassist Bob Gonzalez and drummer John Duckworth, the band rose from the ashes of high school rock bands the Pharaohs and Lenny Lee and the Knightmen. The new group won a “Battle Of The Bands” contest, beating out 100 other groups to win a recording session with Del-Fi Records. That effort went nowhere, but the band had been working on new, original material and began shopping a tune called “Little Girl” to anyone who would listen. Nearly everyone turned them away before Hush Records, a predominantly rhythm and blues label in Richmond, California, decided to take a chance and issue the record locally in late 1965. As the years wore on into the new century, Don Baskin, Bob Gonzalez and John Duckworth reformed with a couple of new members and began performing as The Syndicate Of Sound once again.’ — classic bands.com


‘Little Girl’


Syndicate of Sound ‘Little Girl’

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Tommy James and the Shondells

‘Tommy James & the Shondells — the very mention of their name, even to someone who doesn’t really know their music, evokes images of dances and the kind of fun that rock & roll represented before it redefined itself on more serious terms. And between 1966 and 1969, the group enjoyed 14 Top 40 hits, most of which remain among the most eminently listenable (if not always respected) examples of pop/rock. The group was almost as much of a Top 40 radio institution of the time as Creedence Clearwater Revival, but because they weren’t completely self-contained (they wrote some, but not all, or their own hits) and were more rooted in pop/rock than basic rock & roll, it took decades for writers and pop historians to look with favor on Tommy James & the Shondells. Tommy James & the Shondells were lucky enough to be making pop-oriented rock & roll in an era when most of the rest of the rock music world was trying to make more serious records and even create art (often even when the act in question had no capacity for that kind of activity).’ — oldies.about


‘Mony Mony’


Tommy James ‘Mony Mony’

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The Sonics

‘Of all the garage bands that made a glorious racket in the 1960s, few if any were louder, wilder, or more raw than the Sonics, a Tacoma, WA quintet whose over-the-top style, complete with roaring guitars, pounding drums, and the fevered howls of lead singer Gerry Roslie, anticipated the mania of punk and pushed rock & roll deep into the red zone during their 1963-1966 heyday. The Sonics were stars in Washington, but it took a while for the rest of the world to catch on, and in time they would become one of the most fabled bands on the Pacific Northwest rock scene. In 2007, the Sonics were persuaded to do a reunion show in New York City as part of the annual Cavestomp garage rock festival; while Andy Parypa and Bob Bennett opted not to participate, citing an unwillingness to travel, Gerry Roslie, Larry Parypa, and Rob Lind were on hand, with Ricky Lynn Johnson, formerly of the Wailers, sitting in on drums, and Don Wilhelm of the Daily Flash on bass. Since then, the Sonics have been playing occasional club and festival dates in Europe and the United Kingdom.’ — history-of-rock


‘Strychnine’


The Sonics ‘Strychnine’

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The Standells

‘The Standells were thee punk band of the 1960s. They combined a snarly, moody look with a vicious, burning sound that made them the epitome of Teenage Punk. Their records were a tour de force of us-versus-them teenage stances packed into two-and-a-half minute, commercial rock songs. It all worked so well, that it seems amazing such a group could have emerged from their rather ordinary backgrounds. “Dirty Water” was released as a single on Capitol Records’ Tower subsidiary towards the end of 1965, not because there was any great belief in the record, but because Tower really wanted a Ketty Lester record that Cobb also produced. In July, 1966, “Dirty Water” surprised everybody climbing to number 11 on Billboard’s national chart. Other songs cemented image. The chip-on-the-shoulder bad boys, despite having a tough go of life — still manage to indulge in their pleasure of loose women (“Medication”) and drugs. The end of the 1960s ushered in a whole new era of Woodstockian-like heavy, progressive, jamming bands that rendered a “Serious” group like the Standells impotent. They were lost in a new era of 1000 watt Marshalls and twenty minute guitar solos. That confusion coupled with a lack of direction and internal difficulties splintered the band.’ — phinnweb.org


‘Sometimes Good Guys Don’t Wear White’


The Standells ‘Sometimes Good Guys Don’t Wear White’

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The Beau Brummels

‘Formed in San Francisco in 1964, the Beau Brummels’ original lineup included Sal Valentino (lead vocals), Ron Elliott (lead guitar), Ron Meagher (bass guitar), Declan Mulligan (rhythm guitar, bass, harmonica), and John Petersen (drums). They were discovered by local disc jockeys who were looking to sign acts to their new label, Autumn Records, where Sylvester Stewart—later known as Sly Stone—produced the group’s early recording sessions. Initially, the band’s musical style blended garage music and folk music and typically drew comparisons to The Beatles, while their later work incorporated other music genres such as psychedelic rock and country rock. The Beau Brummels broke into the mainstream with their debut single, “Laugh, Laugh,” for which they would later be credited for setting the aesthetic foundation for the San Francisco Sound. The group’s commercial success declined by the following year, at which time the financially struggling Autumn label was acquired by Warner Bros. Records. After recording an album of cover songs, Beau Brummels ’66, the band released a pair of critically acclaimed albums: Triangle in 1967 and Bradley’s Barn in 1968.’ — allmusic


‘Talk Talk’


The Beau Brummels ‘Laugh Laugh’

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The Seeds

‘Best known for their rock & roll standard “Pushin’ Too Hard,” the Seeds combined the raw, Stonesy appeal of garage rock with a fondness for ragged, trashy psychedelia. And though they never quite matched the commercial peak of their first two singles, “Pushin’ Too Hard” and “Can’t Seem to Make You Mine,” the band continued to record for the remainder of the ’60s, eventually delving deep into post-Sgt. Pepper’s psychedelia and art rock. None of their new musical directions resulted in another hit single, and the group disbanded at the turn of the decade. Sky Saxon (born Richard Marsh; vocals) and guitarist Jan Savage formed the Seeds with keyboardist Daryl Hooper and drummer Rick Andridge in Los Angles in 1965. During the early ’70s, Saxon led a number of bands before retreating from society and moving to Hawaii. Savage became a member of the Los Angeles Police Department. A collection of rarities and alternate takes, Fallin’ off the Edge, was released in 1977.’ — last.fm


‘Can’t Seem to Make You Mine’


Sky Saxon ‘Can’t Seem to Make You Mine’

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Electric Prunes

‘Though they got considerable input from talented L.A. songwriters and producers, with their two big hits penned by outside sources, the Electric Prunes did by and large play the music on their records, their first lineup writing some respectable material of their own. On their initial group of recordings, they produced a few great psychedelic garage songs, especially the scintillating “I Had Too Much to Dream Last Night,” which mixed distorted guitars and pop hooks with inventive, oscillating reverb. Songwriters Annette Tucker and Nancie Mantz wrote most of the Prunes’ material, much of which in turn was crafted in the studio by Dave Hassinger, who had engineered some classic Rolling Stones sessions in the mid-’60s. “Too Much to Dream” was a big hit in 1967, and the psychedelized Bo Diddley follow-up, “Get Me to the World on Time,” was just as good, and also a hit. Nothing else by the group made it big, and their initial pair of albums was quite erratic, although a few scattered tracks were nearly as good as those singles. Although they began to write more of their own material on their second album, their subsequent releases were apparently the products of personnel who had little to do with the original lineup. Their third LP, Mass in F Minor, was a quasi-religious concept album of psychedelic versions of prayers; a definitively excessive period piece, its best song (“Kyrie Eleison”) was lifted for the Easy Rider soundtrack. None of the original Prunes were still in the lineup when the band dissolved, unnoticed, at the end of the ’60s.’ — allmusic


‘I Had Too Much to Dream’


Electric Prunes ‘I Had Too Much to Dream’

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Paul Revere and the Raiders

‘One of the most popular and entertaining groups of the 1960s, Paul Revere & the Raiders enjoyed seven years of serious chart action, and during their three biggest years (1966-1969), sold records in numbers second only to the Beatles and the Rolling Stones. And their hits “Steppin’ Out,” “Just Like Me,” “Hungry,” “Him or Me-What’s It Gonna Be,” and “Kicks,” in particular, are now seen by compilers as bold, unpretentious pieces of ’60s rock & roll with a defiant, punk edge. In a quest to shed their ’60s image, the group switched to the name “The Raiders” in 1970. And suddenly, the Raiders tried to sound serious, heavy, and very modern. The result was the Collage album, a very strong rock record, built largely on songs by singer Mark Lindsay and new member Keith Allison, that never found an audience. And the “Raiders” name change only seemed to confuse wary fans — where was Mark Lindsay? By 1975, Columbia Records had abandoned the group, and Lindsay had parted company with Revere. In the decades since, a version of the group that is as much devoted to comedy as music has performed under the leadership of Paul Revere (age 71 in 2009).’ — classic bands.com


‘Hungry’


Mark Lindsey ‘Hungry’

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Love

‘Psychedelic folk-rock band Love were formed by enigmatic singer-songwriter, multi-instrumentalist and producer Arthur Lee when he was just 20 years old. Lee is also known for producing a young Jimi Hendrix in his early career, and tipping off his label bosses about his friend Jim Morrison’s new band, The Doors. The other members were Bryan MacLean (singer-songwriter, guitar), Johnny Echols (guitar), Ken Forssi (bass guitar) and Alban Pfisterer (drums). Love released their debut album Love in 1966 on Elektra Records, and had a minor hit with the Bacharach/David song “My Little Red Book”. It did reasonably well, before second album Da Capo followed within months. It included the single “7 and 7 is”, which Lee later modestly cited as being his “invention of punk-rock”. Love’s all-time classic album was not long in coming: in November 1967 they released their final album in their original line-up, Forever Changes. Problems with drugs and fall-outs meant the album was recorded in a turbulent atmosphere, and Lee famously said that he believed he was about to die. The result was an album of intricately arranged acoustic guitar, swelling strings and Spanish horns, and morbid, foreboding lyrics: a perfect synthesis of Lee’s paranoia and his ambivalence following the so-called ‘Summer of Love’. It was largely ignored upon release but has since been reappraised and is widely considered one of the greatest albums of the 60s.’ — soundunwound


‘My Little Red Book’


Love ‘My Little Red Book’

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Blues Magoos

‘A Bronx-based quintet, the Blues Magoos were formed in 1964 and were originally known as the Trenchcoats before changing their name to the Bloos Magoos and then subsequently adopting the more conventional spelling as they became fixtures on the Greenwich Village club scene. The band released singles for the Ganim and Verve Forecast imprints before signing with Mercury Records in 1966, and after an intense makeover and a marketing blitz, they emerged as a sort of East Coast answer to the then-emerging San Francisco flower power psychedelic scene with a big single, “(We Ain’t Got) Nothing Yet,” that same year, and attracted further attention with the album Psychedelic Lollipop, which also charted. Really more a blues-rock band with a garage band’s approach and intentions than they were a Summer of Love band, the Blues Magoos nonetheless continued with psychedelic trappings for the album Electric Comic Book, which appeared in 1967, and the similarly constructed Basic Blues Magoos a year later in 1968. At this point the group restructured its membership and approach, signed with ABC Records, and returned to its blues roots for 1969’s Never Goin’ Back to Georgia and 1970’s Gulf Coast Bound, which added some Latin touches to the blues and featured mostly session players. By 1972 the Blues Magoos name was retired, although the group reunited for live shows in the late 2000s.’ — last.fm


‘We Ain’t Got Nothin’ Yet’


Blues Magoos ‘We Ain’t Got Nothin’ Yet’
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p.s. Hey. So, I’m heading back to Paris in a few hours. I think I was overly optimistic when I wrote the other day that I might be able to a proper p.s. tomorrow because I’m certain that I’m going to be wiped out and probably sleeping tomorrow morning, so let’s say I’ll just say hello and intro the post tomorrow, and then I’ll be back to do a full p.s. on Saturday when, I’ll remind you, we’ll be holding a weekend-long writers workshop here featuring the fiction stylings of Postitbreakup. For those who are interested, the photo session thing yesterday was actually quite simple and easy. It wasn’t a fashion kind of thing but rather a head and shoulders portrait. The other writers who were shot and will be in the same spread with me were Salman Rushdie, Richard Ford, Peter Carey, and Martin Amis. I’m guessing the reason why all the trouble and expense was taken to bring me over here so briefly is because, obviously, that’s very fancy, famous company for the likes of me. So, we’ll see what comes of it. Okay, I’d better get to this. ** Alan, You got two right. Trippy, no? ** Sypha, Hey, Good to see you. I’ll bet you’re crazy busy at work, and good luck with that, man. Yeah, all this traveling is more than a bit tired-making. I have one more trip to Amsterdam in about 10 days, and then hopefully I’ll get to be still for a while. ** Kyler, I’m glad the Regardie post found a comrade. Very interesting what you said about self-knowledge and magic. I kind of love that last Harry Potter. Yeah, I guess it’s time for the series to end, but it was my franchise. It was the only one where I got excited about the next one. I have to find a new franchise. Maybe ‘the Hobbit’ or something. ** Killer Luka, Writers have actually tried to write porn in strict poetic forms. I think there was an anthology of them maybe. They weren’t very sexy. Well, to me. What happened to that artist book? Did you ever scan it or anything, or would you? Naturally, I’d love to see it. I’m definitely going to look into this ‘Stalag’ fiction thing. That’s fascinating, and that’s the first I’ve heard of it. Blog post fodder maybe. More than maybe. Hm. Adieu to you too. ** Bollo, Yeah, the Eiffel Tower, pencil, etc., all edible. I guess it’ll be a flip a coin situation. I’ll do my annual buche scarfing photo spread post, yep. Thanks about the Other People interview. Yeah, I guess madly scribbling punk Kama Sutra illustrations or something would be an equivalent? ** Ken Baumann, Ken! The photo shoot was kind of cool. Everyone was really nice. I didn’t have put on make up. They just threw a wrinkled stripey open button down shirt — designer, but I forget who — over my organic t-shirt, sat me down at a kind of little table, and snapped away. I didn’t meet the famous writer guys. Martin Amis was due after me, but he was running late. ‘Sleeping Beauty’: my eyes will be peeled. Ah, so you did a reading, and you did like it, and you did triumph. There you go! You’re all ready for your 60 city ‘Solip’ tour now, man. ** Alter Clef Records, Hey, Nick! Yeah, I’ll bet Iceage was insanely great live. I hope they don’t break up or something before I get to see them. Me? I’m good, just kind of tired out from all this traveling stuff, and dreading the worst-to-come, i.e. post-flight tomorrow. Great about your avant-garde opera. What’s it about? Ha ha, worst question ever. I do know that Scott Walker is recording a new album, yes, and, of course, hooray. Best to you, man. ** Brendan, Hey, B! Yes on SR. No on RF. Not bad. Going to the gym a lot and feeling good is something to report. Happy to hear it, and love supreme. ** Shannon, Hi! I like listening to people speak too, yeah. I like to study their speaking styles while I’m listening. It’s hard though, like rubbing your head while scratching your belly. Or is it vice versa? Whoa, you got nominated for a Pushcart! Congrats! I hope the Pushcart people have their heads screwed on right. And that’s awesome about your nonfiction sex writing piece getting published. Print or online or both or … ? Iow, will we be able to see it? Yeah, that’s all great Shannon! Super wonderful to hear that, my pal. ** Lee, Hey there, Lee, really nice to see you! More coincidental studio upheaval. I kind of like the through-line. But, assuming your studio is generally at peace, please don’t wait until the next remake to say hi. Unless you want to. Through-lines are made to busted. Oh, cool that something I said to you helped out. Robert Morris … I probably gently trashed him, right? I don’t remember. Anyway, the main thing is that your conjunction was acknowledged as exciting. Cool! I’m okay. In my case, I need to upend the furniture, etc., in my Paris pad because it’s a total fucking mess. Best to you, big L. ** Steevee, Hey. ** Bernard Welt, Hey, B. Yeah, cloying is a good way to put it. Also, Mills’ style seems like very borrowed and familiar to me. A too twee Woody Allen thing meets a kind of elegantized ‘Malcom in the Middle’ thing. Or something. Plummer was great though, yeah. And the actress whose name I forget was pretty good too. ** SwAmPeX, Hey, man. Great to see you! I know, I know, I’m being so slow to write back to you. When I get through the tail end of all this traveling stuff, I swear. ** Misanthrope, Rain rain rain. It’s not raining right now, but it was raining nonstop in NYC from the second I arrived until now, i.e. when I have to leave. It’s chilly out. Anyway, … so your work place is full of characters. Well, two so far. You should get everybody there together and organize a theater production of ‘One Flew Over the Cuckoo’s Nest’ or ‘Marat Sade’. I don’t know. Yeah, I think if you guys do all the work for Little Show one more time, you’ll ruin him for life. I don’t know. The other writers are listed up at the top there. How about that? I’m, like, all hoity-toity now, man. ** 5strings, Dude, yes, seriously, thank you for that. That being the Regardie post. Very enlightening and much ‘liked’ on Facebook too. I’m virtually positive that Gisele won’t sell you a boy doll, sorry. Well, unless you’ve got some big bucks. And even then maybe not. Baseball isn’t for retards, though. It’s the poet’s sport, man. Anyway, I’ve got to zoom along ‘cos my taxi to JFK or whatever is due, but, yeah, thanks again, and much more next time. ** Little foal, Hi, Darren! Oh, shit, yeah, your comment must have arrived as I doing the final spellchecking and posting. Sorry. Let’s see … I think you should see ‘Beau Travail’ next. It’s pretty great. You snagged a copy of ‘Strange Landscape’? That’s not easy to do. Nice! I hope you like it. I think you will. I haven’t read ‘Boneyard’ yet, but I bought a copy while I was here expressly so I could. I’ll bet it’s great. Beachy is a really good and really undervalued writer, and a totally swell guy. You be well too, my friend. ** Armando, Hey! You good? Thanks about the polaroids. Yeah, that was the real Ziggy. I’ve got a lot of polaroids of him. Maybe I’ll do a big Ziggy polaroid post sometime. Yeah, I’m lucky. That’s the truth. How are you, man? What’s up? ** Jeff, Hey. I don’t have a strong dislike of Gallo. Certainly not like I do for Von Trier. I totally understand why people think that he and what he does are interesting. He’s a real artist and an iconoclast, and more power to him. He just doesn’t connect with me most of the time, I guess. I looked for a Blecher book while I was here, but I had no luck, so I’ll order one when I get back to Paris. Thanks a lot! ** David Ehrenstein, Ha ha, I don’t know if Carax has gone gay or not. Maybe Minogue will turn out to be an amazing actress. I can imagine that could be possible somehow. Something about her face. ** David kelso-housman, ‘Loving’ by Henry Green is indeed really great! Cool. Muriel Spark Day … no, I don’t believe there has been one yet. Good idea. ** Right. So, I noticed that a bunch of the best known so-called Garage Rock bands are still out there playing their roughian pop hits, and I thought that was interesting and also melancholy, and a post was born. Up to you. As I said, I will undoubtedly will be sleeping fitfully but necessarily tomorrow at blog posting time, so you’ll get a post, but I will see you again in this fleshed out form on Saturday. ‘Til then …

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