![]() About half of the disc's 11 songs are covers of songs made popular by famous blues singers, like John Lee Hooker's "Serves You Right to Suffer" and "First I Look At the Purse" - a song co-written by Smokey Robinson and Bobby Rogers (member of the Miracles), that was made famous by the Contours. However, it charted in the Billboard Top 200 (#195), and gave the band a base to start touring. The group released its self-titled debut on November 16, 1970, and it wasn't much of a commercial success. By 1970, the group had signed with Atlantic Records, picked up Seth Justman on organ, and dropped "Blues" from their name. In 1967, the group recruited Peter Wolf to sing and Stephen Jo Bladd on drums under the moniker the J. In the mid-'60s, Worcester, Massachusetts blues guitarist John Geils formed a blues group called Snoopy and the Sopwith Camels with Danny Klein on bass and Richard "Magic Dick" Salwitz on harmonica. Geils band was best known for their '80s pop hit "Centerfold," they formed 15 years before the release of said song. It is a fantastic, rollicking way to end an exuberant effort from a band in its prime. The rhythm section is also rock solid, as drummer Stephen Bladd and bassist Danny Klein never fall behind the frenetic pace. The song features a spellbinding lick-for-lick sequence with Geils, keyboardist Seth Justman, and harmonica player Magic Dick. Their final song is the drum-driven "Lookin' For Love," a song written by famous R&B man James "J.W." Anderson. Fitting in beside "Give It To Me" is their fourth song, John Lee Hooker's "Serves You Right To Suffer." The bands 14-minute version is highlighted by vocalist Peter Wolf's commanding performance as he raps Hooker's lyrics with total commitment. Guitarist and founder John Geils takes over the 11-plus minute centerpiece with some impressive pentatonic lead guitar work. ![]() For the first time, the group open things up and embark on an extended jam. Though the first two songs combine to be about six minutes long, the group's third song (and first original) "Give It To Me," the epic final track from Bloodshot, goes a little longer. They head straight into a cover of Juke Joint Jimmy's "Whammer Jammer." The group was known for covering blues staples, especially those of Juke Joint Jimmy's, and they cover three of his songs on their first two albums. "(Ain't Nothin' But A) House Party" is an upbeat, bluesy rocker, that is a sign of things to come. The band is in fine form, opening up with the leadoff track from the aforementioned Bloodshot. The show took place less than a month after the quintet released their third studio album, Bloodshot, a record that reached #10 on the Billboard Pop Album charts. Geils Band was captured at the Academy of Music in New York City in May of 1973 for the King Biscuit Flower Hour. And they stuck him in cement.John Geils - guitars Stephen Bladd - percussion, drums Seth Justman - keyboard, vocals Danny Klein - bass Magic Dick - harmonica Peter Wolf - vocals Has anybody here seen my friend Moe Howard? Can you tell me where he went? He threw a lot of pies and he poked them in the eyes. The book may (or may not) also offer these modified lyrics (to the tune of Dion's inspirational 1968 hit song, "Abraham, Martin & John"): No less memorable is the chapter entitled "Moe's Greatest Threats," which includes a timeless tidbit, guaranteed to enliven any party or social gathering: "Mingle or I'll mangle." One of our favorite lines in it is: "In all the world, perhaps only Lyndon Johnson could understand how lonely a place Shemp and Pope Paul VI occupied." Happily, we just happen to have a copy of the book. That "information" consists of more than 15 inches of blank space. The review of the pseudo-scholarly "Moe Haircuts" on the website for Publisher's Weekly reads: We don't currently have a review of this title, but here is all the information we do have about it. It examines the possible influence of the Stooges on, among others, Pablo Picasso, Sigmund Freud, The Beatles, former President Richard Nixon and (hey, why not?) poetry and Cubism. That was one of many theories posited by now-former Musician magazine editor Bill Flanagan in his sadly overlooked book, "Last of the Moe Haircuts: The Influence of The Three Stooges on 20th Century Culture" (Contemporary Books, 1986). Speaking of Moe, did the head Stooge later influence the famous mop-top hairstyle popularized by The Beatles in the early and mid 1960s? It includes a segment from the late 1930s short "Swingin' the Alphabet," which at one point features Moe "playing" a banana peel. More learned Stooges fans may recognize some, or all, of the footage Jennings uses.
0 Comments
Leave a Reply. |
Details
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |