New Bomb Turks - Four Times Nine (White Trash Soul Real R'n'R No.16)

 

In my previous post about Teengenerate, I mentioned the New Bomb Turks as one of my favored punk rock bands of the '90s. The first time I saw and heard them playing this suprecharged rock'n'roll, there was a look of obvious surprise on my face, see I was expecting guys in leather jackets with long or spiky haircuts and other such dumb clichés. I hadn't even heard of the Descendents or Milo yet (this was the pre-internet era, as I've mentioned many times already) and I also didn't know that the members of Bad Religion were college graduates. Learning through fanzines that these four guys had English degrees from Ohio State University was quite a revelation for me. I was myself, too, something in between because I wasn't a nerd definitely but I also wasn't someone who didn't like to read, especially literature and history. As you might have guessed, I felt completely at home.

The band took their name from Robert Wuhl's character in the early-'80s cult classic comedy 'The Hollywood Nights', which also marked the screen debut of Tony Danza. I remember them uploading a letter to their embryonic website from an Armenian guy complaining about the name because he believed it had something to do with Turkey and genocide. Afterwards, he told them to fuck off and sent him some patches or pins, it was hilarious!

It was the "Destroy-Oh-Boy!" album that first blew me away on Tim's Crypt. The New Bomb Turks combined the rawest '50s rock 'n' roll with the snotty '77 punk and the intense warp speed of '80s hardcore, a winning formula copied by at least two other great bands of the era, The Dirtys from Michigan and Los Ass Draggers from Spain. From that moment on, I felt that things were going downhill for me. I was hooked on like a heroin addict. I couldn't wait for their next single or LP and that continued until they decided to split. They reformed thanks to some evil rock'roll power and I got to see them on stage here in Greece about ten years back. 

The homegrown stuff I made especially for you once again was inspired by the Rolling Stones' "12X5". Somehow, I had to force myself to narrow it down to just four songs from each of their albums and three compilations of singles and other tracks. It turned out to be a real challenge. If you think the job of a serious compiler is easy, just try doing the same thing with the Ramones or Motorhead smart ass... But I think I've cracked it. The more I listen to this, the more I like it. For the cover of the comp, I used the stunning sketches of Arturo de Leon, the man behind the artwork for N.B.T.'s debut and a '90s t-shirt that I found on eBay and bought without hesitation. I believe it is his too. 

Bear in mind that these guys are from the same region as Cheetah Chrome of the Dead Boys and Mike Hudson of the Pagans. Their punk rock 'n' roll has some serious bloodline and DNA. I don't know about the Epitaph stuff but Crypt have reissued multiple times their first two albums, so do yourself a favor if you're not sitting on any of these and go fuckin' buy everything with their name on. 

The Jim Jones Revue - B-Sides & Rarities (White Trash Soul Real R'n'R No.12)

 

When did you last hear a real rock 'n' roll band? Since the Devil Dogs split up? Or was it back in the 'Soulseller' era of the Hellacopters? After the Jim Jones Revue broke up, Nick Curran and the Lowlifes were the only ones who could keep the fire burning. I mean, I can't think of anyone else since Nick's untimely death. Don't get me wrong, I love The Righteous Mind and the All Stars and Jim Jones seems to be the only guy around doing this ramalama bamalama loo thoroughly, but as much as I like the post-Revue bands, they don't have the manic '50s rock 'n' roll energy of Jerry Lee Lewis amplified through the MC5 with Gerry Roslie on vocals sound, that Revue had. 

The Revue was a rock'n'roll intelligentsia full of fundamentalism. It was a group of punk rock jihadists who managed the considerable feat of being both serious and tongue-in-cheek and who drank diesel and poured out smoke. Little Richard's leather-clad gospel evangelists and Johnny Thunders' mourners. Imagine Tarantino's Reservoir Dogs with velvet waistcoats and sideburns doing funerals. The Jim Jones Revue was a stark reminder of just how dangerous rock 'n' roll used to be. 

This compilation brings together all of Revue's b-sides, as well as a few other rarities and it's as hot and dry as a desert wind.

Sex Pistols - Ever Get The Feeling You’ve Been Cheated? (White Trash Soul Real R'n'R No.11)

 

Why am I posting this? To be honest, I'm not sure. I suppose everyone should already be aware of the Sex Pistols and Malcolm McLaren's influence on pop culture. They weren't playing anything new and they didn't play it necessarily better than The Who or the Small Faces. But punk rock went public with these Brit snots, and it was clear to everyone. I was captivated by the Sex Pistols long before I had heard of The Sonics or The Ramones. It was just a picture of Paul Cook wearing the iconic "I HATE PINK FLOYD" t-shirt that first caught my eye. I mean, I REALLY hated Pink Floyd when I was young, there was a time at school that almost everyone around me had "The Wall" patches on their denim jackets. I still do hate 'em, actually, except for the Syd years - but that's another story. All these Pistols recordings remind me of my younger self, who was completely captivated by Rotten's snarl, Jones' fierce guitar assault (which I later discovered he had stolen from Johnny Thunders, who in turn had stolen it from Chuck Berry) and the savage railroad backbeat of Cook and Matlock, who were doing their best to keep the train on tracks. And poor Sid... Oh mate, I love him! I don't care if he wasn't able to play a few notes, he was such a figure! I still think of him as a great punk vocalist, he did an excellent job with these Eddie Cochran songs and I wish he had recorded more with Jerry Nolan and the rest of the New York City wild bunch, properly. (There are lots of no-fi bootlegs that support this opinion).

Pistols were probably everything a young lad always wanted from a rock 'n' roll band: Anger, confusion, a sheer force with a bratty desire to piss everyone off! The Neanderthal iconoclasts and the street preachers. I don't care if this band/project was originally created in a fashion boutique (or not), because it worked perfectly as a cultural strength. And it still works, which makes me think that I'm right about what I'm thinking and typing right now to you. I don't care if John Lydon was always a Tory cunt, beacuse he's the Dr Jekyll of this story. The Mr Hyde persona of Johnny Rotten, who spontaneously begins to take control without filtering his words, is what's left of him worth. Even ol' Neil sang about it by juxtaposing Elvis, who had just recently deceased with Johnny Rotten who was 'born' right after. 

Once again, I haven't put together the kind of compilation most people might be expecting. In any case, the Pistols haven't left behind a massive body of work, despite the countless compilations that exist. However, I chose the ones that I definitely consider to be their best. Believe it or not, the first time I heard "Never Mind the Bollocks", I wasn't hooked by 'Anarchy in the UK' or 'God Save the Queen', but by 'Bodies' ('Screaming bloody fucking mess!'). To this very day my fave Pistols song along with 'New York'. The opening harsh guitar noise is just a feint and it has an inhuman roar. As the first chord begins to fade, Rotten bursts: "She was a girl from Birmingham, she just had an abortion" and a short while later, there is another fake stop/start, during which he loses completely his temper: "FUCK this and FUCK that, FUCK it all and FUCK the fucking brat!". In terms of fierceness, performance and delivery, there's no other song that comes any close in rock'n'roll history. 

Did I say 'New York'? The aim of this rambling, immature and bigoted diatribe was therefore clear: a direct attack on the New York Dolls, implying that they were American middle-class kids trying to imitate British monsters like the Rolling Stones. The response given by Johnny Thunders on 'London Boys' (with Jones and Cook playing in) was, of course, just as delightful! I've included a rough demo recording of 'Belsen Was a Gas', which captures the rare event of Sid Vicious playing a whole song without interruption. As it turns out, he wasn't that bad on bass after all! There are also a fair number of songs from the 'Swindle' era, which I found to be underrated, such as the eponymous one, with the amazing vocal delivery by Edward Tudor-Pole, backed by hooligan Chelsea FC like chants (by Cook and Jones?). The blasphemous lyrics ("Hiya boys, I'm the chosen one, can't you fucking see? I'm a jealous god and I want everything and I love you with a knife") are 100% in the Sex Pistols habit. Other highlights include the fantastic rendition of the traditional seafaring and hilarious drinking song 'Friggin’ in the Riggin', the glam-punk thugness of 'Black Leather' from the Ex-Pistols period, and the lost Jones/Cook power pop jewel 'Lonely Boy'. I don't want to bore you with further details, but the whole thing I've cooked up is a mixture of rough mixes, outtakes, remastered tracks and original well-known takes, all put together as a lethal cocktail.

Jubilee - Genuine Nineties Manchester Snot Pop (WTS Popkid No.6)

               

Alright! I'm obviously in a 90s mood and I guess this is something every middle-aged man goes through as he rediscovers and re-embraces his memories of the parties, the booze, the girls, the music, the past glories in general. Judging by the comments and visits, this blog's fanbase mainly like their music from other decades, but I don't really care. If you're smart enough, just listen to what I'm offering - you won't be disappointed!

Formed in 1994, Jubilee were a popular live act in Manchester, regularly packing out venues across the city. Managed by former Hacienda and Stone Roses manager Howard Jones, they were local superstars and championed by the music press as Manchester’s answer to more popular britpop bands such as Supergrass with influences ranging from the Small Faces and the Sham 69 to Syd era Pink Floyd and of course, the Stone Roses (in fact, the pair of main tracks on their singles were much more reminiscent of Oasis' punkier tunes, such as 'Bring It On Down'). Jubilee's snot pop sound proved very popular with the city's student population and Silverstone Records signed them in 1995. Both of their EPs are issued by Mono subsidiary and both releases scraped the Top 50 in 1996. 

Conflicts soon arose within the management, with the band becoming disillusioned with Jones after he pushed Andy Couzens (his collaborator and former member of the Stone Roses) to produce their first single. The band was upset with the end result and the fact that Jones had let an inexperienced producer to work on their record. Typical stuff I guess. Jubilee decided not to provide Silvertone with any more recordings, considering that the record company had not fulfilled its contractual obligations and that there had been insufficient promotion of their second and last move with 'Shake and Shiver'. Jubilee and Silvertone parted ways in 1997 amid bitterness and bad blood. Although they continued to play for a year, the momentum had clearly been lost. As you already have guessed, here you’ll find their two releases for Mono. 

The band is now considered as a junkshop britpop act but believe me they had much more to offer than mediocre outfits that were relatively or hugely successful, such as Menswear or the Bluetones.

The Upsetters - The World Famous Upsetters (White Trash Soul R&B Series No.22)

 

The Upsetters were one of the hottest bands in R&B and rock'n'roll history and King Richard Penniman's touring outfit during the Specialty years, yet they were sorely undervalued and poorly chronicled. They backed Little Richard on some of his greatest and wildest sides and were also featured on Don Covay's debut Atlantic single, 'Big Bop Bip', in 1958 or Dee Clarke's 'Oh Little Girl'. The King and Queen of rock'n'roll served as the uncredited lead vocalist on some of the Upsetters' Little Star singles in the early '60s in one of his many moments of finding God and then losing him again. The band's line-up at periods included the powerful saxophonist Grady Gaines, who was also featured as a leader on some releases. The nuclear powered Ricardito's recordings exuded nightly in the mid-50s must have rubbed off on Grady Gaines. Mind you that Little Richard had a big argument with the owner of Specialty Records, Art Rupe because he wanted to record more songs with The Upsetters who favored over the studio session players.

The early Upsetters sessions reveal a band with a raw sound, lacking in studio polish, but with volcanic rhythmic creativity. Upsetters drummer Charles Connor is credited by James Brown with facilitating the rhythmic transition from '50s rock 'n' roll to '60s funk. Anyway, during this period, they were considered by many to be the greatest touring rock'n'roll band on the planet! Connor claimed in a Ponderosa Stomp piece that 'Keep a Knockin' was the first four-bar drum intro on a rock'n'roll record:

“Richard was saying, ‘I want the guitar to play the four-bar intro.’  So the guitar player, he tried it.  Then Richard tried it.  He said, ‘I don’t like that.’  Then he let the saxophone play the four-bar intro.  I said, ‘Wait a minute, Richard.  Let me do something.  Let me do a four-bar intro because this has never been played on a rock and roll record!’  It had never been played on a rock and roll record.  So I came up with a ‘tat-tat-tat-tat-tat-tat-tat-tat’ . Richard gave me a thousand dollars for that idea, and that was a lot of money in those days.”

The Upsetters remained intact long after Richard left in 1957 to become a minister and they toured or recorded (or both) with Little Willie John, Sam Cooke, James Brown, Jackie Wilson, Joe Tex and Larry Birdsong. Band's saxophonist Wilbert Smith became the vocalist and performed under the name Lee Diamond on their own releases. He was from New Orleans (Upsetters were coming from Macon GA as Little Richard of course). Smith was in the horn section for James Brown and the Famous Flames' 1956 breakout hit, 'Please Please Please'. Further sessions and releases followed at Vee-Jay and Fire in the next years. 

As you might have guessed from the above, the Upsetters cut many excellent records independently, as well as backing some of the greatest R&B singers of the era. This homegrown compilation showcases the best (I believe) of the Upsetters' releases under their own name, as well as their backing work. I tried to delve deeper into their history than their heyday in the '50s and early '60s. Some of their instrumentals are pure gritty and sleazy strip-tease stuff, while other are hyperspeed and primitive rock'n'rollers or soul funky dancers and it's a damn shame they're only known to R&B and rock 'n' roll diehards. I left out the Specialty Little Richard stuff because, well, it's already very well documented (don't worry, the King is still here, lending his fingers to the piano and his voice to the Little Star singles). I tried to compile almost all of their singles and songs, and I only included a handful of recordings that served as the backing unit. If I had a copy of a recording made from vinyl rather than a digital format, I obviously preferred the former for the collection you will hear. Who doesn't love those crackles, anyway? 

Gary “Mani” Mounfield (1962 - 2025)

Shocked and devastated upon hearing the tragic news. Mani's basslines soundtracked my boyhood. Our boyhood. When he joined The Stone Roses, he was the missing piece that made their star shine. He brought the funk and the groove to their psychedelic indie dance rock 'n' roll. In the annals of rock 'n' roll history, Mani's transition from Roses to Primal Scream stands out as a monumental shift, one of the most significant moves in the genre's storied past. Drawing on his own post-punk background, he gave Bobby Gillespie and his bandmates a new dark twist in a bold second act. 

He was a Manchester music icon and a passionate lifelong United fan. He died on the honest side of history, unlike so many others. He was a massive talent and a top Red, both in football and political terms. A proper geezer and a working class hero. Safe travels motherfucker. 

Beady Eye - Complete 7Inches (WTS Popkid No.3)

Beady Eye was often dismissed as Oasis 2.0, whatever that means, but they were much more than that. Of course they sounded like Oasis minus Noel, because that's what they were (duh!). People expected that, and there are plenty of things to be snobby about just to seem hip or sophisticated to a certain crowd, but nobody actually gives a fuck. You know why? Because, just like The Faces, Slade or The Ramones, Beady Eye (or Oasis, for that matter) was always a people's band. There were no pretentious assholes, just an old-school rock 'n' roll gang with a warmth that knicked whatever they liked, just like their heroes did. So fuck you very much if you came that far!

Their reception among critics and the "indie" mob was, at best, sceptical. Their records just weren't good enough for them. I don't know what they were thinking and to be honest to this day I'm typing these lines, I don't care. Because you don't buy into Beady Eye for the groundbreaking stuff, mate. I mean, take a closer look at them. Their artwork and aesthetic were massively influenced by the Immediate Records and the whole Swinging London scene. I have always been captivated by their connoisseur, characterised by that mod-style dressing with flashy shirts and scarves, not to mention the incredible jackets, reminiscent of those worn by The Creation, The Birds and any other mid-to-late sixties freakbeat band worth their salt, along of course with those iconic Beatles hairdos from the "Rubber Soul" era. 

As for the songs, you can clearly hear the influence from The Beatles and The Who to the early Humble Pie or Status Quo at their most hooligan and pub rowdy. Even when they tried to adopt a more adventurous and psychedelic approach, on their second and last step "BE" incorporating the motorik Velvets rhythms (and some Stooges like one note piano), they were still able to produce some seriously good music when they were in the mood for it. 

So, if there's one thing I can be sure about, it's that Beady Eye were definitely a singles kind of band. Thinking of this, I gathered all their seven-inch singles, even the Pretty Green super rare remixes two-sider and after a LONG hiatus, I played them all again on my earphones and I'm telling you guys and gals that I haven't been able to listen to another band for two days in a row now. 

Anyway, I always thought they were great and didn't deserve to fail so badly or having such a bad mouthing. Beady Eye was rock 'n' roll at its best, in a time real rock'n'roll was/is under most people's radar and definitely underground. There's none of that mainstream stuff, no anthemic choruses, and it's kind of raw — at least by Oasis standards. And when the songs were good, they were fuckin' brilliant! And oh, at least had an identity. After all, you can't take the opinions and criticism of people who thought their haircuts weren't cool seriously. They're clueless and have no connection to rock 'n' roll or its history. Right? RIGHT!

Primal Scream - Kill All Hippies (WTS Popkid No.2)

 

Once upon a time, Kris Kristofferson sat down and wrote "Me and Bobby McGee". My younger self would not have appreciated the reference, by the way. Punk rock put me through a fanatically anti-hippie phase, and this is something that I admit has not yet gone away. Could this humble blog post paraphrase this classic song as "Me and Bobby G"? After all, Primal Scream was a mainstay of my music diet since I left my parents' record collection to find my own way. Back when the internet was still the stuff of a sci-fi writer's imagination, I obviously didn't have the knowledge I have now. I grew up just by listening to a band that sounded like the Byrds at first and then like the MC5 and the Stones, and I had no problem with that. Even their acid house delirium seemed fantastic to me!

I now know though that Bobby Gillespie and I have a lot in common — more than I once thought. We both come from working-class families and our parents instilled in us a sense of political awareness, Marxism and pride in our social background. We are still fanatical supporters of the football clubs we grew up with and we love the music, books and films that shaped us as individuals with the same passion. Although Bobby is a little older than me, he is just as fanatical about rock 'n' roll mythology as I am. I imagine he still spends his money on records and books, just like he did back then — and just like I do.

We are also different in (many) other ways. He is the leader of one of the greatest British bands the last 40 years, while I am a network engineer doing nothing that interesting. He used to be the drummer in the most influential band of his generation, the Jesus and Mary Chain, and I am still a network administrator. An when I'm bored and have a little free time, I sit down and write little stories on my blog that probably no one cares about. OK I also share some knowledge and geekiness about the subcultures that shaped us and music that companies normally shouldn't chase. But we live in a capitalist society, so at least we know what to expect.

So, as my typical habits dictated, I wanted to make a compilation to transfer to my iPod for my summer vacation. I wanted it to contain a mix of well-known and obscure tracks. So I did just that and the more I listened to that selection, the more confident I became that this is perhaps the best collection of Primal Scream songs ever compiled by someone (the little devil on my shoulder tells me to relax, but I won't). Companies always concentrated on singles and greatest hits material, but I strongly believe that this one has everything for both newcomers and Primal Scream aficionados.

I then thought, "What's to stop me sharing it in my usual socialist way?" And here it is!

The Taxi Boys - Taxi Boys (White Trash Soul Real R'n'R No.1)

 

The poor sales of the Real Kids’ first LP prompted Felice to become a roadie for the Ramones, but soon after returned to Boston and formed the Taxi Boys (the name was obviously taken from an old Real Kids song), whose two EPs continued the Real Kids' tradition of the highly energetic 60s influenced garage rock 'n' roll, only a little poppier production wise. Felice and the gang (half former Real Kids members and half future ones) are in fine form on both. The Taxi Boys dates from 1980 to 1981, and the last thing they released was in 1982, but by then they had returned to the Real Kids name again. After all, all these songs were written as Kids songs, according to John Felice. 

Gathered here are all their recordings as Taxi Boys of course and if you need a few pointers to go on, there's still plenty of Eddie Cochran guitars and Heartbreakers-esque melodies, only this time filtered through the Shoes or the Flamin Groovies from the late 70s point of view. 

The Sonics - Live & Home Recordings, 1964 (White Trash Soul 60s Punk No.1)

In terms of savagery and frenzy, they were the closest thing ever to Little Richard, just a little more amped up (ok, VERY!). The Sonics were white trash souls like you and me, absolutely and madly in love with R&B and rock'n'roll. Punks like the Parypa brothers, Gerrie Roslie, Bob Bennett and Rob Lind paved the way for anti-racist behaviour, not Elvis. Roaring guitars, pounding drums and fevered howls trying to imitate their black idols invented punk rock in the garages of their fathers around the world, not Malcolm McLaren. And dad Parypa recorded almost every Sonics rehearsal in the early 60s, including, of course, these ones. The live recordings are captured by a man in Seattle named Doug Patterson, who owned an Ampex tape machine and frequently wrote on tape the Teen Time shows on KTNT-AM Tacoma Radio to collect songs for his own teenage garage band. Fandom indeed! Since these recordings were made before the release of their debut single "The Witch", the focus is on covers and instros and the audio is definitely good for AM radio broadcasts that are six decades old.

This homemade product/selection comes from Norton's "Savage Young Sonics" and "Busy Body!!! Live in Tacoma, 1964". If you don't already have these, head over and buy the vinyl — it contains some of the rawest punk rock ever recorded!

The Cannibals - Pure Trash (White Trash Soul R&B Series No.16)

 

A few days ago, I read online that Mike Spenser of the Count Bishops and the Cannibals is in poor health. I've made several posts about him and his bands in the early days of this blog. I guess it's time to restore some things, at least for the younger ones.

Mike Spenser grew up in Brooklyn and became an important figure in the British garage punk scene in the 80s. He played with The Cannibals, ran club nights, a record label and hosted radio shows. Before that, he had experienced far more than many of his peers, for instance he witnessed the original Rolling Stones and hung out with the New York Dolls. He was friends with Joe Strummer from the 101ers days and helped form The Clash by turning down Mick Jones to be the singer in his new band. Hell, even McLaren courted him for fronting the Sex Pistols!

The Cannibals are exactly what their name says. The most primitive thing to come out of England in the late 70s and throughout the 80s, and they were the founders of ‘trash'. The term was coined one day when the Cannibals—many of whom later formed the Inmates—were riding in his old van. They decided they needed a name for their music. They weren't punk in the conventional sense, but they certainly embodied the punk ethos. They were musicians steeped in the traditions of rock 'n' roll, R&B, and garage punk. Then Mike said, "We're trash, pure and simple."

This is an assortment of songs from every period of their career, showcasing a range of their lineups and releases. Some of these songs are rare, while others are more widely available. As with all the compilaltions I share, this one was created for my own joy at first. This is not wimpy stuff mate - it's all raw, raging real rock 'n' roll with lots of ripping guitars, tons of fuzz, and mostly screaming vocals.

Get well soon Mike!

Icky Renrut - The Icky Renrut Sessions (White Trash Soul R&B Series No.15)

Icky Renrut, a not-so-well-guarded pseudonym of the ever hustler string-puller Ike Turner and his raw 50's R&B St. Louis recordings of the Kings Of Rhythm are some of the hardest and wildest that Ikey and his whammy-bar guitar ever put on wax, an essential black rock'n'rollercoaster drive! Captured to tape long before Tina came on the scene, loud and aggressive as hell, it really is indescribably hard. I mean, "Jack Rabbit" is a Richard Penniman-entrenched banger with a truly unreal insanity that has to be heard to be believed! Turner released two singles on the Stevens label (No. 104 and No. 107) under the anagram "Icky Renrut" because he was still under contract with Sun for a few months and he didn't want to cause friction with Sam Phillips, and both rockers feature singer Jimmy Thomas. 

The legendary instrumental "Prancin'" with staccato outbursts, bends over the fretboard, ultra-fast finger vibrato and smooth chords was shelved until 1961 when Ike Turner’s Kings of Rhythm re-recorded it as "Prancing" with a horn section for Sue Records. Here's the original from 1959. "The Rooster" reveals that Turner had his ear pressed to the radio whenever Duane Eddy or Link Wray came on, and "Hey Hey" was another Little Richard-esque stormer! And you know what? I LIKE IKE! I know he was a lousy person in real life, but when it comes to music, he's really on par with Johnny Otis and Muddy Waters for me. And oh, Jimi Hendrix was just another guitarist compared to him, actually there is no comparison to Ike Turner with the many guitar "gods" of yours.

AUTHENTIC 50s PUNK! 

Kid Thomas - Wail, Baby Wail, The Complete Singles (White Trash Soul R&B Series No.8)

 

"Kid Thomas, aka Tommy Louis, aka Tommy Lewis, was and is one of the great unsung heroes of that crazy kind of music that skirts the fine line between blues and straight-out rock & roll. Though success constantly eluded him throughout his career, it wasn't for lack of talent. With a powerful voice that could emit banshee wails and Little Richard howls with consummate ease, and a harmonica style that, at his best ("Rockin This Joint Tonight"), sounded like Little Walter powered by a vacuum cleaner, Kid Thomas was a man who knew how to rock the joint, indeed." - Cub Coda

Chronicling Kid Thomas' entire recorded output is an ongoing affair, I guess. I tried not to mess with the alternate takes or acetates, I just wanted to create a compendious selection by this underrated maverick that brings together all officially released recordings for beginners (or not). And that's what you get this time, the Federal debut (an upbeat workout on Howlin' Wolf's "Smokestack Lightning" that kills), and all the wild West Coast recordings made under the various names that you read already in the first lines.

The Hound described perfectly on his blog the Ricardito like screamers of that era: "Wail Baby Wail" is another full on Little Richard inspired rocker in the same vein as "Rockin' This Joint Tonight", only this one features guitarist Marshall Hooks' insane soloing which sounds like Ike Turner undergoing electro shock therapy.

Kid Thomas to me is what Esquerita was to Norton records. Ma blog's fret pet and icon. The uncelebrated hero I always wanted to find. I mean, he sat with Muddy Waters, Bo Diddley and Little Walter, he played with Hound Dog Taylor, Magic Sam and Otis Rush and idolized the one and only Little Richard! In the late 60s, he worked for everything from cheap beer bars to private parties (he was hired by Dean Martin at one of them for fuck's sake!) or as a truck driver to make the rent. One day accidentally he ran over a young child. Poor kid's father killed him with a shot in the head outside the court and that was the end. A sad finish to a life of almost making it... 

Bunker Hill with Link Wray & The Raymen - The Mala Singles (White Trash Soul R&B Series No.6)

It was either "Back From The Grave 4"or "Talkin' Trash" compilation that I've crashed for the first time this manic piece of rock'n'roll at a certainly young age. In any case it was Tim Warren's fault. I can still clearly remember my reaction to this Little Richard loaded on speed drugs type of recording. Perhaps the first time ever punk rock was documented. The echo, the sloppy fierce band playing (at the time I wasn't aware that Link and his gang was behind), everything came and gone in less than two minutes leaving my mind, my stereo speakers and my place burnt down.

Then times moved nearer the internet age and Norton Records' "Missing Links" series. I was already a huge fan of Linkster but I knew nothing about Bunker Hill. I was still in the process to discover who this cat was. To make a long story short and not boring you with my personal memories after MANY hours of google searching and fanzines reading (Kicks of course included) I found out that Bunker Hill was a professional boxer and a gospel singer with The Mighty Clouds of Joy, under the name of David Walker. 

When the other DC cat of our story heard him for the first time he nearly lost his mind. The Wray brothers (Link on guitar, Doug on drums and Vernon as a producer along with Shorty Horton on bass) rushed him into their home studio and set up two sessions. David as a singer of a very prestigious gospel group like The Mighty Clouds was afraid to record with his real name for the devil's music, so the gang decided to baptize him again as Bunker Hill. 

In 1962 Vernon took the master tapes to Arthur Yale and Jack Fine, who ran Mala Records, and the company released all three Bunker Hill singles within the next two years. All three records sold amazingly well. Hell, "Hide & Go Seek Parts 1&2" even climbed into Billboard's Hot 100!
Mala Records had still some inaugural Bunker Hill material in their vault (including nowadays lost track "Jungle Dan"), and they were planning to produce a whole album. For reasons unknown to me this sadly never happened. The last Bunker & Raymen single came out in September 1963 and it originated from the same '62 session as the previous recordings, this time with "The Girl Can't Dance" included. The flip was "You Can't Make Me Doubt My Baby", as adjusted from "You Can't Make Me Doubt" by The Gospelaires.

I have never really recovered from that first time I told/wrote you in the first lines. Everybody knows that I'm a faithful pilgrim to the Little Richard's chapel but I've never witnessed the King and Queen of Rock'n'Roll screams his lungs out like a sermon preacher in a fire & brimstone black church nor any other ever since!