Jan 1, 2025
The Chrome Cranks "Hit The Sand"
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The Chrome Cranks "Hit The Sand"
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Omega Radio for October 26, 2013; #34.
Daydream Nation
"Death Valley '69" (f. Lydia Lunch)
"Get Into The Groovey"
"Starpower"
"Kotton Krown"
"Expressway To Yr Skull"
"Halloween"
"Tuck N' Dar"
"He's On Fire"
"Kool Thing" (f. Chuck D.)
"Disappearer"
"TV Shit" (f. Yamatsuka Eye)
"Bull In The Heather"
"Little Trouble Girl"
"My Arena"
"Skip Tracer"
"Diamond Sea" (alt. end.)
interstitial: selections from Silver Sessions
Sonic Youth tribute celebrating Daydream Nation's 25th; and the first-ever full-album play.
PUSSY GALORE, Toronto 1988 & 1989
If most people who lived through the '80s made a movie of their life, they'd probably soundtrack it with, I don't know, U2 or A-ha or Tears for Fears. My '80s biopic would be scored to Pussy Galore - probably my favorite band of the decade, and one whose three albums and four EPs bring me back to the first years of life on my own, post-college, making a precarious living as a writer and photographer. They were another major enthusiasm of Tim Powis at Nerve, and he made the rest of us fans (my then-girlfriend had a maddeningly not-so-secret crush on PG front man Jon Spencer), though they didn't actually show up in town until the magazine was effectively defunct. I was without a steady gig then, but I begged a portrait session with the band during their two-night stand in April of 1988 at the Silver Dollar Room on Spadina. My big memory of the weekend was that Philadelphia rapper Schoolly D was playing the room in the basement under the club, and that Jon and the rest of the band were more enthusiastic about catching his show than doing their own gig.
Jon Spencer formed Pussy Galore at college in Washington, D.C. with Julie Cafritz, added guitarist Neil Hagerty then moved to NYC, adding Cristina Martinez on guitar and ex-Sonic Youth drummer Bob Bert on drums and junkyard percussion. Cristina had left and Kurt Wolf had replaced Neil Hagerty by the time I did my first shoot with them, while they were touring to promote their first LP (and - to me - undisputed masterpiece, Right Now!). They were cultivating a bit of a bratty reputation, so most of my two rolls of 120 film from the session are the band goofing around, pulling faces, and making it as hard as possible for me to get the sullen, iconic group portrait I hoped to take. I did, in the end, get two decent frames right next to each other, but decided against shooting the gigs in favour of just enjoying their cacophonous (but deceptively tight) show.
My friend Chris Buck also shot the band that weekend and ended up with some really nice portraits; my shots were harder to work with - beyond my meagre darkroom skills at the time - and would remain unseen and unpublished for at least twenty years until I posted one on my old blog a few years ago. I would, however get a second chance to shoot the band live a year later, when they were on tour again after releasing their Dial 'M' for Motherfucker record.
When Pussy Galore returned to Toronto in August of 1989, they'd had another lineup change, with Julie Cafritz leaving the band and Neil Hagerty returning. They played the Apocalypse Club on College Street and I ended up putting the band up in my Parkdale loft - the first of several times I'd give Jon Spencer and his bands a place to stay on tour. For some reason I was in an on-camera flash mood, and shot the show using a big new Metz potato masher flash fitted with a big bounce reflector. I also asked the band if we could do a quick portrait session in the dressing room, just as they stepped offstage, and I set up a light stand and umbrella, finishing off the last half of four rolls of Ilford film with the group.
Pussy Galore would be reduced to a trio with Spencer, Hagerty and Bert when they released their final posthumous album, Historia de la Musica Rock, in 1990. Jon and Cristina Martinez would found Boss Hog around the time the band was falling apart, and he would form the Jon Spencer Blues Explosion with Judah Bauer and Russell Simins just after Pussy Galore broke up. Jon continues to record and tour, and I'd end up with him in front of my camera again, but that's a story for another day.
Sonic Youth - Hallowe'en (1984) Kim Gordon / Thurston Moore / Lee Ranaldo / Bob Bert from: “Bad Moon Rising” (CD) (CD Bonus Track)
Noise Rock | No Wave | Experimental Rock
JukeHostUK (left click = play) (320kbps)
Personnel: Kim Gordon: Vocals / Bass Guitar Thurston Moore: Guitar Lee Ranaldo: Guitar Bob Bert: Drums
Produced by Sonic Youth | Martin Bisi | John Erskine
Recorded: @ The Before Christ Studios in Brooklyn, New York USA during September - December of 1984
Released: in March of 1985 Blast First Records (UK) Homestead Records (US)
Sonic Youth, early 80s
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PUSSY GALORE
"Exile on Main st"
(LP. Shove rcds. 20?? / rec. 1986) [US]
Sonic Youth “Evol” 1986. SST Records. Noisy no-wave, Evol is Sonic Youth’s third LP, their first with drummer Steve Shelley (replacing Bob Bert); it’s also notable for including bassist Mike Watt on the track “In the Kingdom #19,” his first recording after fellow Minutemen D. Boon’s death. (Watt also played on the Kim Fowley cover “Bubblegum” which is not on the vinyl version of Evol but is included on the CD). Sonic Youth also continued their collaboration with Lydia Lunch (who sang on their 1984/85 single “Death Valley ‘69″) - she co-wrote “Marilyn Moore.” (The cover of Evol is a still of actress Lung Leg from Submit to Me, Lung Leg also was in the video for “Death Valley ‘69″ - great song, great video). My favorite tracks on Evol are two tracks sung by Kim Gordon: “Shadow of a Doubt” and “Starpower,” which was the only single from Evol. I also appreciate the arty chaos sensibilities that carry over from the music to creating confusion for the listener: the tracks aren’t listed in order on either the back cover nor the lyric sheet, plus the last track “Expressway to Yr. Skull” is listed as “Madonna, Sean and Me” on the cover and as “The Crucifixion of Sean Penn” on the lyric sheet (and regardless of the title, has an infinity loop of chords in the runout groove). I’m not entirely sure what the obsession with Madonna and Penn was all about -- the two married in ‘85 and divorced in ‘89 (with a lot of acrimony in between), but clearly there was some fascination. Around the same time as the recording of Evol, Sonic Youth and Mike Watt formed the side project Ciccone Youth, releasing the single “Into the Groove(y)” in ’86 and issuing the album The Whitey Album (1988, J. Mascis also contributed to that record).
Sonic Youth - Society Is a Hole