The Stooges-influenced 70′s band, plagued with internal strife from the outset, split after just a couple of years and formed The Dead Boys (Chrome and Blitz plus the fantastic Stiv Bators). The other half, Peter Laughner and David Thomas (Crocus Behemoth) formed Pere Ubu. This double LP (“the greatest album never recorded”) has early versions of “30 Seconds Over Tokyo” and “Final Solution,” which Pere Ubu would later rerecord and self-release as singles, as well as the entirely insane “Life Stinks” (on The Modern Dance). “What Love Is,” “Ain’t It Fun,” “Down in Flames” and “Sonic Reducer” all showed up on on the Dead Boys’ debut Young Loud and Snotty. RFTT also honor The Stooges with fairly authentic covers of  “Raw Power” and “Search & Destroy” plus there’s a sludgy punk version of the Rolling Stones’ “Satisfaction.”

Here’s a video from someone who was at that Club Garibaldi show in 2017:

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Monkey Bar’s first album was recorded in 1990 at Grunert Sound (from what Greg tells us this was Chris Grunert’s basement) onto a 4-track cassette in 1990 but wasn’t released until 30+ years later. They released just one more record, in 1997 (That’s It which is likely an after-the-fact comp however Couch Flambeau’s Jay Tiller is credited with drums on a couple of the tracks that appear on both the S/T and That’s It so not entirely sure of the timeline of multiple recording sessions). Some of the tracks that appear on both include “Kill Chevy,” the bluesy “Going Blind,” Existence” the hard jangle-rocker “Sick on the Porch” and a couple of others. (Sadly “Die Kreuzen” isn’t on Monkey Bar so I’m not sure if it’s a salutatory ode or a snide slap.) My top track is the slowish grungy ass-shaking rocker “I’ll Be There.” “Math Song” is fun, too, with an excellent bass groove. Some tracks are a bit hard to listen to like “Love Hate and Pain” which is really strained – think a tinny version of a painful grunge ballad. Same with “Petrol” which has the bones of an anthemic rocker (great beat, solid bass-line, respectable guitar solo) but falls short because of the tortured vocals. As Greg wrote in the note he attached to the album when he sent it a couple years ago “The vocals are cringe worthy at times, but here you go!”

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While their style of music isn’t usually in my main wheelhouse I really do like Dusk. With six band members, each of whom are incredibly talented, their live sound is pretty huge, even when the individual songs can be sparse (on Glass Pastures the track “Organized Crime” is a good example of this). The opener of Glass Pastures “Pissing in a Wishing Well” is great – it wins for best title on the LP – and my top track is the rocking, excellently harmonized second song “Changes.” Their theme(?) song “Dusk” is a twang-swaying alt-country rocker and also great. “Don’t Let Them Tell You” has some psych elements mixed with country rock (the song’s intro has a Grateful Dead feel to it). I’m sure we will be seeing Dusk play out again very soon.

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All female American band founded in 1964 in Grosse Pointe, Michigan by sisters Patti and Suzi Quatro, sisters Nancy (drums) and Mary Lou Ball (guitar), and Diane Baker on piano. Baker was soon replaced by Arlene Quatro. The released their first single in 1964 on Hideout (Never Thought You’d Leave Me). “Nan” Ball left in 1965 and was replaced by Darline Arnone. In 1968 they signed to Mercury and released a second single (Light Of Love). In 1969 they changed their name to Cradle and pursued a heavier direction. Arlene became the band’s manager and Nancy Quatro joined as the new drummer. Suzi Quatro left in 1971 and went on to have a successful solo career. Cradle ultimately disbanded in 1973.

This compilation is killer! A mix of hard rock (for the mid-60’s), soul/Motwon-inspired, and psych. Their first single, the l0-fi “Never Thought You’d Leave Me” from 1965 is included as well as their second (and final, I think) poppy single “Light of Love.”  I also love “Gotta Get Away” – classic 60’s garage and a real ass-shaker with the organ sound up front and center, “Locked In Your Love” (girl-group soul all the way). Side Two of this comp slides into the later 60’s with a much more hard rock sound: ‘White Pig Blues” is all hard and heavy bendy blues with vocals that have just a smidge less edge than Janis Joplin’s and “Brain Confusion” is acid psych backed by more hard blues.

While this song is not on the comp, it’s the only live performance video I could find and it’s pretty fucking awesome (“Reach Out” 1968):

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