Featuring founding Saints members, guitarist Ed Kuepper and drummer Ivor Hay alongside honorary Saints: singer Mark Arm of Seattle rockers Mudhoney, former The Birthday Party / Bad Seeds guitarist Mick Harvey and bassist Peter Oxley of Australia’s legendary Sunnyboys, The Saints ’73 -’78 carry on where the original band left off in 1978 performing the material from their three incendiary albums (I’m) Stranded (1977), Eternally Yours (1978) and Prehistoric Sounds (1978).

Also joining the band onstage was a horn section, who also appear on this four song EP (Julien Wilson on tenor sax, Eamon Dilworth on trumpet and Mark Spencer on baritone sax). I loved the show! I really like Mark Arm so I was super excited to see him perform and felt that his distinctive raspy growl/shriek lent itself well to The Saints material. Not counting the horn section, 60-something Arm was the youngster in the group; the rest of the guys definitely in their 70s (or older). However, age is just a state of mind and they absolutely killed with tons of energy and rock swagger. The Saints played a couple of my favorites, including “(I’m) Stranded” (which is generally accepted to be the first punk rock single released outside of the United States, predating the first record releases from the UK punk scene, ie The Damned, and is lauded as an Australian national treasure) and “Know Your Product.” While “Stranded” does not appear on this release which was recorded at Princess Theater in Brisbane in December 2024, “Know Your Product” does (the swirly horns great both in person and on wax). While the single from their second LP (Eternally Yours) did not chart, it retrospectively is considered one of the greatest punk singles of the era. Also on Live Nights (and played last night) are “Nights in Venice” (from I’m Stranded) “No Time” (the b-side to “I’m Stranded”) and “(I’m) Misunderstood” (from Eternally Yours).

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The b-side is an Iggy Pop cover, “Billy is a Runaway.” It’s even fuzzier (with some truly signature Segall buzz) accented with saxophone (played by Zumi Oneiro) and an intentionally off-kilter rhythm section, making it a wonky cacophony of weirdness. It’s pretty great.

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Tasty is both noisy and sparse, infused with blues punk and a Midwest industrial no-frills attitude. My top tracks are the ass-shaking “If You Can’t Hang…,” the snotty “Maverick Girl,” the more angular and experimental-leaning “Psycho Kitty,” the classic-blues infused “Lil Darlin”

And while I’m not entirely sure what two songs these are (other than they are not on Tasty), here is a couple of songs from their show in Chicago just a couple night after we saw them in 2019 since there is close to zero internet content from the Dolls from Tasty:

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Long Line Riders February 14, 2025 at Wiggle Room; Jordan on the far right

They were pretty good but Mystery Girls much more my speed. Incontinopia is gritty, hard-rocking and a bit messy, just as punk blues is meant to be. My top picks are the garage rocker “I Took the Poison,” the noise-psych of “Quit Your Flyin Around” (great guitar work on this one!), the wild punk blues of “Cool It in Control” and the Bo Diddley maraca beat meets psychedelic freakout on “Cold Feet.”

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 Jukebox Explosion: Rockin’ Mid-90s Punkers! is a compilation of mostly releases from 7″ singles and rarities from the 90’s. We have a fair number of the singles from JSBX’s Jukebox series but a few of the selections on this comp are über-rare or are totally unavailable elsewhere. That would include the tracks “Caroline” and its b-side “Curfew Blues.” The story behind these two tracks is pretty great – to quote directly from the liner notes: “Caroline” – “Independent record label Caroline was the accurately rendered subject of what was originally intended to be the A-side of Jukebox single number three. The single made it as far as the test pressing stage (only four exist) before the humorless pussies at Caroline threw a hissy fit and began to threaten the band and label with legal action. Now this sneering stomper can finally be given a proper release.” From “Curfew Blues” – “This super-charged number was the B-side to the aborted “Caroline” single. Recorded at a VPRO session during a tour of Europe. On the trip, while under the impression that it was a particularly rarified variety of European cheese, Judah happened to eat an entire bar of soap that belonged to the Devil Dogs.” (🤣🤣🧀 – you can take a boy out of Wisconsin but he’ll still look for cheese) Also of note on this comp, though not nearly as hilarious, are the tracks “Naked” (again from the liner notes: “This ultra-frantic monster was the A-side to a limited edition giveaway single, inspired by avid nudist David Yow of the Jesus Lizard, who the Blues Explosion toured with early in their career. 100 copies were pressed and given to the lucky attendees at the Blues Explosion’s Third Anniversary show at Maxwell’s in Hoboken, New Jersey), “Push Some Air” (“Side A of a rare single released in 1995 on the short-lived Brazilian label Barulho del Mal, to coincide with the band’s first tour of Brazil. The single was only available on the band’s merch table, and all copies were sold out by the second date, an outdoor show in Fortaleza. Unfortunately the majority of the pressing was warped and only a handful are presently in playable condition.”) and “Dig My Shit” (“…recorded as a backing track for a planned Blues Explosion appearance on the television program Saturday Night Live. Due to a miscommunication between the band and NBC’s representatives regarding the use of profanity, the whole performance had to be scrapped. The song was later included on an otherwise completely worthless compilation on Matador Records.”). My top tracks, which are still interesting! are “Shirt Jac” (the first In the Red jukebox series, produced by Steve Albini), “Bent” (the B-side to the second jukebox single “Son of Sam“) and “Get With It” (Jukebox single #4, recorded during the Now I Got Worry sessions).

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One Night Only! is raw and grainy, rough and lo-fi. My top track is the sole cover on the LP “Insane Asylum” originally by Willie Dixon. It is crazy, of course with the beats all over the place, weird starts, stops and yelps, and feels the most Jon Spencer exploding the blues. I also like “Unbroken” and “Roberta” which are both fairly epic in length and have a Stooges protopunk scuzzy strung-out dirge vibe, though “Roberta” eventually evolves into an all-out blues freak fest.

*I was curious to find out who Yves Bisquet was/is and found this interesting tidbit posted by Rob Kennedy on King Dog Biscuit Records’ Facebook page this past January:

>Keep the Workdogs addicted to drugs during the making of Workdogs In Hell.

>Steal the master tapes to Workdogs In Hell from the Workdogs

>Sell the incomplete master tape to Sympathy For The Record Industry who released Workdogs In Hell without the Workdogs approval.

>Steal the advance from Rob and Scott.

>Declare the Workdogs dead in a bid to boost sales.

>Never pay the Workdogs one cent for their work.

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Last week I got a copy of Bob Bert’s kinda-autobiography I’m Just the Drummer, sent and signed to me by Bert himself. It’s a delightful read, a little bit about the man: his background, musical influences and collaborations, and art – one of his works is featured as Blue Gene Stew’s cover – but mostly it’s short interviews and photographs of the multitude of other artists he’s worked with over the years. Some of those interviews are pulled from Bert’s zine BB Gun from the early 2000′s.

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