MORE "THESE ARE A FEW OF MY FAVORITE THINGS..."
Well, not rilly, but then again this wouldn't qualify as a "High Six" (or "High Four" as the case may be) either since the subject(s) at hand this go 'round ain't exactly whatcha'd call "favorite" things at least with regards to a nice 'n healthy BLOG TO COMM sense 'o propriety. Let's just say that today's toasty postie's gonna just be anudder summary of a few things that have crossed the eyes, ears, nose and maybe even throat of your usually bogged-down blogger and hey, since I hadda suffer (or OK, osmose pleasure) through these things why should I be alone in my weltschmerz????!!!!?!?!
***Pink Floyd-UMMAGUMMA 2-LP set (Harvest Germany)
Hokay I'll admit it...there was a time (age fifteen) when Pink Floyd were a pretty big, oft-played group in my life, in fact big enough that I actually owned more than one album by these guys which certainly must have meant something since I could barely afford ONE album by the groups I wanted to hear all those years back! Now I'm not necessarily talking about the fantab original version of the Floyd when the original space cadet Syd Barrett was at the helm helping to create an even newer music vocabulary for the late-sixties, but the group as it was best known for back in the early/mid-seventies heyday of progressive rock hysteria and PBS "Live at the Fillmore" specials and all that FM radio hoopla that continues to live on in various circles I want nothing to do with even to this day. Naturally as time passed on and my tastes became less sophisticated, there were other groups that became bigger game in my ever-expanding beanie to the point where the Floydian Pinkies were just another instantly-disposable bunch to me, but believe-it-or-not...there was a time when these Brits seemed like such an amazing rock music artyfact that I would gaze upon their albums inna record rack just wishing to heaven that I could own the whole buncha 'em and actually listen to the amazing sounds embedded into those grooves of pure joy and in the sanctity of my smelly bedroom to boot!
And of those plentiful Pink Floyd discs available just about anywhere across the tri-county area UMMAGUMMA stood out sorer'n any sore thumbs I might have chanced upon throughout my life! Not only did UMMAGUMMA have one of the stranger covers to grace the already-strange cover-laden record shops of the day (and how I used to love that rear shot where a coupla roadies were posed amidst the
group's equipment van and gear including trombone and vibraphone laid out in symmetrical glory on some road just waiting to be run over!), but the thing was a "specially-priced" two-album set that hey, even a relatively poor kid as I coulda saved the dinero up for within the span of a few weeks, if not days! And considering how this one got around back then (I even remember seeing a "rack jobber" 8-track version divided into two packages in many a flea market next to all those X-rated "Truck Stop" comedy tapes) how could this mid-teen turn down the opportunity to snatch this begging booty of a Pink Floydian excursion up for his very own anyway???
Well, naturally I did snatch up a copy, but only a cassette job ordered through the local National Record Mart which left off almost the entire live album portion, which I must admit did leave me a tad disappointed considering the whopping $5.98 I plunked down for this item. But thankfully the studio album where each Floyd member got half a side to "create" was left intact because I wanted to hear "Several Species Of Small Furry Animals Gathered Together In A Cave And Grooving With a Pict" again after the local AM Top 40 station snuck that one in amidst the hits back when things would get a little outta hand even on those kinda stations and yeah, I remember listening to that tape over and over again in my bedroom with ear-plug from cheap-o cassette firmly in place just shuddering at that noisy garble which at the time seemed pretty over-the-top frightening and about as avant garde as one (or at least some pimple-encrusted fifteen-year-old) could imagine.
Of course that was then, but inna here/now how does UMMAGUMMA hold up either as a rock album, an experimental music excursion or just plain noise? I still dunno, but anyway, I gotta tell ya that I got this particular elpee copy (my second, the first a flea market Canadian pressing long-gone sometime in the late-seventies for who knows what reason) as a kraut import that I just happened to pick up in an old general store a decade or so back at a real neat steal price, complete with the "Gigi" cover and that great flimsy yet glossy sleeve that those importa always come in and since I was getting into late-sixties British proggies this week (see Soft Machine review last post) I figured this 'un would also fit in snugly with my sense of misguided whatziz so why not? And well, y'know given alla the outright noisecapading that has gone on in the 38 earthspins since (especially within a decade or so of UMMAGUMMA's plunk into the psychedelic sweepstakes) it ain't like the thing is as nerve-y a scaremonger as it was, and not even to any fifteen-year-old pimplefarms who might chance upon it these days at that! And the live disc really is nothing especially compared to the honest schizoid attack of the Syd Barrett-manned group...in fact, like just about every other Pink Floyd bootleg of the late-sixties/early-seventies strata that I've heard (and not many since this stuff ain't exactly the bailiwick I mighta thought it was way back when) the music is dullsville, even when compared with the group a mere year earlier when they were still feasibly coping with the loss of Barrett with some rather decent single sides. Said sides appear here in typically toned-down fashion to the point where "Axe" didn't even sound like that boffo single I recall, nor did those second-LP tracks come close to the still Syd-haunted Floyd making me wonder just how this group coulda stayed on-top for so long given the rather tiresome music they were releasing between their late-sixties height and mid-seventies revival. Face it, if DARK SIDE OF THE MOON wasn't such a hit (and comparatively better album to the point where a bonafide metallic punker like Jymn Parrett would apologizingly praise the thing in the pages of DENIM DELINQUENT) Floyd woulda been dead, buried and gone a long time ago and Rick Wright would have had to find his jollies outside of auto racing (and Dave Gilmour wouldn't have to contend with being another millionaire Marxist either!).
But that's the studio rec which is about the same in psychedelic nada as every other Floyd recording of the time legit or boot you can come up with...as for the "experimental" and "avant garde" disc which foistered such terror into my brain at the time, well, considering all of the "real" avant garde musings going on in England it wasn't like AMM, Derek Bailey, Lol Coxhill or any of the real practitioners of a new sound over in blighty were losing any beddy-bye time due to these popsters once again playing the John Cage game. But then again Pink Floyd's experimentalism always did seem like a strange college boy prank game next to the real non-jagoff music of the day...I mean, remember when Floyd were going to record some album featuring nothing but music made upon their kitchen table, with amplified rubber bands substituting for bass guitars and pots and pans for percussion, running up a huge bill in the process for what could have been done easily enough with the gear they already had? Sorta being too smart for their own good if you know what I mean. Well, this studio disc is pretty much the same thing only it makes up an entire platter and sells millions. If jerks like you or I did it nobody would bat an eye, but these guys do it and actually get major label contracts.
Still in order to be nicey-nice I gotta say that I do like the opening of "The Narrow Way" with its John Fahey lilt, though that sounded a lot better as "Baby Blue Shuffle in D Major" on a BBC session that has been bootlegged out the wazoo ever since. Ditto the BBC version of "Grantchester Meadows" which benefits from the usual low-fi bootleg quality. And listening to Roger Waters doing his Lindsay Hutton impressions at the end of "Pict" is worth a once-in-awhile hoot if you ask me. But if you'd ask me to trade my stack of Velvet Underground outtakes for anything the Pinks were up to anywhere after Barrett was given the ol' heave-ho I'd tell you to go jump in the toilet with the rest of the rock critics out there...I mean, this bigtime rock star avant garde game whether it be John Lennon doing the "Fontana Mix" trip on "Revolution 9" or Richard Wright's mellotron exercises and hammond shrieks on "Sisyphus" may have seemed like a serious attempt at some sorta higher-up snob status, but really how much more avant garde could rock get after "Telstar" let alone "Louie Louie" anyways?
***DENIM DELINQUENT #7, spring/summer 1976 issue (fanzine edited and published by Jymn Parrett)
Of course I mentioned DD editor Parrett in the above w/regards to his championing (albeit begrudgingly) of THE DARK SIDE OF THE MOON in the pages of his fanzine, and given that I've actually dug this very issue (#7) outta the mire in order to inform myself regarding the It's All Meat album reviewed a few weeks back I must admit that I've been coming back to this and a lotta the other DENIM DELINQUENTs as of late not only to re-educate myself but for the pure pleasure of reading a rock & roll fanzine that doesn't make ya wanna search for the nearest hammock like way too much music coverage does in the here and now. I mean, it's sure great to (once again) read about all of those great (and not so) rock acts from back in the middle seventies without the usual high-falutin' talk-AT-you prose often seen in the slickoid glossies of today. Naw, editor Parrett and his various contributors were young and snot-nosed just like their readers, and they weren't going to go around describing groups as disparate as the Stooges, Kiss, Aerosmith and Pagliaro with a whole lotta Glade air freshener pseudo phony-hipster talk like the kind your hygiene teacher would lay down on you back in the day making you wanna toss your omlette in the process.
Anyway on the right is the front cover of #7, but don't let the cover come-on mentioning the likes of Joni Mitchell, Helen Reddy, Pheobe Snow, Cat Stevens and Bruce Springsteen lead you to think this is a mellow musical read (although when this ish was mentioned in BOMP's fanzine rundown they actually led unwary readers to believe that the Springsteen appearance was indeed TRUE!)...after all, the cover also states that DENIM DELINQUENT is also "The Handbook of Heavy Metal Thunder" and what kinda metal-related mag out there would dare feature the likes of Joni and Helen in their rag anyway? (And yeah, I know that Danny Sugarman's HEAVY METAL DIGEST not only ran a Cat Stevens ad but Sugarman mentioned liking the jerk, but that mag wasn't as metal as DD or as much as a whole slew of late-seventies fanzines out there only hinted at!) Number 7 was a nice little ish and I do mean little...digest sized even which is nice enough making the thing easy to fit in with the rest of your mini-fanzine collection (file between ROCK MAG and SATA [see below] for maximum space saving in any smart rockism-oriented household!), and not only did it feature a nice li'l article on the Kinks' SCHOOLBOYS IN DISGRACE (and excuse me if this period of Kinkdom doesn't quite flash me, but at this time I used to find Ray Davies quite the...uh, rock star?) but tons of brief albeit great material crammed into its 32 shrunken pages. As for the contents of this fanzoonie swan song...
PAGES 2-3: has an article on EUROPE'S ONLY IGGY POP FANCLUB with neato drawing of Iggy and the "Iggy is Koming" patch you can get when joining up along with a snap of Iggy at the Cincinnati Pop Festival pointing his lame-glove'd finger at someone with a promise of a review of METALLIC KO for the next (never to be seen) issue just begging us to reserve our moolah for that promising ish; also appearing is a neato and positive writeup of the Smoke's now-infamous "My Friend Jack" single (also by Jymn) that was undoubtedly placed within this Stoogian context since it was given to the man by Pop Fan Club prez Harald. A nice enough review telling about how Jymn first heard this 'un on the radio back in '67 ultimately flipping proverbial lid o'er this then obscuro only to manage to tape the last minute or so of the thing playing it over and over in typical adolescent wonderment until the tape was eventually lost or stolen!And so it goes, the final issue of this rather important as far as the history of rock & roll fanzining goes mag which at least has gotten some post-life notoriety if a mention in wikipedia's fanzine entry is any indication. By the wya, there really was to have been a #8 though I dunno when or where it was to have been published (Parrett having skeedaddled for Texas by the time 1977 rolled around). I saw what was left of the proposed cover which was to have featured Ted Nugent (wearing a cowboy hat) amongst other things...hmmm, I guess that letter about some Nugent coverage really must have gone to Parrett's psyche, eh?
PAGE 4: Rough Trade, with a pic of Carolyn Pope w/cleavage showing and reports of their recording with Eddie Kramer producing. Someone scribbled "smouldering? frenetic? You gotta be kidding" atop this one.
PAGE 5: review of some classic mid/late-sixties Rolling Stones films (HYDE PARK, CHARLIE IS MY DARLING) that were showing on the midnight movie circuit in Ontario. Stuff that's about as common as age marks on my arms but were rarer than good songs on a Content Providers album back in the day.
PAGES 6-7: a review of the Groundhogs' SOLID LP by an Izzy "Pete" Sanchez who was really Parrett in disguise in order to make it look like there were more people writing for his rag. I'm gonna hafta (re)-listen to some of those old Groundhog recordings one of these days...
PAGES 8-9: Pagliaro. Other'n Les Chancelliers (Pagliaro's mid-sixties punk rock aggregate who were mighty powerful esp. for a buncha Canadiens!) I never really cozied up to this guy. But then again, all I've ever heard of his was this FM radio broadcast he did around '74 or so, and besides there always seemed to be other things more worthy of my undivided attention then and now... But Parrett really took objection to my dismissal of Pag in the article I did on DD way back in BLACK TO COMM #20 (hopeless o.p.) so maybe the guy is deserving of another chance on my part. Anyway, great article!
PAGES 10-11: "Patti Smith Eats It," a scathing putdown by Jymn regarding the shabby treatment he and co-conspirator Mark Jones got when Patti gave 'em the royal snub after a gig! Lenny Kaye gets the thumbs up for at least talking to the guys and sending 'em a postcard, but the ire Parrett has for Miz Smith is one that seems to have really resonated in his being to the point where he planned to publish an interview in his possession which was to have EXPOSED Patti as being some sorta snobbish rock star 'stead of the rock fan Jymn and presumably everyone else who followed the dame's career from her writing days on thought she was. Nice drawing of Patti in her HORSES post courtesy Parrett, complete with dollar signs where eyeballs should reside. Filling out page 11 is a review of Amos Poe's pre-BLANK GENERATION film NIGHT LUNCH which everyone seems to have forgotten even though it was pretty much a punky precursor to his more famous flick with even more famous stars packed in per frame than anyone could imagine!
PAGES 12-13: a piece on Canadian heavies (next to BTO???) Thundermug who were pretty big fanzine fodder at the time, at least until the punk rockers gave all these guys more of a reason to live. The recs are highly recommended by this heavy if you can only find 'em! Filling out 13's a small bit on the graphic makeup on the inside gatefold cover of the Stones' BLACK & BLUE!
PAGES 14-15: the first of a lotta stuff on DD faves Kiss, with some snaps swiped from a Japanese mag (complete with Japanese writing in order to class the thing up a bit) plus a review from an "Alien King" (aka CREEM's Jeffrey Morgan) on the recently-released KISS ALIVE which he calls "one of the most uncompromising LPs released since the Stooges' FUNHOUSE (which is the most uncompromising rock album ever recorded -- with the possible exception of METAL MACHINE MUSIC and don't let anyone ever tell you different!)." And it's good to see someone like Morgan/King drop the name of the MC5 in this one as well!
PAGES 16-17 the masthead more or less and a review of the Kinks' latest SCHOOLBOYS IN DISGRACE. Also featuring a plug for Brian Hogg's latest BAM BALAAM Kinks special which is nice to know!
PAGES 18-19: Dee Daack (as Dee Luxe) on Rush's 2112, better known as that Ayn Rand-influenced concept album that I'll bet woulda been an added kick to the famed objectivist's failing health had she come in contact with this 'un! Still it's ultra-fine reading (in the best fanzine trad) even if you can't stand Rush and/or Rand.
PAGES 20-22: a live report of Kiss in Toronto with some nice snaps and most interestingly enough a mention of how the DD team, who had been corresponding with Gene Simmons (a guy who from all reports is a nice enough chap who not only used to do his own sci-fi/comic book fanzines but loved to read the mid-seventies rock ones including DD and BOMP!) were personally invited backstage by Simmons although his promo people had other ideas!
PAGE 23: Parrett as Sanchez on Black Sabbath and the head-strong lyricism of "Killing Yourself to Live" which "Sanchez" seems to take to heart even to the point where you think he too is going to take the song's lyrics to heart like those kids who actually offed themselves after one too many spins. I'm sure people expecting an issue #8 ne'er to show up probably thought the guy did!
PAGE 24: along with another Kiss snap the letters page, with a note from rock crit Alan Nicetor on Pheobe Snow (perhaps the reason for the front cover blurb?) as well as some guy saying that if the magazine was so heavy metal where was Ted Nugent! A fair question I take it even though once you get down to it Nugent was really about as metal as the Bay City Rollers and twice as cute!
PAGE 25: the It's All Meat review mentioned earlier, a pretty nice writeup on these Canadian flashes who thankfully have hit the reissue cycle more'n once (must search out their Hallucinations label CD with additional tracks!). Really, how could anyone ignore a band that mixes the Country Joe/Doors organ thing with "the metal electricity of the punk rockers that followed"??? Not I.
PAGES 26-27: it wouldn't be an issue of DENIM DELINQUENT without some Aerosmith, and these pages have nothing but them Bostonian rockers answering questions for a Japanese rock mag! Important info for you fans to lap up like birthdays, fave singers etc.!
PAGES 28-29: a neat article by future Barracuda/fanzine contributor par-overdrive Jeremy Gluck on "Louie Louie." Great dwelve into the psyche of this and other "three-chord rock" with yet another mention of FUNHOUSE making that two mentions in one fanzine in 1976, which must be a record of some sort. On the bottom half of page 27 is yet another letter from some guy mad at Jymn for his putdown of the post-Bubble Puppy Demian album in an earlier issue, with Parrett sorta half-heartedly admitting that "it's not such a bad album." (Personally I ain't heard Demian so I will stay outta the fray at least for now!)
PAGES 30-31: the back issues department (Stooges, MC5, Alice, Seeds, boots!), the rest of the Japanese Aerosmith article, and some potential rock lyrics courtesy Parrett that I don't think ever got set to music so if anyone out there is willing to take up the task...
***Kongress-1974-1977 cassette tape
Here's a tape that none other than Von Lmo (or at least his people) sent me back in 1993 when I was doing my infamous cover story on the metallic giant for BLACK TO COMM #21 (plenny left...please take the hint!), and it continues to be a proverbial doozy not only as an artyfact of what else was going on in New York at the time international media attention was being drawn towards the burgh, but just exactly where the heads of minds belonging to Otto von Ruggins, Von Lmo, Geofrey Krozier and perhaps Robert Crash or Lou Rone (who may or may not be on the tracks presented on this tape) were at the time. For the most part, at this point in rock & roll history Kongress sounded like a great late-sixties punk rock group perhaps with the same "metal electricity" that Jymn Parrett alluded to in the It's All Meat review mentioned above, only with the addition of a by-then archaic patchcord ARP synthesizer that I'm sure no authentic punk band coulda afforded back in '69 (although I'll betcha a whole buncha 'em woulda just loved having one in their spiffy basement aggregate!).
There's also the spectre of "heavy metal" in this version of Kongress, but not exactly the term as it became known as once people like Andy Secher at HIT PARADER began molding the music in their own image. More of a CREEM-styled heavy metal, which always seemed to be as different an animal from the more accepted form as Detroit heavy metal was from the same creature. Remember when groups like early Pere Ubu, MX-80 Sound, the Bizarros and even RADIO ETHIOPIA-period Patti Smith were constantly referred to as being heavy metal by the smarter rock crusaders amongst us? Well I now hope you can see just how much the punk and heavy metal spheres just overlapped at the time, although for some strange reason this obvious fact just seemed to woosh right over the heads of rock & roll maniacs worldwide to the point where heavy metal became synonymous with some flash progressive pop music and punk was just something those weird kids listened to. Feh!
Anyway, this tape contains a lotta hot stuff that really does sate the New York underground fiend in me. Sure a lotta Krozier's occult rants may seem either too silly or downright evil to a staunch moralist such as I, but as far as emitting an aura of energy he sure did a good job even without the Crowleyan histronics. (Peter Crowley, the Max's Kansas City booker and as far as I know no relation to the other Crowley once told me that if he had the dough he woulda made Krozier a star because the guy was real where we all knew Ozzy Osbourne was faking it!) With a sound and demeanor that seems part WHITE LIGHT/WHITE HEAT, Alice Cooper before the fall, Can (and a lotta the other more garage-bandy krautrock aggros of the day), Suicide, perhaps early-Sabbath, Arthur Brown and some late-sixties Australian garage band we've yet to hear, Kongress might have been able to hit it big on some level though I doubt it, mainly because the world was too mellowed out (and still is!) to appreciate the hard-edged thrust of what this group, and a few hundred like 'em, were up to on the stages of various decrepit clubs and in garages worldwide which really is a shame because y'know we're NEVER gonna get to hear all of this stuff in our lifetime and y'all know that this rockism fan sure wants to!
And yeah, a lotta this tape features some below-par dubbings with other sounds bleeding in and out, but a good hunk is pleasurable enough for my own rather indistinct tastes. Studio tracks heard might have been slated for their ne'er to be EP, and if they were this 'un counda ranked with the likes of Ubu and the Bizarros for class seventies underground Amerigan thud-rock that even the most nimnul of rock bloggers would count as an all-time fave! It is interesting to hear Krozier singing "I Survived" sounding a lot like Phil Mogg imitating Robert Plant giving this 'un an even more late-sixties punk edge to an already tranced-out number. And although the studio stuff here tends to be in tip top shape I gotta admit that the rehearsal tapes vary in quality, though I particularly liked this one number which had Krozier talking over this whining synth and marching bass/drums sound (no guitar) before the music turns into an early Soft Machine jazz organ piece before reverting to this synthroid moan that's supposed to represent the sun going down or something equally esoteric. The live at CBGB tracks recorded in '76 are entertaining enough as they have von Ruggins singing and sound remarkably looser than the studio takes still with more of a late-sixties feel to 'em in their own sorta gothic/teutonic/pagan way, said influence being easily heard on such tracks as "Space Savior" and "Berlin Merlins" with its way-obvious Cream/"Sunshine of Your Love" riffage that woulda made the punques revolt en masse only a good year later! (Just ask Lou Rone!!!)
Earlier material does show up here including two tracks recorded by Funeral of Art in London 1969 with future Kongressmen von Ruggins and Lmo being joined by Sal Maida on bass along with a singer who approximates the tortured vocalese of Krozier and a general sound owing more to Procol Harum during their oft-lauded SALTY DOG days (or so I'm told, never heard that one even though Gregg Turner listed it as one of his all-time faves back inna late-eighties CREEM). Also included is a six-minute excerpt of a show I originally believed was Kongress' debut (but later found out not so since von Ruggins had been using the name even earlier) with the duo of von Ruggins and Lmo creating an electronic wall of noise at CBGB in '74 opening for a neophyte Television! Armed with nothing but the old patchcord ARP and electric guitar, the duo create one of the noisiest sounds to have emanated from that fabled club stage at least until the advent of the same no wave movement both of these guys were part and parcel to went into full swing a few years later.
von Ruggins has been promising a Kongress retrospective for quite some time and frankly I think there is a market, albeit limited to the seventies proto-punk crowd, for such an endeavor. Here's hoping that one eventually does make it out our way because frankly, I could use a little more aggravating music in my life to save me from all of that corny moosh I an inundated with day in/out thanks to a whole slew of people who think they know exactly what I want to listen to, and don't mind shoving it down my throat! And with the aid of a boom box and perhaps some pharmecuticals (just kidding!), maybe I can do some throat-shoving back, eh?
***SATA (fanzine published by Bill Pearson circa 1958-1961)
My review of DENIM DELINQUENT above had me rushing back to these old fanzines that I had just recently won on ebay, not only because these mags shared roughly the same dimensional size as that rockzine mentioned earlier, but because there was sort of the same sense of amateur publishing bravado in both of these titles even though they were published a good fifteen years apart'n all. And although these non-rock fanzines ain't exactly that tops in my ranking as far as much-needed booty goes, I just can't help but marvel at the great detail, effort and all 'round ballziness these mags entail which many times surpasses a lotta things that came outta the rock fanzine idiom back in the seventies and eighties, or at least before the rock fanzine idiom sorta glossed its way outta existence ifyaknowwaddamean...
You might wanna call SATA a Sci Fi fanzine but that would be a bit off the mark. But then again a lotta the 'zineage that has popped up during those boffo late-fifties/early-sixties days were rather genzine-ish themselves with reports on everything from comic books to tee-vee and perhaps even a bitta rock & roll thrown in, so what would you call those rags anyway? SATA is kinda like that...edited by one Bill Pearson (who later helmed the infamous Wally Wood fanzine WITZEND in the late-sixties), SATA consists of everything from bizarroid short stories and comics to lameoid (and not so) attempts at creative writing and maybe even some science fiction moves, all wrapped up in a SF fanzine groove with illustrations galore, many of 'em featuring nekkid broads in full frontal glory (though on occasion I've noticed that a few nipples were excised perhaps due to an angry printer???). A heavy EC vibe hangs over SATA whether it be the general demeanor of the thing, or perhaps the rather Woodyish space gal on page nine of the 11/61 issue, or better yet the want list where amongst a whole slew of SF fanzine wares so desperately needed by Pearson a few "New Trend" titles convienently pop up. Whaddeva, it sure is nice reading these old fanzines (immaculately printed and showing the same more-carefully laidout fanzine look that one would see well into a good portion of the seventies pubs, DENIM DELINQUENT included) even if the issue-long comic story in #11 (January 1960) comes off like an EC tale with a happy ending (but is still pleasurable enough) and you just know the college kid intellecual attitude seen here would lead to a lotta bad crap once the sixties clocked out. But wha' the hey, what else could I say about a fanzine whose motto was nothing other than "People are no damn good!"?!?!?!?
***As the pig said, thaz all! Coming up in future postings are a few more goodies in store, including a review of some hotsy mag I received a few days back called SIGNAL TO NOISE that I'm sure you all will wanna tune in for. Until then, look before you leap (into any blog other than this 'un, that is!).