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UGLY THINGS #56 

Oh man, it sure feels FANTASTICO writing a mid-week non-aural media review that doesn't have anything to do with cartoons! What a refreshing change from the rut I have fallen into reading-wise, and with the arrival of the latest UGLY THINGS all I can say is that my cravings for that high-energy hardboiled rock 'n roll writing that is in such short supply these days has been sated, at least until the next issue's arrival hopefully in another four or so months.

One of the cover story's on the old READY STEADY GO! series that ran o'er there in England. Sheesh, this 'un reminds me of alla the rock 'n roll tee-vee that we coulda seen over here only some doofus inna industry didn't think straight enough to import such wowzers for an audience that certainly was begging for even more rock 'n roll tee-vee. For years I wondered why PBS wouldn't run things like THE OLD GREY WHISTLE TEST (which woulda suited their Saturday evening schedule a whole lot better'n WASHINGTON WEEK IN REVIEW that's for sure!) or the MARC show which mighta given the pre-prime time filler hours a boost inna ratings. But noooo ---when it came to English imported rock programming all we got was that hokum LET'S ROCK with Lulu pretending she's still a teenbo re-doing the old standbys for an audience that probably thought the Osmonds were a tad too wild what with that "Crazy Horses" heavy metal blast 'n all.

The majority of pieces were certainly up to UGLY THINGS standards what with the un's on the Shaynes, Genie Greer and of course part two of the Bun E. Carlos interview which I think was UGLY THINGS-worthy enough to appear in these pages even though some may disagree him being too seventies bigtime 'n all. I might agree with the few who think that the ongoing Gabor Szabo coverage is somewhat outta the mag's scope but frankly, uh, I never did care for the guy who certainly is not up there in the higher echelon reaches of a Sonny Sharrock or Rudolph Grey for that matter. But eh, it ain't my mag 'n people used to complain about alla that old tee-vee coverage in mine so wha' th' hey...

Woody's Truck Stop was a good UT choice since I consider their album up there in the "nugget if you dug it" category worthy of a load of seventies flea market discards of an era most rock snobs wanted to forget before it became "fashionable" for them to be listening to it all again. Tho as far as Komintern goes well...for years I have wondered what their album had sounded like and given how much I go for the whole French under-the-underground rock of a Mahogany Brain and Dagon vein I thought this piece would have me rushing to the internet to snatch a copy up! Turns out that although the article was well-researched and written giving us the kinda information one would need in order to discern the pros and cons of snatching the thing up I decided to pass. They sound way too progressive rock to sully up my rather horse-blindered listening parameters and yeah, I've been burned by such wild purchases many a time to know better by now.

For me the highlight of the issue was the article/interview with Jonathan Richman regarding Lou Reed's guitar gear, especially the infamous Gretsch Country Gentleman which was adapted into a totally different sorta monster that could be described either as a home-made version of the Vox Guitar Organ or a prototype guitar synthesizer. That's the wafting sound you hear on "Sweet Sister Ray" and when that axe got swiped at a Velvet Underground show you could surmise that some of the mysticism surround the VU swerve certainly got lost with it. Richman's description of the guitar might come off a little too technical for some but I found it all amazing...too bad Gretsch themselves doesn't market the exact same guitar for a generation of players who could stand a break from those weird angular things that have dominated music for a longer time than I can imagine.

As far as the reviews and such go well, as far as I'm concerned this magazine features the BEST writers that are dabbling about in the realm of rockscreeding though I will not mention anyone by name this time lest all of the glory go to their head. However as far as me wanting to part with any precious and rare shiny stuff or green pieces of paper in exchange for actual recorded or printed ware well...the only thing that catches my eyes at this time is the Terry Stamp of Third World War fame double LP of solo recordings which does seem somewhat up my rather expansive alley. But hey, with the price of pork rinds rising as we speak I might have to pass even on that promising effort! Drat!