Showing posts with label 1990s. Show all posts
Showing posts with label 1990s. Show all posts

Friday, March 22, 2019

Remembering Peter Tork 1942-2019







Peter Tork died on February 21 of complications from  adenoid cystic carcinoma, a rare form of cancer. He was 77, and the second Monkee to pass away. (Davy Jones died in February 2012,). He had battled cancer on and off for ten years. Peter died at his family home in Connecticut.

When Davy died,  it was a total shock. I sought solace with other fans through social media. I started a Monkees blog with two Millennial girls and learned more about my childhood idols than I’d ever imagined.

Now, with two Monkees gone, there's more of a numb resignation to the passage of time, and a tendency to celebrate the past and have more of a rock version of a "jazz funeral" along with traditional  mourning. We were so lucky to have Peter, and the rest of the Monkees, as part of our lives for so long.

Peter was known to the general public as the Monkees' lovable, dim-witted bass player, but  loyal fans knew him as an accomplished musician, free spirit, intellectual, and a constant, low-key presence in the Monkees-sphere.

When we were kids, everyone had their favorite Monkee (Micky was mine), but we loved ‘em all.  After watching two seasons of episodes, we appreciated them all and knew everything about all four Monkees from the fan mags.

Peter was third in line as a teeny-bopper idol after Davy and Micky. That’s hard to believe when you see his beautiful dimple and big doe eyes – shows you the wealth of looks and talent in that group.

There was so much more to Peter than being the Monkees’ third (or fourth) wheel, depending on your tastes.) There were several stages of Peter’s career, in and out of the Monkees.



Pre-Monkees

Peter made a short film in college (circa 1962) called “The Love Potion”. 

Music was his first creative love, though.  He moved on to Greenwich Village and tried his hand as a folk singer. He first met Stephen Stills in the Village. Later, they both auditioned for the Monkees. Stills was passed over due to his bad teeth, and suggested Tork audition for the role.

The rest, as they say, is history.

Peter was cute as a button and sharp-witted, as evidenced in this clip of his audition.


Pete’s auditions starts at 8:58

During the first season, Peter’s character (‘the lovable dummy”) was always getting in trouble. He was kidnapped by gypsies in search of the Maltese Vulture in  “Son of a Gypsy.” As a six year old, I was very worried about Peter in those early episodes, “Mommy, is Peter gonna be all right?” I would ask my Mom. I would always root for him when he couldn’t fly in the sky like the other Monkeemen “C’mon, Peter, you can do it,” I’d say.

In “Monkees Vs. Machine” Peter becomes flustered when a computer (DJ-61) interviews him for a job at a toy company. (Mike steps in to save the day and causes the computer to overheat.)  Peter’s character steals a portrait of Valerie the debutante in “One Man Shy” and the guys teach him the proper way to woo a lady.


 And look at his adorableness in this clip featuring "For Pete's Sake".


He was always wore his belt buckle to the side and often sported mismatched socks.  His most well-known musical contribution on the TV show was the wacky “Auntie Grizelda”. In the real world, Peter played the banjo, guitar, harpsichord, piano and organ as well as the bass.  

I liked the second season of the shoe better than the first..The clean-cut boys of the first season had turned into hippies! Davy and Peter dressed in Nehru jackets and love beads and Micky had an Afro. Mike wouldn’t have any of that nonsense. He still wore his wool hat occasionally, but favored brighter shirts.

We loved the way hippie Peter dressed, in his two toned leggings, flowered tunic, suede boots, and love beads. And, oh that beautiful, sandy blonde hair! He didn’t just dress like a hippie, though, he was one. At the end of one episode, he explained the difference between hippies and free people in San Francisco.



Peter’s comments about free people start at the 17:46 mark

During the second season, Peter (unknowingly) sold his soul to the devil for a harp in “The Devil and Peter Tork”. Considered the best episode of the series by most people, it ends with a moving speech by Mike about the power of love.

Peter  has his paintings snatched by gangster security guards, trades his guitar to a con artist for a treasure map, and becomes involved with a professor’s kidnapping. Davy only had to  fall in love, Micky had to be kooky, Mike had to be sensible and stoic, but Peter had to act dumb and/or disappear.. Sure, most of the episodes had repetitive, one-note plots, but they worked because of the boys’ charisma and chemistry.  

We remembered every bit of Peter’s obscure dialogue, just like we did with the others When my boyfriend an I saw a sign directing us to go down the alley to a punk rock club, we looked at each other and said, “Down the alley?”, imitating Peter in “Monkees Blow Their Minds.” as he walked to the storefront of Oraculo, the charlatan mentalist. 

That episode, the second to last one broadcast, had Peter walking around as Oraculo’s catatonic assistant. Even in the last episode “Mijacogeo (The Frodis Caper),”, he spent much of the story catatonic again, this time from watching the Frodis eye on the TV.


Post TV Show, Pre-Reunion

When I was in college, a friend of mine had a framed photo of Peter on her dresser. I didn’t recognize him at first. He had long, unkempt hair and had a “Jesus” look. When she told me who it was I felt a tinge of sadness. Could this be our sweet, goofy Peter?

Peter was the first one to leave the Monkees. After the TV show ended, he
had a band called Release with his second wife, Reine Stewart, on drums. He played CBGBs and other rock clubs as a solo artist. None of his post-Monkees musical projects met with much success.   

The early ‘70s were a hard time to be an ex-Monkee. Micky was a hard-drinking Hollywood Vampire, along with his buddy Harry Nilsson.  He appeared in a few B movies, including the infamous “Night of the Strangler. Davy appeared on “The Brady Bunch” and released a bunch of nondescript singles.

Mike didn’t need to deal with it, though. He forged ahead as a country rock trailblazer before inspiring MTV with such projects as “Elephant Parts” and “Pop Clips”.   

This 1979 video shows Peter holding his own against a smarmy interviewer. (Only a guy this smart could play a convincing dummy.)



 Peter joined Dolenz, Jones, Boyce and Hart onstage at Disneyland in 1976, released singles that went nowhere, and played shows at CBGB’s and other clubs. (Chrissie Hynde, Joan Jett, and Tommy Ramone were allegedly present for some of the recording sessions, according to Wikipedia.)

Peter worked as a teacher, baseball coach, and even a waiter before the Monkees reformed in the ‘mid-80s, He was his bouncy, joke-cracking self on the “Win a Date with Peter Tork” skit on David Letterman’s Show in 1982.





The '80s and '90s


Peter and Davy toured Australia just before the official mid-1980s reunion, when MTV reruns reignited the Monkees’ fame. The Monkees made the covers of teen magazines -four 40-something guys competing with the likes of Duran Duran, Kirk Cameron and Corey Haim for a Tiger Beat cover. But this time it wasn’t so much about being heartthrobs as it was about being everyone’s kooky adopted uncles.

Mike rejoined joined briefly in the mid-90s, with the release of “Justus”, the 1997 TV special. He joined Peter, Micky and Davy for a handful of shows. The ‘90s version of the Monkees gets short shrift in the history of the band, but the album Justus had a few bright moments, including Peter’s song “Run Away From Life.”

His longest ongoing band, beside the Monkees was Shoe Suede Blues. Ever the rapscallion, he had a lot of fun with post-Monkees songs, like “Milkshake” (from  his 1994 solo album Stranger Things Have Happened and “Dress Sexy for Me” from 2002’s Saved by the Blues with Shoe Suede Blues.  

In 1996, Peter released the album “Two-Man Band” with James Lee Stanley, a collection of blues and acoustic numbers that Allmusic.com selected as an Album Pick. 


2012-2018




Peter was diagnosed with a rare form of cancer of the salivary glands in 2009 After successful surgery, he continued touring with Mike, Davy and Micky.

Davy’s passing took everyone by surprised. The 2012 tour was a heartfelt tribute to Davy and Mike’s return to the stage with as a Monkee.  Micky was the consummate show biz professional, Mike had a dry sense of humor, and Pete was the quirky, sensitive one.  
In 2013, Peter went on a solo tour where he reminisced about the Monkees and his career and played an acoustic set (with lots of his trademark banjo.)  He performed lesser-known and unreleased songs, such as Come on In.

During an interview to promote the album Good Times! and 2016's 50th anniversary tour, Peter teared up when mentioning Davy. They’ve removed the video from the CBS YouTube channel, but here's an article based on the interview. 

Davy and Peter two were the sensitive, sweet ones, even in real life. Peter’s difficulties seemed to be encapsulated in one span of time in the ‘70s, Davy’s hard times were scattered on throughout the decades. (Read his book “They Made a Monkee Out of Me” for more details.) 

 In an interview with the St. Petersburg Times in 2000, Peter remarked that “Micky's the best pal, but my heart connection is biggest with Davy. Davy is capable of as much heart as anyone I've ever met. I kind of had a crush on Davy for a while.”



After the 2016 tour, Peter played occasional shows with Shoe Suede Blues and made personal appearances at fan conventions with Micky.  He released his last album with Shoe Suede Blues, “Relax Your Mind”, a tribute to Leadbellly, in 2018. It included a musical appearance by his brother, Nick Thorkelson  (Nick is a cartoonist and illustrator by trade.)

Peter  always had a few creative surprises up his sleeve, even in his golden years.In 2015, he composed "Moderato ma non troppoa" a classical piece for piano and orchestra, which was performed by the Orchestra Kentucky of Bowling Green, Kentucky. In a total non-sequitur move, he acted in a 2017 indie horror movie called“I Filmed your Death”.

He stopped by The Institute for The Musical Arts in Goshen, Massachusetts in 2010, and played a set to raise funds for the non-profit. IMA is dedicated to helping girls and women succeed in the music business. The IMA was established by June Millington of the rock group Fanny and Ann F. Hackler. 

Peter sang lead vocals for “Angels We Have Heard on High” for the Monkees “Christmas Party” album, which was released in October 2018. You could hear in his voice that something was seriously wrong. The song is Peter’s last released recording.

People can contribute to The Institute for The Musical Arts’ scholarship fund in Peter’s name, per his family's wishes. Read more about IMA here.


http://www.petertork.com/



Wednesday, August 26, 2015

Retro Album Review: UFO: Walk On Water,1995





Walk On Water
UFO
Released 1995
Good luck finding it on Amazon Marketplace or eBay!

I discovered Walk On Water a few months ago after cruising Youtube for UFO videos. The first studio album with Michael Schenker on guitar since 1978 eluded me when it was first released. That’s probably because Nine Inch Nails and alt-rock were my chosen musical milieu at the time. Had someone told me UFO and Schenker were back together, I would have dismissed the information with “Are those guys still around?” Ahh, the follies of youth.   

Now wiser and more open minded, I decided to listen to the album. I wasn’t expecting much, because the facts didn’t sound promising. A 1970s hard rock band’s classic line-up reassembles 17 years later, reuniting guitarist and singer who hated each other; the musical climate has changed, leaving hard rock forgotten by the mainstream; you’re older, they’re older, and so on and so on. It seemed like a set up for disappointment.


Boy, was I wrong! You know what happens when you assume. Walk On Water is a fitting follow-up to Obsession, the last Schenker-era studio album. Produced by Ron Nevison, who helmed Lights Out, Strangers in the Night and Obsession, this album packs a wallop. The classic‘70s lineup is here -  Schenker, Mogg, Way, Raymond and Parker. They all hung around for a few years of touring except Parker, who was replaced by Simon Wright for live shows. 

Schenker’s guitar playing on Walk on Water is as mesmerizing as ever, reeling you in from the first crunchy riff on the album opener, “Self-Made Man”. It’s like time stood still. The song is an indictment of greedy businessmen, with fierce vocals to match on the verses, and a softer, meditative chorus. This song has some of Mogg’s best lyrics and it’s become one of my favorite UFO songs. “Venus” is an ode to the ups and downs of love, with a pristine, melodic solo from Schenker.



The songs deal with more grown-up concerns, as the band members were around mid-life crisis age in 1995. “Pushed to the Limit” rages against the sands of time going through the hourglass “My doctor says it ain't right/For a man my age to fight”, Mogg proclaims, not ready for the rocking chair by a long shot. Schenker’s razor-sharp riffs are a perfect complement to the lyrics. “Running on Empty” covers the same subject matter with a bit of romance and sexy, bluesy guitar. The evil ex wife in “Knock,Knock” gets the house and the car and is back for more.


 “Dreaming of Summer” is a haunting tale of an unemployed man watching his life slip away.  It’s a real-life scenario a lot of people can identify with, balanced by Schenker’s tasteful acoustic guitar. It’s WOW’s “Love to Love.” Spiritual and uplifting despite the title, “Darker Days” is melodic rock at its best – once you hear it, it’s hard to get it out of your head.  

“Stopped (By a Bullet of Love)” seems to be about picking up and falling in love with a girl at a bar. What inspired it?  Never ask about a song’s backstory, just enjoy it. You may discover things you’d be better off not knowing. And what’s that bit about Arizona? Didn’t Schenker live in Arizona for awhile?

There are new versions of “Doctor Doctor” and “Lights Out” to end the album, but why try to improve on perfection?

I find myself playing this as much as Obsession or Lights Out. Despite the album’s quality, I have no interest in listening to the two reunion albums that followed - the one side live/one side original album Covenant and the all-original Sharks. The latter sounds a little too Spinal Tap-ish for my comfort, so I think I’ll quit while I’m ahead.

Twenty years have passed since Walk on Water. The reunion ended in the early ‘00s because, as the saying goes, insanity is doing the same thing over and over and expecting different results.

                                                                 Late 1970s UFO
                                                     
Everyone’s doing great staying far away from one another as they enter their (semi) retirement years. Pete Way beat cancer and he’s working on his solo album, and both Mikey and UFO are touring non-stop. We have more musical output and nobody is getting punched in the stomach or storming offstage.    

Present-day UFO fares well with Vinnie Moore on guitar, but that je ne sais quoi (we know who that is) is missing. The synergy between Mogg, Schenker, Way, Raymond and Parker was absolutely electric back in the day. Another reunion is unlikely, but we’ll always have our memories.













Tuesday, August 26, 2014

Book Review: I Killed Pink Floyd's Pig by Beau Phillips





I Killed Pink Floyd's Pig
by Beau Phillips
Peanut Butter Publishing
260 pages




Beau Phillips, a former DJ at KISW-FM in Seattle and a senior VP of marketing for MTV Networks, chronicles some of his encounters with  rock royalty from late 1970s to the mid-1990s  in I Killed Pink Floyd’s Pig: Inside Stories of Sex, Drugs and Rock ‘n' Roll.


For all the talk of the decadent ‘70s and ‘80s, these stories seem  pretty tame by today’s jaded internet standards. Instead of rappers shooting each other, we have tales of trashed hotel rooms, pilfered beer, Van Halen and strippers taking over a radio station control room and British rock stars trying to understand softball.

The short, breezy chapters feature a “Who’s Who” of 1980s rock, with a few side characters like  a rather lame VH1 contest winner and a fledgling DJ named Jimmy Kimmel. (I wonder what happened to  him?) Groupies figure in a few of these stories, but the goings-on are described in a comical, PG-rated way.

Sammy Hagar wrote the foreword, and the rock ‘n’ roll tales star Pete Townsend, Roger Daltrey, Paul McCartney, Joe Walsh, Eric Clapton, the Rolling Stones,Tom Petty, Bob Dylan, Jon Bon Jovi, Bob Geldof, Heart, ZZ Top, Pat Benatar, Def Leppard, AC/DC, Led Zeppelin and Algie, the inflatable pig of the title.

Readers of a certain age will remember the radio station promotions that tied in with a band’s concert appearance.  The promotions, usually involving a crazy scheme, would last for weeks or sometimes months in every city the band played.  Some contests were random ticket giveaways, but others got pretty inventive. Professional skullduggery between radio stations in the same market (regardless of demographics) could get cutthroat. Such shenanigans would get you sued today!

Before Clear Channel took over 99.9% of terrestrial radio stations,  many small, local companies with little to no broadcasting background owned radio stations.Like Mr. Carlson of WKRP, many radio execs were unhip individuals with equally conservative advertisers. This is demonstrated in the story about ZZ Top, a jewelry company and the song Pearl Necklace.

A quick and enjoyable read, I Killed Pink Floyd’s Pig is a memoir of rock’s golden age, when front row tickets were the Holy Grail and the local disc jockeys the gatekeepers.

Tuesday, September 27, 2011

More Beer than Money: Zine Culture of the 1990s


  Shockbox, Nashua, NH. 1994

 Analogue Bubblebath, Machine-Gun Weilding Zebras from Hell and Baby Sue.  No, those aren’t names of trust-fund indie rock bands from Silverlake. Those creatively perverse monikers belonged to zines from the heyday of underground DIY publishing in the 1990s. Sure, people carry on the print zine tradition today despite websites, e-zines and P.OD. publishers. You can find proof through the popular We Make Zines site. But  in the 1990s, print zines were the only game in town.

Before desktop publishing became the norm, putting a zine together was hard work. But there was something fulfilling about cutting and pasting crude drawings and various photos from disparate magazine and mashing them together.  Photocopying, stapling and snail-mailing a print zine was a ”get your hands dirty” personal thing. It had a whole gestation process. You had to grab paper, ruler, scissors, ink, colored pencils-whatever- and create your masterpiece in a very tactile way, often with friends assisting. Drunken parties often ensued. Quite different from typing solo on a computer screen, hitting “submit” and sending your poems out into the ether with  hardly a breath expelled.  Alas, there was money involved in assembling a print zine as well, but what dedicated, beer-guzzling ‘90s zinester had any of that?  Lots of people got in trouble for using the photocopier at work to churn out copies of their zines about hairy women (this was a real zine), hairy men, communist theory or even fluffy puppies!


One notable example of someone copying zines for free was Mike Diana of Boiled Angel infamy. He was fired from his job as a school janitor when he left some of his notorious zines at work. In 1996, he was the first American zine artist to be convicted of creating and distributing obscene material.  He was sentenced to community service and forbade to “draw for his personal use.” Collections of his work are now for sale (with no age-restriction) on Amazon. Time marches on. Although, from the descriptions I read in zine round-up Factsheet 5 and in some zine collections, there were homemade publications just as bad - or worse - that didn’t get popped by the authorities! Zinester Jim Goad, who published the incendiary, politically incorrect Answer Me, got in legal trouble around the same time as Diana. Zines have served as a springboard to bigger fame for some of their creators. Chip Rowe (Chip’s Closet Cleaner) eventually worked for Playboy.  Lisa Carver (Suckdog), Kim Cooper (Scram) and others got book deals and went on to work in mainstream publishing and media. 

 Short Fuse, Santa Barbara, Ca. 1998


I used to buy all my zines from St. Mark's original location. I got lots of stuff there, including my first copy of  Maximum Rock and Roll. Zines are great fun because they are obviously done for the love of it, not for money, fame or good reviews from other zinesters. The creators are free to be themselves, with no edicts from some jerk-in-chief behind a desk. If you liked collecting glass shoe figurines, there was a zine for that, if you wanted to print a poetry zine dedicated to the “f” word, or whatever, you could do that. Of course, serial killers were big news in the ‘90s, so we had zines called Bukowski and Serial Killers, Murder Can Be Fun, etc....


Some pop culture zines looked like mainstream mags, but contained zine-quality snarkiness between the covers. Lollipop, a music zine out of Boston, was all glossy and professional-looking, but its contents, even the record reviews, were offbeat in a highbrow kinda way. (Think of early Creem magazine.)  Popsmear, another glossy  rock mag, seemed to be a one-man operation, but it was sold on NY newsstands for awhile. Due to their idiosyncratic writing styles and subject matter, these mags had more in common with zines than other four-color magazines next to them on the newsstand. 


But for all the music/ politics/nonfiction/sex zines, poetry and literature still reigned supreme in hearts and minds of zinesters.  Here are some of the zines that published my poems (under the name Marianne Moro) between 1992 and 2000.


Fritz, San Francisco, 1993

Rattler
Poetry Motel
Simple Vows
Fritz
Radio Void
Flower
13
Lucid Moon
Shockbox
Driver’s Side Airbag
Sink Full of Dishes
Alpha Beat Soup
Bouillabaisse
Vox
Mysterious Wysteria
Brownbag Press
Dancing Rose
Areola
Short Fuse
McJob

Some of the other poets whose work seemed to be in every issue of these and/or other DIY zines were Catfish McDaris, Lyn Lifshin, Cheryl Townsend, Belinda Subraman, Oberc, Shannon Frach, Michael Estabrook, Todd Moore and Bukowski pal Gerald Locklin.


 For more info on zine culture, now and then, go to Zinewiki.com

 

Thursday, October 02, 2008

Motorcycle Boy-Popsicle Reissue





When I wrote for Cover Mag in New York circa 1990, I’d take the subway to my editor’s loft on Varick Street every week. She’d greet me with a shopping bag full of CDs and cassettes containing every conceivable glam and hair metal release, or anything featuring poufy haired guys on the cover. Motorcycle Boy had really good hair, but their album Popsicle was not included in any shopping bag ‘o glam. I found a copy at the Record Explosion on Fifth Avenue and grabbed it instantly. No, I’m not talking about the Scottish band of “Big Rock Candy Mountain” fame, but the Hollywood misfits led by charming gadabout Francois on vocals & bass. I never saw the band in NYC but when I moved to Hollywood, I finally saw the reconstituted version in 2008. Who could have predicted that 18 years later they’d still be around and I’d be back in Hollywood? Perseverance pays off.

Hollywood’s Nickel and Dime label reissued Popsicle this summer on as part of a self-titled retrospective of the band’s output. Motorcycle Boy captures the band’s raw garage-punk sound with a remastered version of Popsicle and nine bonus tracks. Produced by the Dolls’ Sylvain Sylvain, Popsicle is a pure adrenaline rush-- but it doesn’t singe your eardrums. It has a Ramones-y vibe in the sense of short, riff specific tunes and trashy humor.

OK, so on the cassette cover they looked passable enough for the hair metal section at Record Explosion, but that’s where the similarity ends. They were the swaggering glampunk rebuttal to the hair metal scene inundating Hollywood in the late 80s/early 90s (except for stripper and drug dalliances, of course.) Hell, they even had a song called“I Hate the Sunset Strip.” And with other songs like the trippy “Supersonic”, the surf rock tinged “Honolulu Baby” and the single "One Punch/Feel It", their music-and persona- were way too punk for Hollywood in the late ‘80s/early 90s. The Nickel & Dime reissue contains several pages of liner notes by band members, a DVD with a complete show from 1993 and a 1990 rehearsal.

The band was based in New York for a brief time, but returned to Hollywood to record Popsicle. John Blazing had replaced original guitarist Ratboy by this time. After a respite to deal with the usual rock 'n' roll problems, Motorcycle Boy returned to play live shows with a revolving cast of members, including Blackie Onassis of Urge Overkill and Johnny Witmer of The Stitches.

If you’re in Hollywood, catch the band live. They still put on a great show, even without onstage drunkenness and crack breaks. And I’m happy to report that 18 years after Popsicle’s release, Francois still has good hair.

P.S. -
For an upclose and personal look at the band, watch this interview on Rock and rolltv or check out their MySpace page