Hallelujah! The story of Glory

(An excerpt from Ray Brandes’ saga of San Diego guitar hero Jerry Raney and his band that shaped the ’70s. Read the full version in Che Underground’s Related Bands section.)

OntheairIn a 1978 Village Voice editorial, music journalist Lester Bangs proclaimed: “The music business today still must be recognized as by definition an enemy, if not the most crucial enemy, of music and the people who try to perform it honestly.”

By the mid-‘70s, multinational corporations had taken control of most of the industry, leaving independent record labels and local music scenes to fend for themselves. Longtime music fan and San Diego expatriate Harold Gee remembers the dismal state of affairs which would ultimately lead to the punk movement: “Everything, from the top down, from radio and all other media was total crap. The problem for me was the disconnect between the music that moved me, which mostly seemed to be either in the past or on jazz records, that only got played in a few people’s houses.”

Throughout the ‘70s, however, a few local underground acts had held firmly, David-like in their resistance to the corporate Goliaths. One such band was San Diego’s beloved hard-rock bad-asses Glory, who according to one critic, left “a big greasy mark (and a few stains) on Southern California’s rock & roll scene.”

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“Puberty Principle”: First sonic crushes

(Ray Brandes asks how your first musical love looks in the stark light of adulthood.)

AdamEveIn an essay in Esquire, celebrated rock and roll historian Ben Fong-Torres once formulated “the Puberty Principle,” which holds that the music we listen to in young adolescence is the music that informs our tastes throughout our lifetime. Why not test this idea using ourselves as subjects?

What was the first record (cassette, eight-track tape or CD) you ever purchased? What was the first concert you ever attended? How good of a predictor of your tastes was that “first” experience?

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Jim Ryan Archive: Artifacts and memories

(Jim Ryan of the Cardiac Kidz adds important pieces to the mosaic of the late-’70s San Diego underground.)

0091The Lions club photo is from the June 1979 show with DFX2 and the Dinettes.

Like the flyer notes, this was the debut of the Dinettes. Doriot was putting a new version of the Cockpits together but decided to go with a whole new name scenario, which expanded the styles of music they would play at their gigs.

The Backdoor flyer is from the Cardiac Kidz’s first show. (Cardiac Kidz bassist Steve Lightfoot was instrumental in setting this gig up.) So yes, the Cockpits were on the scene before the Cardiac Kidz. (I had dated Jolien from the Cockpits for a short time but we broke up before the Cockpits did.)

Read moreJim Ryan Archive: Artifacts and memories

Unknowns interview by Dan McLain

hunknowns1Courtesy of Mikel Toombs, here’s a joint artifact of two hugely influential forces in San Diego music: an interview of the Unknowns that Dan McLain conducted for Issue III of his Hobogue ‘zine, dated February 1982.

“I interviewed the Unknowns 2 years ago for Snare magazine,” McLain writes. “In retrospect, I found our previous outing so incomplete that I simply had to do it over again.

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Jamul meets Little Richard!

(Courtesy of Mikel Toombs, drummer Ron Armstrong of San Diego’s Misfits and Jamul describes the latter band’s TV appearance supporting a rock-‘n’-roll legend.)

jamul3It was 1970 and our band, Jamul, was playing the Whiskey in Hollywood. We were stoked that Little Richard came in to catch our show. We learned he loved our cover of his song, “Long Tall Sally.”

He told our leader/singer/guitarist that he liked our band better than his previous large 16-piece group and wanted us to back him for a Barry Richards TV special in Washington, D.C. We did and also performed a song … explained from a recent Internet link here.

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Angie Bowie AIDS Begone benefit
featuring Gary Heffern

It’s appropriate that a champion of the San Diego music scene should saddle up for a righteous campaign to raise consciousness and funds for those in need.

A track from “Consolation,” a new CD from Penetrators frontman (and Che Underground regular) Gary Heffern, will be featured in AIDS Begone, a CD and cyber party organized by the legendary Angie Bowie.

Here’s what Ms. Bowie told Che Underground: The Blog about Heff’s contribution, titled “I Am Your Destroyer”: “‘I Am Your Destroyer’ is a fascinating lyric with a Jekyll-and-Hyde quality. Knowing that destruction can be both constructive and renewing. That being a destroyer may also open up an avenue for new feelings, love and emotions that could not exist with old tradition and prejudice. It’s a great song!”

Read moreAngie Bowie AIDS Begone benefit
featuring Gary Heffern

The Tokyos over San Diego

(Ray Brandes shares photos and sounds from a short-lived San Diego phenomenon.)

Tokyos Insert FrontThe Tokyos (1978-1979)

Marc DiCarlo (vocals); Tim Hurley (drums); Bruce Stevenson (guitar); Jeffrey Mitzo (bass)

They were exciting times. Bands seemed to be springing up all over San Diego, influenced by the flurry of new British and American punk bands and taking advantage of the infrastructure that had been created by bands like the Zeros, Hitmakers, Penetrators and Injections. According to Joe Piper, San Diego guitarist and archivist extraordinaire, “The Tokyos were the ‘Fresh Young Face’ of 1978. They were the epitome of snotty, DIY aesthetic. Fun and photogenic, they wore their influences on their skinny sleeves with flair and a fair amount of punk attitude.”

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Fairmount Hall’s punk pioneers

FairmountWhile doing research for the blog, I came across this account from Scott McDonald in a 1981 edition of Flipside. This scene report (on Page 3 of the PDF) describes Fairmount Hall’s debut as a punk venue:

“Recently, a very successful show was produced at Fairmount Hall. This was the first gig at this location, and it features San Diego’s four best bands: thing was set up and arranged by Tim, Violent Crimes manager, with monetary help from whoever was willing and could afford it.

“Tim deserves a pat on the back for being the first one to go out and find a new location since the old Lion’s Club closed. Anyway all the bands played good sets, with plenty of energy being expended by both the bands and the people on the dance floor.

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Mark your calendars! Start your engines!
Jan. 30 Che Underground showcase

(Heads up! The next Che Underground-sponsored reunion gig is officially on the Casbah roster, with tickets due to go on sale this week. Ray Brandes opens the booth.)

The Town CriersOn Saturday, Jan. 30, 2010, country-rock pioneers the Town Criers (Ray Brandes, David Klowden, Peter Miesner and Mark Zadarnowski) will reunite for the first time in 20 years as the Ché Underground presents its second musical event at the Casbah in San Diego.

By popular demand, returning to the stage after a blistering set in May, will be legendary San Diego mod band Manual Scan, led by sharp-dressed men Bart Mendoza and Kevin Donaker-Ring and featuring the rhythm section of Tim Blankenship and Morgan Young.

To open the evening, the all-star Blues Gangsters (Kristi Maddocks, Dave Rinck, Dave Ellison, Dave Fleminger and Matt Johnson) will make their San Diego stage debut. It’s a fresh opportunity to watch a new project by members of the Wallflowers, the Rockin’ Dogs, the Answers and Everybody Violet.

DJ duties will be performed by Louis Mello, a k a DJ Dirty Bird.

Read moreMark your calendars! Start your engines!
Jan. 30 Che Underground showcase

Holiday cheer from Sweeney Todd’s

martin,-kay---AWallflowers guitarist turned demon barber Todd Lahman encourages Che Underground: The Blog to spread the holiday cheer with this invitation to raise a glass at Sweeney Todd’s Barber Shop on Hollywood Blvd.

I’ve been looking for an opportunity to recognize Sweeney Todd’s, the ultra-cool shop founded in 1927 and refurbished by Mr. Lahman. By all accounts, he’s parlayed his rock-‘n’-roll sensibilities into a world-class shrine to the classic tonsorial arts.  (Anyone up for joining me in a haircut before the Jan. 30 show at the Casbah?)

Read moreHoliday cheer from Sweeney Todd’s

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