The roots of San Diego rock ‘n’ roll

(Here’s a long post, but one that answers a lot of questions about our earliest prehistory … Many thanks to Steve Thorn for writing the following piece exactly 30 years ago and to Mikel Toombs for scanning and sending it to Che Underground: The Blog.)

“This is ‘The History of San Diego Rock ‘N’ Roll, Part One: A Sleeping Town Wakes Up’ by Steve Thorn, from Kicks #3,” Mikel writes. “11/1979. Perhaps Steve — I believe he now writes for San Diego Troubadour — can chime in with Part Two.”

“The only thing happening in San Diego County is Eno and closet homosexuality.” — Kim Fowley, quoted in Phonograph Record Magazine.

The above quote from Sunset Strip’s famous rock impresario is one of the many snide remarks that have been hurled at San Diego and its people for years. Fowley’ s comment is not the most famous barb, however; that distinction belongs to satirist Mort Sahl, who once said, “There are only two things to do in San Diego — visit the zoo or join the Navy.”

As a native San Diegan, I’ve beeh buried over the years with comments made by immigrants to the county, telling me that San Diego has shallow musIcal roots, particularly in rock ‘n’ roll. A little research into the city’s musical past, however, reveals this is not the case at all.

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Our family tree, revisited

sd bands -  family tree2Thanks to the Cardiac Kidz’s Jim Ryan, Che Underground: The Blog has a fresh supply of artifacts from his band and other early participants in the San Diego punk scene.

Among Jim’s contributions is this chart from early 1980 composed by Dan McLain. It testifies to Dan’s role as underground historian and adds new fuel to the longstanding discussion of our family tree.

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Eric Rife’s punk-rock picture show

In another exciting development for fans of San Diego’s musical history, the San Diego Union-Tribune has officially twigged to the long-pending documentary by veteran scenester Eric Rife.

Besides being a friend of many participants here, Eric was the primary videographer at our Che Games for May reunion … and an inspiration for the magical history tour embodied by this blog.

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South Bay mods from Mathias Kuo

Mathias Kuo 1984 Los Angeles Huntington Rally“Hi, Matt,” writes Che Underground contributor and veteran San Diego scenester Mathias Kuo to the Che Underground hotline. “Here are some scooter pics from the hallowed halls of SD history — taken from a South Bay perspective.”

“Set #1 — Chula, Bonita and Coronado mods before a rally.”

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The Brain Police: “My World of Wax”

Next stop for the Che Underground time machine: Nineteen sixty-eight, when the Brain Police was the hottest act in San Diego and opened for bands like the Who, Cream, the Byrds and Buffalo Springfield. Like Ray Brandes’ recent homage to the Hitmakers, I hope a starter post here will attract some personal reminiscences of what appears to have been a very cool band indeed.

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The Hitmakers’ hit that never was

(Another key San Diego music artifact courtesy of Ray Brandes.)

hitmakerscoverI recently acquired a copy of the Hitmakers’ “It’s Only Sad” (1978), the A-side of their second record, which followed their 1977 EP “America’s Newest Hitmaker.” That’s Jeff Scott on vocals, Ron Silva and Josef Marc on guitars, Steve Potterf on bass and Joel Kmak on drums. Ron and Steve had left the band to start the Crawdaddys when the single was released, so they are not properly credited in the sleeve notes.

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‘Sesame Street’: Forty years ago today …

(Paul Kaufman commemorates the Nov. 10, 1969, launch of a kid’s show that defined a generation.)

Sesame Street Characters Sesame RoadI’m just the right age for this tribute, because I recall the day this new show first appeared in the afternoon lineup when I was five.

“Sesame Street”‘s short scenes, fast action and large cast of adorable puppets were very different from other kids’ shows at the time (Captain Kangaroo and Mister Rogers had been my faves). The respectful multiculturalism of this show was groundbreaking, but I won’t try to catalog all the positive social influences of this show here, as I’m sure that’s being discussed at great length elsewhere. (What other anniversary has had a whole week of specialized Google logos?)

For this blog, I do want to emphasize how “Sesame Street” literally rocked in ways that kids’ TV hadn’t before, both with outstanding outside guests:

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Even Dave Wallflower gets the blues

(Wallflower/Blues Gangster/BeatHog David Rinck waxes indigo and finds the musical treatment for it. What’s your prescription?)

Bluesy DaythumbThe other day I had the blues
I walked down the street in my old shoes
I know you won’t believe it’s true
But even Dave Wallflower gets the blues …

Yes, even Dave Wallflower gets the blues. Had ’em for a while now. Go’n through some hard times.

But that Sunday morning a few weeks ago in Liberia, brothers and sisters, I was down. I’d just come out on a long flight from Nairobi the night before, and I was tired. I headed out of the hotel and down those beat old streets for my early morning walk.

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Anglophilia!

Circular Union Jack“Do you remember the fifth of November?”

Having exploited Bastille Day 2009 to open a discussion of arcane French rock ‘n’ roll, I thought it only fair that Guy Fawkes Day acknowledge a landmass many of us identify more closely with the genre: the U.K.

From the Beatles to the Pretty Things to Monty Python to the Sex Pistols to the Clash to the Damned to Crass to Siouxie to “Quadrophenia” to everything else that little cluster of islands produced … Our interest in British art and culture seemed especially plangent in contrast with the San Diego landscape in which we grew up.

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This We Dug: “Forever Changes”

(“Then and now” powerhouse Kristen Tobiason salutes Arthur Lee and all who sailed with him.)

“And if you think I’m happy. Paint. Me. WHITE.”

Arthur Lee’s lyrics are as punk rock as they come. Bold, sociopolitical, but metaphorical and spiritual as poetry. When I first heard “Forever Changes” in 1983, I had no idea that these compositions would change the way I viewed music from that time on. It added dimension to the roots that dug deep, in blues and jazz, and, as an aspiring writer, spoke a language I could relate to.

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