Pencil Storm staff, contributors, friends, fans, and rockers, all pick their favorite rock & roll holiday songs!
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Read MoreWhat Makes a Great Album Cover? - by JCE
NOTE: I wrote this piece a while back and never sent it to Pencil Storm. I had done a number of stories with lists, top ten this or top ten that…..it got tiresome so I started writing mostly about shows I went to see, or great records. Well, thanks to COVID-19, I am not getting to any shows anytime soon, so I dusted this one off for your reading pleasure. Comments at the end regarding what you agree with and what you don’t would be greatly appreciated!
Every rock n roll fan loves album artwork, or at least most do. Some may enjoy liner notes or printed lyrics even more, but me, I love the artwork. I always have. I am the same way with my massive collection of vintage skateboards. It’s all about the artwork. Here are some album covers that I think are noteworthy:
The New York Dolls. I was late to the party with this band, likely due to my age. I discovered punk rock and a whole new world of music starting with The Sex Pistols and The Clash. When I finally wised up to the greatness of the New York Dolls, I found this double album, which was just their first two records packaged together. Love this artwork. Glad I still own this.
Ricki C.’s two cents: JCE has been kind enough to allow me throw in some extraneous thoughts on his picks. He & I have figured out in the course of our long-distance friendship that he’s 11 years younger than me, the same age-gap as my child bride Debbie & I. In the case of The New York Dolls, that 11 year difference is HUGE. I was 21 years old in 1973 when the first Dolls record came out and it quite literally changed my life. I’ve often said - and it’s probably in Pencil Storm somewhere - if it wasn’t for the New York Dolls right at this moment I would have a grey pony-tail halfway down my back, granny glasses on & be listening to Grateful Dead bootlegs. Thankfully I’m not. Here’s photographic proof of that rock & roll transformation from the 1970’s…..
The Ramones / Road To Ruin. The Ramones debut album cover is iconic, and I love the photo of the band in ripped jeans and leather jackets leaning against a brick wall. Rocket To Russia was good too. But this comic book style cover and the bright yellow logo and the big amps with NYC in the background is just awesome to me.
Ricki’s two cents: The first time I saw The Ramones live was in 1976 or 1977 - I was still drinking then, so it’s a little hazy - at a Columbus, Ohio bar called Cafe Rock & Roll, that three months before had been a grocery store. Best conversion of a retail space EVER.
The Damned / Damned Damned Damned. This is a classic punk rock record. It was groundbreaking. The song “New Rose” is an amazing single. But I am not here talking about the music, this is about album covers. I don’t quite know what draws me to this one other than the super clean and simple Damned logo and the fact that the photo screams punk attitude to me (I just realized how similar the Ramones record above looks to this one).
Ricki’s two cents: I bought the single of “New Rose” because Nick Lowe produced it - and Nick Lowe was my Number One Rock & Roll Hero at that moment - and because it was on Stiff Records. What more could a West Side boy have asked for? I never had the album. (And still don’t.)
Minor Threat. This is the debut from legendary D.C. hardcore band Minor Threat. I absolutely love this photograph by Susie Horgan. It was taken during a hardcore show at the Wilson Center, a place I went to several times. Almost everyone thinks the photo is Ian Mackaye, the lead vocalist. In reality, it is his brother Alec asleep on the steps at a Wilson Center show. Alec was not even in the band.
Ricki’s two cents: I never “got” hardcore, probably because I came of rock & roll age in the 1960’s and still needed a little melody mixed in with my love of guitar chaos/noise, hence my affection for Boston’s The Neighborhoods, maybe the greatest blend of punk aggression & pop hooks ever, and the band that is the basis for JCE’s & my friendship.
The Replacements / Let It Be. Boy, what can you say about this. The photo seems so perfect for the unbelievable music that is on this record. Paul Westerberg’s seeming indifference is priceless. I have seen a ton of photos of this band and this one remains my absolute favorite. I recently read that the initial concept for this record cover was going to be the band stumbling across Abbey Road mimicking the Beatles record of that name.
Ricki’s two cents: Yeah, I love this cover. It’s SO Midwest. Perfect.
The Clash / London Calling. I saved the best for last. This is my favorite record cover of all, 100%. I remember buying my copy in 1979 and the sheer aggression depicted just got me so amped to play the album. My copy had a little sticker on it that said “The Only Band That Matters.” That is bad ass.
Ricki’s two cents: I may miss Joe Strummer more than any other rocker we’ve lost, and that’s taking into account Jimi Hendrix, Jim Morrison, John Lennon, Johnny Cash & Tom Petty.
I listen to all kinds of rock n roll, including a lot more metal than I care to admit, but when it comes to album artwork, the punks get the nod! - JCE
A Ramones Primer: By The Book by Nick Taggart
A RAMONES PRIMER: BY THE BOOK
by Nick Taggart
Hey, ho, have you seen Marky Ramone recently? He’s been turning up in all kinds of interesting places, including NPR’s radio program, “Wait Wait…Don’t Tell Me!” where he successfully answered trivia questions about another famous Marky (Marky Mark) and was generally amusing and entertaining. Not only is he peddling his own brand of pasta sauce (Marky Ramone’s Brooklyn’s Own Marinara Pasta Sauce. At $88 for a case of 12 jars, it’s a steal! But by whom?) but he’s also keeping alive the memory of the Ramones with his new autobiography, Punk Rock Blitzkrieg: My Life as a Ramone.
I’ve always been a fan of Ramones songs. What’s not to love about hard and fast, short and catchy tunes containing juvenile lyrics about sniffing glue and abductions by white supremacist groups? I was never disappointed when I saw them in concert, but I knew little of the band’s background beyond the most sweeping of summaries. You know, stuff like: “American punk rock band formed in New York City in 1974”; and “…often cited as the first band to define the punk rock sound.” (Thank you, Wikipedia.) I figured Marky’s book would fill in some factual holes as well as provide some colorful commentary.
I’ve always had trouble keeping track of who’s who in the band. I knew the names, but would have been hard pressed to attach the name to the correct face. While I waited for my reserved copy of Punk Rock Blitzkrieg to come in at the library, I went back and read a couple of other Ramones autobiographies. These helped with my identification problem.
Back in 2000, the bass player, Dee Dee Ramone, published Lobotomy: Surviving the Ramones. Dee Dee always reminded me of the actor Larry Storch, best known for his role as Capt. Agarn on TV’s F-Troop. I learned that Dee Dee was responsible for writing many of the band’s songs as well as taking the most drugs. As his book indicated, he did indeed survive the Ramones, but just barely. Less than three months after joining his bandmates for their induction into the Rock and Roll Hall of Fame, Dee Dee was found dead from a heroin overdose.
In 2012, the posthumous Commando: the Autobiography of Johnny Ramone was released. Johnny was the one with the haircut resembling the knit cap pulled down over the face of Dumb Donald on Fat Albert and the Cosby Kids. He was the focused one in the group who kept the Ramones train running on time. His military schooling may have been partially responsible. His goal was to accumulate $1 million in savings before kissing the Ramones gravy train goodbye. He succeeded, but didn’t live long to enjoy it, dying in 2004 after a battle with prostate cancer. Johnny was also the politically conservative one of the foursome who admired Ronald Reagan and who preferred to listen to Rush Limbaugh on the tour van radio; sometimes just to piss off Joey, the liberal singer.
Even if he wasn’t the de facto front man, Joey would have stood out for his looks: 6’ 6” tall, lanky, bespectacled, and holding onto the microphone for dear life. His autobiography might have been the most interesting had it ever been written, but Joey was the first Ramone to die, succumbing to lymphoma in 2001. He suffered from obsessive-compulsive disorder, which manifested itself in so many frustrating ways, as detailed in his bandmates' books. For example, tour departures were delayed while Joey exited and reentered his apartment multiple times; or he would return dozens of times to the bathroom on a trans-Atlantic flight to tap the soap or touch the seat. The closest thing we have to a Joey autobiography is the 2009 book, I Slept With Joey Ramone: a Family Memoir, written by Joey’s brother, Mickey Leigh.
There have been other members of the Ramones, including the original drummer, Tommy, who traded in his sticks after two albums to concentrate on producing the band. There were also Richie, Elvis, C.J., Sneezy, and Tito (I may be wrong about a couple of those. Elvis doesn’t sound right.), but they came and went and rarely appear in photos, so no need to commit them to memory.
By the time I got my hands on Punk Rock Blitzkrieg, I felt a little more grounded in Ramones lore. I still liked and appreciated the music, even if I had learned the band members weren’t the kind of folks I’d lend money to or want to watch a presidential debate with. With Marky’s book, though, I discovered a band member who was, dare I say, somewhat normal. Oh, he had his problems with alcoholism and the like, but he comes across as likeable.
The book caused a bit of a kerfuffle on Amazon concerning the accuracy of Marky’s stories. The only time the Ramones had to cancel a show was in Virginia Beach in 1981 when Marky was a no-show. According to his book, the band had a couple days off after playing Cleveland and he planned on getting a ride to Virginia with a fan, but the ride was a bust. According to an online reviewer from Columbus, the show was actually in the capital city (confirmed in Johnny’s book) and Marky had planned on flying to Virginia all along, but missed his flight after two days of drinking and partying at Crazy Mama’s and a local “punk house” (which still exists, according to another reviewer).
Reading the Ramones autobiography canon prompted me to go back and watch the 1979 movie, Rock ‘n’ Roll High School. Wow, is that film dated! But the viewing was worth it purely for the appearance of the Ramones and their spectacularly amateurish “acting” and brief memorable lines. (“We’re not students, we’re the Ramones,” and “Things sure have changed since we got kicked out of high school.”)
A much better DVD option is the excellent 2005 documentary, End of the Century: The Story of the Ramones. Most of the key players were still alive at the time of its production, so were available for informative, revealing, and funny interviews. Two thumbs up!
More importantly, the books encouraged me to go back to my CD collection and listen once again to all those fun, rocking Ramones songs. I tend to forget just how many great ones there are. The debut self-titled album alone contains “Blitzkrieg Bop,” “Beat on the Brat,” “Now I Wanna Sniff Some Glue,” “53rd and 3rd,” and “I Don’t Wanna Walk Around With You,” among others, all clocking in at 2:35 or under. Gabba Gabba Hey, indeed!
So, can we believe the stories Marky tells in his book? Can we believe Dee Dee or Johnny or Mickey Leigh? I’m sure they all had their own agendas, but they’re all like the sightless guys in the parable of “The Elephant and the Blind Men.” The individual perspectives might not capture the entire animal, but together they bring into focus the pachyderm in torn jeans and leather jackets that is the Ramones.
Learn more about Nick Taggart and other Pencilstorm contributors by clicking here.
THIS DAY IN ROCK 'N ROLL HISTORY - KISS RELEASE THEIR FIRST ALBUM - BY SCOTT CARR
February 18, 1974 - Kiss: Kiss is released.
"Hey world, we're Kiss and we want everyone here to come along with us......" were the first words that came from Paul Stanley's mouth after he strutted his way up to the microphone when Kiss made their national TV debut on Dick Clark's "In Concert." With that statement, Paul summed up the way Kiss envisioned themselves from day one. Coming from the same New York City streets that were walked by the likes of the New York Dolls and Ramones, Kiss were not content with being the kings of lower Manhattan or being the house band at CBGB's or Max's Kansas City, they had their eyes set on Madison Square Garden and beyond.
Practicing at Bleecker Street loft as a trio.
This month marks the 41st anniversary of Kiss' debut album, an album that introduced Kiss to the world but didn't exactly set that world on fire. Kiss emerged from the ashes of a band called Wicked Lester, which had featured Paul Stanley and Gene Simmons. Wicked Lester recorded an album for Epic records at Electric Ladyland Studios in 1972, but Paul and Gene split up the band shortly after the album was finished and the project was shelved. Wicked Lester was a hodgepodge of musical styles with no true vision or direction. Listening to the Wicked Lester recordings you can hear glimpses of what Kiss would become but it's buried underneath flutes and congas, sounding more like a Jethro Tull record than anything related to Kiss. Initially keeping the name Wicked Lester, Paul and Gene found drummer Peter Criss and began rehearsing as a trio, formulating a sound that was straightforward and in-your-face rock 'n roll. Guitarist Ace Frehley was added and in early 1973 the band officially changed it's name to Kiss.
First promo shot after Ace Frehley joins.
Kiss made their live debut on January 30th, 1973 at a small club in Queens, NY called Popcorn. From the beginning the band knew they wanted to have a theatrical show but at these early performances at the Popcorn club they wore very little face make up and had not incorporated any stage effects into their show. The band experimented with their image during these early shows eventually going from a New York Dolls androgynous look to a streamlined black leather and studs look with full face paint. By the time they played The Daisy Club in Amityville, NY in March of '73, the band were well on their way in developing their iconic alter egos.
Paul and Ace at the Popcorn Club (Coventry)
In March 1973 the band recorded a five song demo at Electric Ladyland Studios with Jimi Hendrix producer Eddie Kramer. This demo was a calling card to help the band secure management and a record deal. TV mogul Bill Aucoin approached the group in October with an offer to manage the band and a promise that he could obtain them a record deal within two weeks.. Bill made good on his promise and on November 1, 1973 Kiss became the first act signed to Neil Bogart's new label Casablanca Records.
Kiss quickly recorded their debut album at Bell Sound Studios in New York City. The recording and mixing of the record took less than three weeks and was produced by Kenny Kerner and Richie Wise. The original pressing of the album features nine songs including what would become some of the groups best known songs including Deuce, Strutter, Firehouse, Nothin' To Lose, Black Diamond and Cold Gin. Lead vocal duties were split between Stanley and Simmons with drummer Peter Criss also contributing lead vocals on a few songs. "Nothin' To Lose" was issued as the first single from the album in February 1974 but failed to receive support from radio. With initial sales of the album being sluggish it was decided by the label that the group should record a cover of Bobby Rydell's song "Kissin' Time" and release it as the next single. "Kissin' Time" was added to later pressings of the album and the single was promoted by a nationwide kissing contest dubbed "The Great Kiss Off" sponsored by local radio stations. On April 29th the band appeared on The Mike Douglas Show with the winners of "The Great Kiss Off" and performed the song "Firehouse." "Kissin' Time" did not improve album sales but the band continued to be a big concert draw. "Strutter" was released as the last single from the album in August at which time the band had already entered a recording studio in Los Angeles to begin work on their second album "Hotter Than Hell". At this point Casablanca lost their support from Warner Brothers distribution and the label was on the brink of bankruptcy. Kiss continued touring and making records and in September 1975 Casablanca released Kiss Alive as a last ditch effort to save the label and the gamble paid off. Kiss Alive was a huge success and Kissteria was officially in full swing.
Bell Sound Studios recording the first album.
Bell Sound Studios recording the first album
Kiss has been through many changes in the forty one years since their debut album was released including several changes in the bands line up, different musical directions, taking their make up off in 1983 and then reuniting the four original members in 1996 and putting the make up back on. The reunion did not last long but Kiss has forged on with replacement members for Ace Frehley and Peter Criss and are currently touring the world on their 40th Anniversary tour. The original four members of Kiss were inducted into the Rock and Roll Hall of Fame last year but to the disappointment of long time fans the band did not perform together.
Gene being interviewed by Mike Douglas.
Even with all the changes the one thing that has remained consistent over the years are the songs the band created in a little studio in New York City in 1974. Over half the songs from their debut album are still performed in concert and remain fan favorites to this day. For an album that was considered a flop when it was originally released, it has certainly left its mark on the music scene and is a true testament to the strength of the bands early material.
Scott Carr is a guitarist who plays in the Columbus, OH bands Radio Tramps and Returning April. Scott is also an avid collector of vinyl records and works at Lost Weekend Records. So...if you are looking for Scott....you'll either find him in a dimly lit bar playing his guitar or in a record store digging for the holy grail.
Promo ad for first album
Billboard ad promoting "Kissin' Time" single