Issue 4
A psyched-out edition of Strictly For Konnoisseurs finds us revisiting the MC5 having been punched in the face by their sonic maelstrom in Issue 1. We also enjoy albums by The Underground Allstars and The Seeds. Hold tight kids!!
MC5 – High Time
Atlantic SD 8285
The inaugural Strictly For Konnoisseurs introduced readers to the MC5’s Kick Out The Jams, their debut album of sonic mastery. For a band to release a live recording for their debut offering was unheard of, especially in the raw form that we find Kick Out The Jams . So it’s not surprising that SFK feels the need to follow up such a unique release with something a whole lot more expected.
High Time is the band’s second (and final) studio release. Released in 1971 on Atlantic records, it is considered to be the first real example of the bands potential having allowed them much more creative control over the track selection and songwriting than their previous studio offering ‘Back In The USA’ (1970). As an album, the band were pleased with the outcome and reviews were more favourable than any previous releases, but the album was poorly promoted by Atlantic and sales were disappointing as a result.
As an album, High Time does feel like a proper introduction to the band. Opening track ‘Sister Anne’ showcases the Kramer/Smith twin axe attack perfectly and is as good a rock ’n’ roll song as you will find anywhere in history. ‘Baby Won’t Ya’, with its Stones-esque rhythm and blues feel is a clear example of how the band influenced act such as the Black Crowes 20 years down the line – the intensity just doesn’t ease!
And so the album goes on, offering up quality songwriting and musicianship throughout. The albums closing track, ‘Skunk’, in all its Sun Ra-esque glory peaks in intensity and suitably brings the MC5 journey to an end.
Inevitably, drugs infiltrated the band and they were soon dropped by Atlantic after High Time’s poor performance. MC5 didn’t last beyond 1972, but their influence has been felt for many, many years. As their swan song, ‘High Time’ serves to be a true testimonial.
The Underground Allstars – Extremely Heavy
Dot DLP 25964)
It’s an interesting one this. I guess the first question would be, who are the ‘Allstars’? The answer to this is still not absolute, but what is probably true is that this album is a Kim Fowley ‘get rich quick’ release – something he was guilty of occasionally. It’s got his trademark warbling all over it and as a result it is hard to believe that it is anything other than a vanity project where he is accompanied by accomplished session players. Having said that, there was a suggestion (by Fowley) that is was a band of players who, due to contractual restrictions, were forced to remain anonymous. We do know that the lead guitar player was Warren Zevon – of Werewolves Of London fame – whom Fowley spearheaded in his early career.
Essentially it is an album of covers, including two Beatles tracks (Norwegian Wood and Get Back), with the lone exception of the Fowley penned ‘Happy Meadow Trail Dance’ – a heavy instrumental affair. Some decent production, fails to add any excitement to the record and it is average at best.
In the original SFK piece Fowley is referred to as the ‘Himmler of hype’ mainly down to his ability to enthuse the masses into believing. It fell short this time however and The Underground Allstars – Extremely Heavy sank like the proverbial lead. Give it a listen though, if only for Zevon’s guitar work throughout.
The Seeds – ~Raw and Alive
GNP Crescendo (GNP s2043)
LA garage punk godfathers The Seeds formed in 1965 and are often credited with being hugely influential for a wide array of bands from The Ramones to The Bangles. Led by enigmatic frontman Sky Saxon, Raw and Alive is their 5th release.
Interstingly, it was marketed as a ‘Live’ album, having the sub-title of ‘The Seeds In Concert At Merlin’s Music Box’, but it was actually a studio recording with the annoying screaming added later – for that immersive experience! Thankfully it was released with and without the overdubbed audience, meaning you can enjoy it without been surrounded by screaming teenagers – just like if your were actually at one of their gigs.
Interestingly, The Seeds were one of the first bands to utilise the bass keyboard for the bass parts at live shows – similar to Ray Manzarek’s approach with The Doors – on recordings it was usually left to session musicians to record the bass parts. Sky Saxon was credited with the bass playing, but never actually played bass on anything the band recorded.
Following the release of Raw and Alive, which never charted, the band were re-named Sky Saxon and the Seeds and effectively disbanded, leaving Saxon to carry on with various session musicians until around 1972 when the band finally ceased to exist.
Raw and Alive is a good place to start if you are unfamiliar with the work of the band. It contains the ‘hits’ – ‘Can’t seem to make you mine’ and ‘Pushin’ to hard’ – but it also captures something of the intensity of the band; especially if listened to sans-teenagers.