Showing posts with label San Francisco. Show all posts
Showing posts with label San Francisco. Show all posts

July 11, 2015

L.Sid... ...The Studio Tapes... ................(San Francisco 1991?-1996)

I got a message from Kim Cook saying she had a box of L.Sid tapes, including three funny little ones that she was hoping I could digitize. Kim is the sister of singer, guitarist Markus Cook who passed away from a heroin overdose in 1996, leaving a huge void among friends, family, and the San Francisco music and bike messenger activist communities. I wrote more about Markus and L.Sid... from Mercury to Jupitah in a previous post.

Those little things (they look like tiny VHS tapes) turned out to be DATs, Digital Audio Tapes, a short lived audio format that gained some traction among recording engineers in the 1990s for mixing down analog studio sessions. Unfortunately, they suffer from the same sticky shed syndrome that renders other magnetic tape formats unplayable after a few decades in damp or humid conditions.

The cassettes and DATs were a little sticky and struggled to play in the machines, but I barely managed to get an almost complete digital transfer when the third DAT finally snapped halfway through the last song. What I heard... I think... was L.Sid's almost complete studio recordings! So here, as best as I can guess, are the recordings in what may or may not be chronological order. If you know, please send me the recording dates, track titles, personnel, photos, and any other trivia about these recordings and the various formations of L.Sid.

Thanks to Natasha for the photo!
Earliest Recordings (cassette copy, recording date unknown)
Track 1
Krazy Beat
Track 3

Sonny's Rhumba (DAT master, recording date unknown)
Don't Forget Annette
O-verloaded
Sonny's Rumble
Liz Taylor
Medium Rare Frankenstein
72 Hours

The Decolator Sessions (cassette copy, January 1993)
Basin' With Dave
New Transmission
A Fistful of Kryptonite
Vigilante 435
Track 5
Krazy Beat
Track 7
Sonny's Rumble
Suitcase Fulla Smoke
Medium Rare Frankenstein
Track 11
Track 12 

Natasha, Broiler, Markus, Luigi, Jennie, Jack, Chad
The Final Mix (DAT master, February 1993) Released on cassette as BIKE in 1993.
Side 1
Vigilante 435
Medium Rare Frankenstein
ETA (from the cassette copy because the DAT broke)
Hometown
Chaser
Side 2
New Transmission
A Fistful of Kryptonite
Jupitah
72 Hours
Chaser 

Music Annex (DAT master, recording date unknown) Released on cassette as Out of Town in 1993.
Jack - sax, keys; Jennie - viola, vocal; Markus - guitar, vocal; Luigi - drums; Natasha - tuba; Broiler - bass; Chad - sax
Shadow of Jazz
See Ya
Suitcase Fulla Smoke
Only Because

Pothole (CD compilation 1996)
Sunflowers

In memory of Markus Cook and Luigi Decolator

Thanks to Kim Cook for sending me these tapes; truly a treasure from the analog abyss, and a piece of a lost friendship....

Thanks to L.Sid founder and sax player Jack Chandler for permission to share these recordings, and to Rustle Noonetwisting for digging his DAT machine out of the garage for me.

Stay tuned for more from Kim's box of tapes cassettes: Markus and Jack's 1983 Phoenix AZ band Open Market, The Proj, and L.Sid Live on KUSF (in the nude)....

August 27, 2012

Jim Čert in the USA... ....Good Morning, How Are You?

For awhile our San Francisco flat on Valencia Street took on a bit of carnivalesque with a procession of bike messengers, musicians, artists, film makers, and other fine riffraff coming through with local film screenings on the back porch. And completing our Bohemian cred was a crazy Czech guy in a skullcap with an accordion the size of a lawnmower.

Jim Čert on Fog Town Network
Každý den mezi ďábly vstávám,pomalu sám se ďáblem stáván. 
Every day I get up deviled, slowly becoming the devil himself. (Jim Čert  - Křišťálová studánka)
Born 1956, Czech accordion player and poet Jim Čert (or Jim Devil, real name: František Horáček) became a familiar figure of Prague’s local hospody, or underground taverns with wooden benches and large, collective tables. Chodíme do hospod (We go to the pub) He published his first cassette titled Cervenec in 1980, introducing the public with his mixture of folk traditionals, contemporary Czech poets, various J.R.R. Tolkien’s poems and...   Marihuana. (Continuo
Čert was known for his dissent against the Communist regime in the '80s Czech music scene, prior to the Velvet Revolution in Czech in late 1989. He was jailed several times for creating music deemed "anti-social" by the Communist state, who would not let musicians perform without state approval. However, files found in 1989 show that Čert was involved with state, working under police pressure as a secret informant. (Wikipedia)
I Died One Monday Jim left the new Czech Republic and started over in San Francisco where he fronted a band appropriately called Life After Life with fellow dissident Jaroslav Sedivy. They put out a record on Alternative Tentacles, but I knew him as a solo performer opening up for the likes of L-Sid and Polkacide. The jovial guy at every party who did an impromptu late night set in our flat. Despite his deep growl, and dastardly cackle, I once saw him floor the audience by whistling an entire song, with vibrato and in perfect tune. Where did that come from?


In 2007, Jim formally apologized for his collaboration with state police, and is now living and performing back in Prague.

Já šel jsem cestou tesklivou a vítr se mi smál. Já přemejšlel jsem o státě - co bude jako dál? A tak se ploužím tímhle tím slzavým údolím a těším se, až lidi mě jednou pochopí. Já doufal jsem, že zřítí se tenhle proklatej řád, a že budu mít svou zemi snad ještě někdy rád. ...United States, American, Good Morning... How are you?   
I went away distressed and the wind laughed at me. Thinking I'm the State - what will be next? And by the valley of tears I look forward to my people understanding. I was hoping that this goddamn order would collapse, and that I'd have my country happily ever after....
...United States, American, Good morning... How are you?

January 11, 2012

El Camino Cha Cha Orchestra...... ........(San Francisco January 11, 1997)

Not long after my girlfriend and I got engaged (which wasn't too long after we met), we went out to a show on at 16th and Valencia in what used to be a firehouse. I forget what the place was called at that point, since it changed hands a few times, but it had a really high ceiling and I'm pretty sure I saw the Del Rubio Triplets in the same space a few years earlier.

When the 11 pieces of El Camino struck up with obscure classic 50s mambo, we elbowed each other and said "That's it!" and started dancing. After the show we hauled the trumpet player off the stage....Yes, they would play our wedding! That was that. I don't think we even had a date set yet, to say nothing of a venue, caterer, cake, or flower arrangements. I hadn't even asked my brother to be best man yet. But we had the band.

All the other details eventually fell into place. Friends and family joined us from Pennsylvania, Florida, Mexico, and points between. Of course, Rustle Noonetwisting was there with his grabadora (seemingly recording every significant event in my life). The band struck up this time in the neoclassical Green Room in the San Francisco Civic Center with our first song, learned just for us: Agustin Lara's Solamente una vez. Then we cha cha'd until they told us we were out of time on the room, and the bride and groom were supposed to leave first anyway.

El Camino Cha Cha Orchestra (18:00)

That was fifteen years ago y todavía tenemos el mambo.


August 25, 2011

L.Sid.......... from Mercury to Jupitah


Dedicated to Markus's family and friends.















From the first time I met Markus, I was affected. "Wuuauoah," I wish there were a way to put that voice onto paper. -Therese Joy Madden

When Markus moved into our flat on Valencia Street he livened it up with his kaleidoscopic spirit.  He wore a furry vest and knickers and whatever pattern or color happened out of the laundry.  He said he didn't believe in colors not matching, and he mixed three or four different types of cereal in his bowl every morning. We had fun times that year. We didn't know he was coming apart at the seams, except that he occasionally woke up in the middle of the night screaming bloody murder because one of his arms had come out of its socket, or he'd be vomiting so loudly that he rivaled the Fog Horns in San Francisco Bay.

Markus Cook was more than a fixture on the San Francisco bike messenger and music scene.  He was an organizer and a mobilizer with resounding vocal chords that needed no help from a bullhorn.  He had an infectious personality and an irrepressible drive to build community among the people he touched, from shared meals at our little Mission flat, to mass bike rides in SF, to global messenger solidarity.  He published a zine of bike messenger writing called Mercury Rising and was a major force in the creation of the SF Bicycle Messenger Association, which, short of a union, was able to create some unity and advocate for the thousand or so couriers pedaling the streets for a living.
How about hosting the next Bike Messenger World Championships here in SF in the summer of '95? Wouldn't it be cool to get to know messengers from everywhere?  It's going to take a couple of dozen people who are ready to take on a major project for the next year-and-a-half, and a lot more people to help out later.  Though I'm still reeling from CMC '93 and L.Sid's Berlin to Berlin Tour, I'll gladly join the effort if it comes together.  I think this town needs to be overrun by a thousand bike-freaks as much as our world-wide tribe needs to be solidified by another gathering. -Spokes, by Fur (Markus), Mercury Rising, December 1993
As I lay drugged and listless in my bed at General the day after my shoulder surgery, my roommate came in and told me he had just seen a group of Western Messengers on their way to visit a fallen sister who had her pelvis broken by a car.  Damn, we keep those hospitals busy.  This got me thinking about what the SFBMA is and what it could be.  We spend thousands every week at the same few bars. If a couple hundred people siphoned off a mere 5 bucks a month and dumped it into some kind of emergency fund thing, that would be $12,000 a year, to help people and invest to keep our fund going.... Might work, I dunno... could strengthen the messenger community in a variety of ways.  - Spokes, by Fur, Mercury Rising August 1994
San Francisco Bike Messenger Association: Broken Bones Fund

L.Sid was another outlet for Markus's philosophy and unstoppable energy, with its mashed up confusion of musical styles, instruments, and pseudo-political, absurdist, sci-fi subject matter.  Just like all of his activism, Markus was a key organizer, but never dominated the action.  He pulled everyone together and created a vehicle for each person to shine at what they did best, to the benefit of everyone involved.  He'd go boinging around the stage while the band diverged into stratospheric jazzy solos, occasionally barking lyrics and props to his bandmates.  He surely vied with James Brown for "hardest working." At one show he was flailing around the stage and suddenly fell screaming after dislocating his arm (again).  After a rush to the emergency room to get it popped back into place, he was back on stage to finish the set within the hour.

L.Sid released Alive 1995 on cassette, complete with intergalactic radio interference; from a show at the Covered Wagon Saloon. Sunflowerz is from a studio session at Mindfield, included on Pothole, an SF bike messenger band compilation.
Photo by Bluoz






Sadly, Markus died of a heroin overdose on January 3, 1996 after struggling for several months to to get clean.
Markus Cook was a politician, a poet, a great orator, and a loyal friend. As far as 'front men' go, I would put him right up there in the same category as David Byrne, Iggy Pop, and Joe Strummer. I recall one day, we climbed up on a giant billboard near Bernal Heights, and shared some 'medicine' and philosophical talk. At one point, he looked down on the panorama and said, "Someday...I'm gonna miss all this."
Moral: Live every day as if it were your last. 

Rest in Peace, brother.  -Jack Chandler
With The Germ at KUSF

L.Sid 1994-96
Markus Cook - Vocals and Guitar
Jack Chandler - Sax
Chad - Sax
Timmy Hesla - Baritone Sax
Carl Prescott - Guitar and Trumpet
Lou "Luigi" Decolator - Drums
Billy Wig - Bass

Earlier members:
Adam Kahan - Bass
Matt Broiler - Guitar

Jack played in The Wellsprings of Hope and Tim Hesla's Big Band and currently plays in Ice Age Jazztet. Tim played in Necropolis of Love and The Wellsprings of Hope, and his Big Band of course. Chad was a founding member of Polkacide and currently plays in The Gallimaufry Orchestra. Billy was previously in Boston's Hell Toupée. Carl is playing with Smokestaxx and Montalban Quintet. Adam later formed Orson County Line.  Luigi played in Derailleur and The Converse All Stars. I just learned that he died in a house fire in 2009.

More info from Sector L:
Here's the full Alive 1995 cassette posted on It Crawled From the Vault (Thanks Bluoz!)
An extended article about Markus in SF Weekly: Mercury Falling
Moving Target Magazine: Messenger Hero #4
Moving Target Magazine: The Markus Cook Memorial Award
Video interviews with Markus
Messenger Memorial: Markus "Fur" Cook
Messenger Memorial" Lou Decolator "Luigi"
To My Little Brother,
This wasn't supposed to happen. Your life was not meant to end this way, this soon. This was not your destiny. There are too many things you still have to do.... And I'll never understand why....       
- Kim Camille Cook


June 15, 2011

Barbara Manning Back in the Day .............. 28th Day and World of Pooh

“It might take me 10 years to do it, but I’m gonna be a rock star.”
28th Day
Rock star? Could be, but maybe Barbara Manning is just too humble and friendly to pull it off.   She makes friends everywhere and seems to form rock bands or collaborate with a good number of them.  She's cut albums on Matador Records but turns down interviews with glossy media that want to dress her up. Because it's all about the band.
Q: If Spin or Rolling Stone asked you to do an interview now, would you?
A: If they would do it with the band, or if I could talk about the band endlessly. It has to be seen as a band or I'll get really bored. I don't want to be alone all the time... my biggest desire as far as music goes is to be in a band where I am not the leader, not the focus, where the audience looks at the whole band rather than me. -Stay Free  (1990s)
I got to see the SF Seals and Barbara's solo shows a few times in the 90s, opening for her Aussie and Kiwi friends Dirty Three and Tall Dwarfs in San Francisco. And she was often in the audience at other shows, without any airs despite being a hot indie item by that time.

Most of that buzz has died down, but recently I've been listening to Barbara Manning through her Radio Detour show on hometown Chico, California's KZFR. [Update: Radio Detour has moved to KBeach, Long Beach every Thursday 7-8pm PST] It's like a window into her brain, her vast knowledge of music "off the beaten track," and her somewhat inept control of station DJ equipment.  She always blows my mind with obscure, influential, and really good music, and makes me laugh with her self-effacing banter and dead-air, wrong-speed, which darn button do I press? goofs.

Barbara's first two bands both existed before she joined up with them, but she quickly became a key part of their sound and songs. Cole Marquis and Barbara "Bobbi" Manning were learning to play guitar and bass, respectively as they went and they shared vocals a la John Doe and Exene and even a bit of The Go Gos This Town on Stones of Judgement. And despite Cole's modest words, they played quite well.
We were so green in the beginning, we could hardly play, but we all believed in what we were doing. We were having fun, and we didn’t hold anything back. We made up for the lack of skill with energy, fear, alcohol and faith.  -Cole
There may not be more genuine singing than from two people romantically tied. Cole and I naturally jumped into each other’s songs, overlapping and responding.... The lyrics were often about each other, as if it were the only way to have our feelings heard. -Barbara
...Barbara’s frustration with one recording session culminated with her screaming at the top of her lungs during a vocal take of “Burnsite” in an effort to deafen me in the control room.... -Russ Tolman (record producer)
How do I explain it? We were very young. It was our first band. We thought we were the best band in the world. We started to hate each other. Isn’t it only natural? -Barbara - Chico News and Review (2003)

World of Pooh

 San Francisco's World of Pooh picked up Barbara where 28th Day let her off,  bringing an edgier sound with more distortion in some places and more Batsy New Zealand pops in others.



And just to start in true Tapewreckage spirit, claim some pre-band Bobbi and her sister Terri singing a Bee Gees tune:

Run to Me *




28th Day (1983-85)
Burnsite
Holiday
Stones of Judgement


World of Pooh (1986-1990)









Other bands Barbara Manning has been in:
The Tablespoons/SF Seals, Snowmen, The Go-Luckys, The Sleaze Tax, Champion, Rocket 69, *Glands of External Secretion
...I always wanted to be in a band, ever since I was a child. I always knew. 
Barbara Manning will be playing HERE in Philly on June 29th, 2012!  (Hey, you want to start a band?)

March 11, 2011

Pineapple Princess!

A little bit Barrel House Annie, a little bit Henry Rollins, a lot twin-distorto ukulele. What more could you ask for? Digging through the file cabinet in search of a receipt for the tax man, I found an old copy of Kiss My Pineapple, a wonderfully irreverent ukulele zine put out by Beth and Pamela. If I were to segue from punk rock to traditional Hawaiian music (now look here!) I would certainly go through these lovely ladies I was lucky enough to see live a couple times in SF's late Chameleon Club.

Now where's that dang receipt.

Roll Out

Chinese Food

We Suck
Na Moku Eha



I'm not making this up. Check their website here.

February 12, 2011

Demented Ionosphere - CCR via Shortwave

What happens when you send a 1968 hit record by Creedence Clearwater Revival through a shortwave transmitter in 2001, skittering off the ionosphere at nearly the speed of light, to be caught by an antenna halfway around the planet? Maybe nothing, or like a tree falling in the forest; it never really happened. Or a listener might hear noise and keep turning the dial. Nothing again. But one guy hears music, stays on frequency, lays it down on tape, and posts it on his blog in 2005. We have ShortWaveMusic, my favorite blog in the cybersphere in 2011.
Myke Dodge Weiskopf records transmissions in his travels for ShortWaveMusic,

a lifelong documentary series which preserves the sound of music (and/or musical speech and noise) as heard via shortwave radio.

My long-term goal is to tell the story of shortwave broadcasting in the early 21st century by capturing the extraordinary and varied ways in which people continue to communicate by radio, despite the advent of newer and more glamorous technologies.


He has a keen ear for music and finds the real art and interest in the synthesis of human sounds and natural phenomena happening over our heads (An Alan Lomax of the atmosphere?).

Here, we put Creedence Clearwater Revival‘s agonizing white-boy garage-band blues choogle through the space-wringer, and emerge with something much more palatable and progressive: Vive le instant avant-garde!

His blog is a fascinating read, peppered with radio jargon and descriptive phrases that challenge you to figure out their meaning by listening to the tracks.

Try some of these:
  • propagation decay
  • phasing
  • ionospheric placebo
  • skywave-ricocheted code throttle
  • fading
  • teletype chirp
  • heterodyne
  • data squall
This transmission of Suzie Q is twisted almost beyond recognition. I listened to the original just for comparison and because I could hardly believe my ears - especially the distorted tones of the guitar solo warbling vocals in the middle. It sounds too intentional to be natural, but humans could never have done this.

Creedence Clearwater Revival - Suzie Q via shortwave radio