Friday, March 31, 2006

VOIVOD - Killing Technology CD (Noise/1987)
If there are two '80s thrash/speed/death/blah metal bands you're going to investigate whilst on this planet, I'd lay my bets on Canada's Voivod and Switzerland's Celtic Frost (you can throw in Slayer ca. Reign In Blood and even Metallica's Ride The Lightning and Master of Puppets in there, too. Fuck you right back). For the 'Frost, you can't go past Emperor's Return, Morbid Tales, To Mega Therion and Into the Pandemonium, but I'll talk about them at a later date. I grew up a Metal-phobe, I've documented that previously somewhere before, though at some time in my late 20s I became exposed to the likes of Slayer and Celtic Frost and re-evaluated my way of thinking. Genres are for the birds, it's the music which means everything. And let's face it, "hardcore punk" has been a toothless tiger for a good 20 years now; the Punk Vs. Metal debate I used to actually care about as a teenager means so little to anyone with a brain I would never dare to bring it up in polite company again. When the music is as good as Voivod, you can only state that they were a very fine musical outfit, period.

I was first given a tape of this when I was 19 from a Canadian penpal. She was going to send me some MX-80 tapes she was making (their Ralph LPs were impossible to find down here at the time) and she promised me some cool Canadian music as a bonus. Since the genre known as "cool Canadian music" is a rather limited one (sorry, Chris, you can email me and berate my sorry ignorance) - barring the likes of Neil Young, Simply Saucer, maybe a couple of early punk 7"s and Constellation bands I like - I awaited her choice. It was Voivod. I knew the name well, was aware of their eclectic fan base, namely the likes of MX-80 themselves, Sonic Youth, Die Kreuzen (whose October File LP influenced them greatly), Jello Biafra, Lydia Lunch, John Zorn, Glenn Branca and every downtown NYC hipster you may to care mention, and was interested in their music and what their supposedly unique take on "frash metal" would be. It was more than I'd hoped for. I hung onto that cassette for years, or at least until I finally took the plunge and bought Dimension Hatross, Nothingface and Killing Technology a decade later, and having flogged this in the car the past week I can happily report that their music has weathered well.

If I was to describe them as a progressive-space-rock-thrash-metal outfit with thematic albums which told a story about a future dominated by robots and technology gone mad, you'd have reason to be afraid. It sounds dreadful, though it works a charm. I don't read their lyrics, so they're not too important; for me it's the music which does the talking, a white-hot combination of bone-smashing punk/metal thrash and, at times, ludicrously convoluted song structures lifted from the Red/Starless & Bible Black book of prog songwriting. Or, if you will, picture a combination of early Hawkwind/Pink Floyd, Mekanik Destruktiv Kommandoh-period Magma and Hear Nothing...-era Discharge in a melting pot and it approximates the sound of Voivod in the '80s. Way too many u/ground music snobs thumb their nose to the completely genre-defying sounds of Voivod, and it's their loss.

In the early '90s they signed to a major, mutated into a kind of pop/grunge/sci-fi outfit (Angel Rat is considered their strongest by many fans, though I've never heard the whole thing), then were unceremoniously dropped and reinvented themselves once again as a kind of dirge-y, noisy and lo-fi noise-metal outfit influenced by the likes of Neurosis, Melvins and maybe even some of those AmRep bands you now deny having ever owned (God Bullies, Helmet, etc.). Those albums are pretty A-OK, too, though if you want the real goods, stick to the holy trinity of Dimension Hatross, Nothingface and Killing Technology. They played a low-key (or should I say "sparsely attended") show here in '01 and it was, as they say in the business, "a night to remember". Super-nice fellas, too; they hung around for a beer and a chat w/ the fans, so let's a raise a glass to Voivod and their now-deceased guitarist, Piggy. Here here!

ERASERHEAD Soundtrack LP (Alternative Tentacles/year??)
A couple of months back Jay over at Agony Shorthand had a dig at Alternative Tentacles, hailing them as perhaps the worst record label of all time. I put my two cents in and came to their defense. I'll be the first to admit their high level of turkeys (has anyone ever listened to a Victim's Family LP all the way through?), but over the years they've done some fine things I still own and cherish: the Let Them Eat Jellybeans compilation (seriously, a fairly groundbreaking introduction of early US '80s underground music made specifically for the ignorant UK public), Flipper and Husker Du (again, licensed for clueless Limeys), Tragic Mulatto, Alice Donut (ca. Mule), Amebix, Half Japanese, Zolar X, Dog Faced Hermans, BGK, Crucifucks, Dicks, even an upcoming Metal Urbain LP. And this.

I never even knew this existed until 7 or 8 years ago when I stumbled across it in a suburban second-hand record store. The catalogue # is VIRUS30, so that'd pinpoint it as an early-'80s release, though I can only assume it was deleted fairly soon thereafter (this is a UK version, an IRS/A & M version still exists on CD, apparently). This wouldn't have been a hit w/ the punkers, though it does at least show Jello and co. to be an eclectic bunch willing to release the seemingly unsellable. David Lynch and sound designer Alan Splet made a one-of-a-kind soundtrack here, a collage of sound comprising of baby screams (you know the one), smashing glass, howling winds, dripping water, industrial machinery, creeping organs and, creepiest of all, that "In Heaven (Everything Is Fine)" track sung near the end of the movie, a song which, strangely enough as I read the LP's credits, was co-written by none other than Peter Ivers, the radical DJ/producer/singer/songwriter who hosted "New Wave Theatre" in the early '80s and brought hardcore to the cable-TV masses before he was tragically murdered. Huh...

Why did I drag this out? I watched the movie last night; first time in over a decade. Loved it as a pretentious 18-year-old Arts student and - despite Lynch's film-making abilities hitting the skids for nearly the last 20 years - it still gives me a warm glow, and I wasn't even baked. Along w/ Metal Machine Music, you'll hardly ever listen to the thing, though the Eraserhead soundtrack is a nice relic to drag out on a rainy day.

Other LD Party Trax (sorry, Tim):

1) THE EX - Instant 2CD
2) RED KRAYOLA - Soldier Talk LP
3) PATTY WATERS - You Thrill Me CD
4) VARIOUS - Ethiopiques Vol. 4: Jazz and Instrumental Music 1969-74 CD
5) BRUTAL TRUTH - Need to Control CD

Tuesday, March 28, 2006

Here's some other shit I'll fly through...

DC3 - Vida CD (SST/1988)
The giveaway sign that a band ain't too hot is when the only listenable songs on their album wind up being cover versions. Apply that rule here. DC3 was Dez Cadena's post-'Flag outfit and released a slew of entirely unlistenable LPs throughout the '80s. My brother won the LP version of this in '89 as a giveaway at 3PBS (along w/ LPs by SWA and Run Westy Run: true story!) and, prior to recently "winning" a copy of this on eBay for, oh, I don't know, I think it was $1.50, I hadn't heard it for a decade. Let's make it simple: if you absolutely MUST buy one DC3 album in this lifetime, make it this one. It has three songs you need, and all are covers. They are: Groucho Marx's(!!) "Your Mother", John Lee Hooker's "Bang Bang, Bang Bang", and last but certainly not least, their scorching rendition of Hawkwind's "Psy Power", worth it (note: that's $1.50) for the last track alone. The rest I could live without, easy. DC3 were constantly compared to Mountain and/or Deep Purple and, frankly, I see no comparison. If they simply pulled off a second-rate '70s stoner-rock appreciation, I wouldn't complain... but what did DC3 sound like? Covers aside, I can think of no-one else they bring to mind. BAD ROCK was their thing. Dull, off-kilter vocals (Dez was a killer screamer, but as a singer...), swooshing keyboards which, at their best have an Eno/Dik Mik vibe and, at their worst (which is often), are caught somewhere twixt Wakeman and Emerson, and some of the most uninspired songwriting this side of a Foghat LP. I guess you could say my ownership of this CD = too much time, too much money.

UNKNOWN INSTRUCTORS - The Way Things Work CD (Smog Veil/2005)
I was a little slow off the mark w/ this one: a contemporary SST "supergroup" featuring a bunch of folks you may actually care about. Their names are Mike Watt, Joe Baiza, George Hurley and Jack Brewer. That is, 2/3 of the Minutemen and 1/2 of Saccharine Trust. It's "jam-time" all over again, though let it be said, this is no October Faction or Minuteflag (both of which... gulp... aren't that bad, and you know that if anyone in the year 2006 is going to attempt a reappraisal of such maligned discs, it'll be me. One day). The UI keep it tight, jazzy, funky and I dig this a whole lot. Best of all they sound angry for a bunch of old geezers and even reprise an old Minutemen track ("Punk Is Whatever You Made It To Be") to decent effect. Whack it on after blasting Saccharine Trust's "improv" disc from '85, Worldbroken, and you've got two worthy discs mining a very similar vein. It didn't change my life, and I never expected it to, though here's hoping the CD they're recording right now - with Pere Ubu's Dave Thomas on vocals - will make a bigger impact.

THE CLEAN - Anthology 2CD (Merge/2003)
I had a major boner for many things NZ back in the '90s, though somehow these guys passed me by. Let's travel back to the glory days... Alastair Galbraith, This Kind Of Punishment (and all their spin-offs), Dead C., Terminals, Dadamah, even the Gordons and Bailter Space (esp. Tanker). They've stood the test of time and then some. Truth be told, I haven't listened to anything these people might be up to since about 1998, nor have I kept up w/ anything NZ at all since then, though maybe I need some catching up. In the meantime, The Clean are doing me just fine. With Hamish and David Kilgour at the helm, I'm well aware of the fact that these chaps are held in my high esteem by many yanks, and after flogging this the last few days, I may as well join the chorus. Without the way-out experimental leanings of the Xpressway crew (though there's some very fine Kraut-grooves throughout) nor the occasionally annoying Angloid fixation of some of their other brethren, The Clean were clearly the most outright VU-obsessed of the litter. I've foolishly left both CDs out of arm's reach right now (one in the car stereo, one in the work computer), though I can clearly recall one track plainly ripping off the riff to "What Goes On" and another steals from the Stooges (first album), though being New Zealanders, I can forgive them. Sure beats making a career out of ripping off Joy Division (and as much as I love JD...) and lends the band some grit when things are getting awfully pleasant. Just when you think the well has run dry, you go and discover - yet again - your new favourite band for the next fortnight.

LOU REED - Metal Machine 2LP (RCA/1975)
I've been giving Berlin and Blue Mask a whipping of late. Don't ask me why, the urge just hit me. Lou is just such a fucking clown - a plainly ridiculous human being and a web of contradictions, genius, wasted talent and awful/lukewarm/brilliant musical outings - you gotta love him. I bought this at the Camberwell market about 12 years back for, if memory serves, $2. The stall was run by an old lady who was selling this, the Shaggs and a bunch of Can LPs... all for $2 each. Who could pass up on such an offer? She was either a junkie or selling off the goods of a recently departed hip offspring. I'd vouch for the latter and was only too willing to help her out in her time of need. I have never listened to MMM all the way through, and I say that as a man who stills owns over half-a-dozen Merzbow CDs. Even Lou himself has stated that anyone who does is an asshole. Hell, even Lou himself has stated he's never listened to the whole thing in its entirety, and he is an asshole. But it's a nice thing to have, if only for those self-aggrandizing liner notes and the fact that a thousand squares demanded their money back after purchase, expecting a re-run of Sally Can't Dance (or some other piece of horseshit Lou was foisting onto the public at the time). Best line: "My week beats your year".

Two stories about MMM: about 5 years back, when I was working for a CD chain, I requested to my straight manager (his favourite artist of all time? Chris Rea) that the store carry MMM as a stock item. He patronisingly told me it was the worst record of all time and set me a challenge: he would order it, but if it sat there for more than a month, I'd have to buy it. We shook hands and agreed. It sold within a week. Given the unbelievably square area the store was situated in, that is nothing short of a miracle.

Back in the mid/late '90s I had a very embarrassing habit: I would collect Top 10 lists from my friends. Yeah, as in Top 10 Albums Of All Time. I still have them sitting in a file here, ready for the bribe money to flow in one day. It's an odd assortment. There's a couple of low-rent celebrities in there (Neil Hamburger, Jad Fair, Jason Willett... by the way, try to guess who has both the Beach Boys and 2Pac in their respective list), though they're mostly from friends of mine you, dear reader, don't know of (except for the ones who actually read this thing and remember me pathetically badgering them for a list 10 years back). One is Dr. Jim's. Nice chap, good friend, lover of fine music. Amongst his oh-so-predictable sundry list of recordings by the likes of Neu!, Stooges and The Fall, lies MMM. He really does like it - as a piece of music - and despite what Brother Lou says, Dr. Jim is not an asshole. I once dropped by his place - uninvited - and he was pottering around the house w/ the goddamn thing blaring away like he actually enjoyed the thing. Another miracle.

And when I get a minute I will try to cover some stuff by Archbishop Kebab, Leviathan, Siouxsie and the Banshees(!), The Ex, Redd Kross, Patti Smith, Grant Hart, Nurse With Wound and some other shit...
R.I.P. Nikki Sudden

Monday, March 27, 2006

I'll try some sort of sub-haiku shit in ripping out a few reviews w/ a minimum of verbal wastage. A stack of shit has landed in my hands lately, so let's see what can be said...

DON CHERRY - Hear And Now CD
Paid a silly amount (well, not too silly; about US$18) for this turkey, originally released in 1977 and since reissued as a Japan-only deal. Cherry? He's the fuckin' man. Stick on any '60s Blue Note platter, Eternal Rhythms (w/ Sonny Sharrock!), any BYG mind-blower (especially Orient and Blue Lake: they'll change your pathetic life), Brown Rice or any of his late '70s/early '80s offerings w/ the Codona trio on ECM and YOU'LL HIT THE ROOF. Throw on this stinker and you'll hit the bathroom. What the fuck was up w/ this? I'd lay it down to being a mid-career slump-slash-stab at commercialism a la Sonny Sharrock's Paradise, which in fact it does bear some resemblance to... except Paradise really ain't that bad. Hear And Now, on the other hand, sounds like the kind of candy-assed hard-rock/disco/fusionoid jumble you mighta heard on a slow night down at Studio 54 at the time. Oh well, I guess he did come back and make those killer Codona discs...

PS - if anyone can land me a copy of Cherry's Organic Music Society 2LP from '73, in which he covers Pharoah Sanders and Terry Riley, for a non-ridiculous price, please contact me, pronto!

JACK BREWER - Rockin' Ethereal/Harsh World CDs (New Alliance)
Paid a whopping 34 cents for the both of these. Yep, 1 cent for the former, 33 cents for the latter. Of course I paid about $6 in postage, but still... I guess those price tags say more about their lack of general sellability/notoriety/desirability amongst the human populace than I could muster, so I really should just leave it at that. From 1990 and 1991, respectively, I've always had a fond a great fondness for at least Rockin' Ethereal ever since my bro brought it home from the 'States in early '91 (an autographed copy, no fuckin' less) and we flogged it heavily for a good 18 months. Harsh World I can take or leave. Some nice lyrical work from the Sacc. Trust-er, though the thin production and lack of oomph from his backing compadres (inc. an ex-SWAster!) does the music no justice. You'll love or hate this stuff. 'Trust devotees need at least ...Ethereal sittin' pretty in their place of residence, though the monumental swing of, say, We Became Snakes, is not present. At the prices I paid, I certainly have no regrets.

Still haven't snagged their debut on eBay yet... every time I think I'm getting close some jackass makes his move and boosts the price to wallet-emptying levels I'm not yet ready to reach. But this, their sophomore release, I must've gotten in a fluke week when all Raincoats fans worldwide were stuck in a coma. A nice piece of work it is, too, fitting perfectly w/ all the other artsy rad/leftist/anarcho nonsense which was happening w/ Brit post-punk at the time. That is, mix up the likes of This Heat and Rock Bottom/End Of An Ear-period Wyatt (both Charles Hayward and Wyatt play drums here, natch), Art Bears/Henry Cow/RIO-rock, way-early Scritti, PIL ca. Flowers of Romance and all the other hipster bin-cloggers the squatters of the time were oogling over (dub, Ornette, Miles, Don Cherry, Indian ragas and scratchy old Folkways/Explorer Nonesuch discs) and somewhere in the mix lies the Raincoats. Way better than the vastly over-rated Slits (and let's face it: Cut plods nowhere), I still haven't given up on that debut... a CD I saw countless times in various bargain bins throughout the '90s and stupidly ignored.

The new season of Six Feet Under starts in a minute; I'm outta here...

Monday, March 20, 2006

I've done it, I've bit the bullet... I now have a MySpace site. At this stage it's looking rather half-arsed, though I'll work on it in the coming weeks. Ahem... would you care to be my friend so I don't appear so pathetic?

Monday, March 13, 2006

Just a quick word of warning to anyone recently turned on to the joys of YouTube... If you, like me, have ADSL broadband with a monthly download limit, you may find yourself in a spot of bother pretty quick. I spent only 3-4 nights perusing the thing, watching clips, only to find that I'd exceeded over 80% of my monthly limit within a week. Now I'm back to a crippling slower-than-dial-up speed for the next week or two and it's killing me!

VARIOUS ARTISTS – Rutles Highway Revisited CD (Shimmy Disc)
Sometimes you do the stupidest things. The list is long, but of late I can think of one on my behalf: selling my vinyl copy of Rutles Highway Revisited at the tail-end of the ‘90s. It was stupid because; A) it’s a particularly fine release I traded in for no other reason than my collection needing a serious culling; and B) I just bought this CD version through eBay a couple of weeks back… and ended up paying a good $15 more than I did back in ’91 first time ‘round. I guess that begs the question as to why the urge struck to purchase the thing (again), and I can only say that I’m going through a Shimmy Disc re-run.

Skip back to the years 1990-’93 and you’d see a man possessed by all things Shimmy Disc. Others I know took the bait, and I know there are others who thought all things Shimmy- and Kramer-related blew like the wind. I was in the former camp. Bongwater, Shockabilly, Naked City, Boredoms, Tuli Kupferberg, Daniel Johnston, Tinklers, B.A.L.L., Fly Ashtray, Dogbowl, Lida Husik… you name it, I had it. In interviews at the time, Kramer noted that he modelled the label on Folkways: an eclectic, free-form mixture of anything which took his fancy. For a good 5-6 years, I believe he succeeded in that aim. The label bit the dust in the mid ‘90s after a nasty lawsuit from Bongwater’s Ann Magnuson (NYC Downtown performance-artist blowhard extraordinaire) against Kramer, and has since been resurrected on and off by the Knitting Factory label, to mixed results. Stick to the first 50 or so releases and you’re on a winner. After that, it’s a gamble. But this

Saw the Rutles movie once as a teen. A Beatles parody w/ various Monty Python folks, I think I laughed once, maybe twice. Up against Spinal Tap or even Bad News, it couldn’t compete. Maybe it’s a killer and needs revisiting, but for now it’s this Shimmy tribute which I’m happily giving a rebirth. With all the original songs penned by Neil Innes (of the Bonzo Dog Doo-Dah Band), you may get a gist of the sheer levels of unbridled “zaniness” on display here, but the mostly straight rendering of otherwise nyuk-nyuk material is what makes this work.

You get a smattering of Shimmy regulars here: Dogbowl, When People Were Shorter And Lived Near The Water (with a remarkably straight p-rock number), the Tinklers, Tuli Kupferberg (one of the best tracks, a demented piano/vocal take on “Living In Hope”), Daniel Johnston, Jellyfish Kiss (long-forgotten UK garage act signed to the label for a few LPs; total Stoogeoid thug-rock which puts to rest the myth the label was merely a haven for sub-hippie noodleheads), King Missile (I stated this when starting this very blog a couple of years back: their Shimmy-era recordings are really good, no matter what depths of crud their latter material may’ve plundered) and, of course, Bongwater.

Throw in the mix a strange brew comprising of Galaxie 500, Das Damen (I guess I must be the only man alive still willing to admit his fondness for a couple of their albums), Unrest and the Holy Modal RoundersPete Stampfel and you’ve got one of the best tribute albums you probably don’t own. Of course, you have a slight diversion into bogusness with Shonen Knife (come on, just admit it: back in the late ‘80s/early ‘90s, you kinda liked them, too. Their schtick worked for a good 2-3 years, or at least until you came to the ultimate conclusion they were a one-trick pony w/ the musical lifespan of a carton of milk).

Since this is, in essence, a tribute to a tribute, if you hate the Beatles you’d better skip this review altogether and go do some gardening. Every track is a rip-off of a Beatles “hit” (“Strawberry Fields”, “I Wanna Hold Your Hand”, “Help!”, etc.), firstly reinterpreted by Innes and then spat out again by the artist in question. Stew it up w/ that patented Kramer bong-haze production he mastered at the time and there you have a winner I really do intend on hanging onto this time. For good. Great cover art, hilarious liner notes, I hope this review doesn’t fall on deaf ears.

Wednesday, March 08, 2006

I copped a sly earful from a friend yesterday telling me that this blog is slowly turning into a mouthpiece for my workplace, so I'll try to hold back on the advertising for a bit. I have but one excuse: 90% of the music I have been exposed to in the last year has been work related. I live in a shell, a nice musical shell, and with music coming at me from all angles, I tend to filter out most of it, instead concentrating on what is shoved in my face on a daily basis. So... I'll quickly say that I have absolutely no relation to The Necks whatsoever except for the fact that I have enjoyed their last three studio albums so immensely (that's Aether, Drive-By and Mosquito/See Through) I brought it upon myself to see them play live at the Corner Hotel a few weeks back, the first time I'd seen them in almost a decade. It was the finest thing I've witnessed since Wire blazed through here a year or two back. It may even have been better.

Two sets: the first ebbed and flowed for roughly half an hour, carried mainly by Chris Abrahams' absurdly frenetic piano playing. I was disappointed to see when I arrived that there was only an acoustic piano on stage. Like, where's the wacky keyboard set-up which will replicate all the weird space-rock nonsense from the last few CDs? I was expecting a mammoth multi-synth layout of Rick Wakeman proportions, but was not let down by the boggling display of RSI-inducing madness from his fingers. That's a solid 45-50 minutes which would not let up. So dexterous was Abrahams' noodlings you could see the look on every crowd member's face: how the fuck does he do it? When does he cramp up? The results were sublime, hypnotic and surreal. The Necks ca. the late '90s were good, real good, but never this - dare I say - HEAVY. By the time the trio hit their stride for the last 20 minutes of the first set they'd reached Black Sabbath/Slayer levels of fist-shaking righteousness and head-slamming heaviosity. I seriously considered starting a slam pit, but none of my friends would join in. We simply stood in awe as Tony Buck, Chris Abrahams and Lloyd Swanton bashed the absolute bejesus out of their respective instruments in perfect unison. Dare I be the one and only person to hail a band's set as the perfect combination of Cecil Taylor, Terry Riley and Black Sabbath? Buck, in a rare display of "rock"-style drumming, even went the full Bill Ward route of walloping crash cymbals and that classic kick/snare boom-ba-boom-ba-boom method every "stoner rock" band of the last 30 years has ripped off. When it ended - and it ended on the note to perfect silence - I felt I'd seen one of the best live outfits on earth play right in front of me. For me, that happens once every 3 or 4 years: Sonic Youth ca. 1989, Fugazi ca. 1991, Meat Puppets ca. 1992 (yeah, past their prime, but still great), Boredoms ca. 1997, Testicle Candy ca. 1999 (yeah, Testicle Candy at the Empress, fucking shit up), Love ca. 2003... and a bunch of other shit I forget.

The second set was briefer, more abstract and less 4/4-oriented, though no less inspired. I won't elaborate. I left gushing and blabbering at the mouth. It's two weeks later and I'm still blabbering. Worse still, you're reading me blabbering! Doesn't that say something?! That reaction to a show is so rare I care not to ponder it. When a band is that good, you just relish it. New album out soon, I'll be there the day it's out.

Wednesday, March 01, 2006

I'm probably the last guy on earth to discover this site, but if not, this may be of some use to you. It's called YouTube and it has me addicted. You've got a smorgasboard of "funny" stuff on the site you can watch, the kind of attachments dorky workmates are probably forever sending your way (some of which are actually really funny, like this one), but amongst it all you'll find your insatiable hunger for geekoid music-related clips deeply satisfied.

For instance, you'll find such gems from the mighty Black Flag like...

Chuck Dukowski being interviewed on LA TV at the height of 'Flag's gig bust-ups c/o the LAPD (mohawk period!)

The clip for "TV Party"

Black Flag playing in Mike Muir's(!!) garage in '83

The clip for "Slip It In"

Black Flag's Target video


Bad Brains playing CBGBs in 1979

Bad Brains in 2006 w/ the Cro-Mags' John Joseph on vocals (please note: this is not a good thing at all. In fact, it is so bad I recommend you watch it)

Sun Ra losing his shit on the keyboard

The Germs live at the Whiskey or perhaps the Target video

A funktastic Parliament video

A bucketload of Minutemen clips

Amon Duul II on TV in 1970

AND... you get the idea. This one? I laughed.