underheralded gems from the (post-) punk era, v. 4

I hope you’re having a smashing good day, and thanks again for checking out radio-S.A.T.  (Hello, Kenya! Glad to have you in the mix.)

Since it’s mid-week I’m once again drawing on George Gimarc’s Punk Diary to find something I hope will please yer ears. The three previous music posts included bands from the UK, so today I figured I’d stay closer to home. On the eve of the eve of the eve of New Year’s Eve, 1981, New York Rocker listed six bands to watch in 1982: The Unknowns (yep!), Hi Sheriffs of Blue, R.E.M., The Lyres, The Suburbs, and Red Rockers.

The Red Rockers came out of New Orleans, but there’s little southern comfort happening in the early years. “TU” was pressed on vinyl back in 1979, and it’s clear they had been listening to The Clash for a spell. They toured in 1982 with other key US bands making the college-radio circuit, including Translator, Wire Train (oh, how I loved “Chamber of Hellos”), and Romeo Void, and even hooked up with The Clash for a few dates that year.

Red Rockers would make it big with “China“–and the sound is a nearly different language than the one spoken above. It was big hit on MtV, and the band didn’t thrive on success, breaking up a couple LPs later. The bassist, in his next life, managed Paul Westerberg and The New York Dolls. Enjoy!

Sex shop t-shirts, Johnny Thunders, and Public Image Ltd. cavort with Dick Clark

Thank you for tuning in to K-SAT on your radio dial.

In heritage-acts music news: Steve Howe announces departure from Yes, but perhaps that breaking news won’t break your heart. Howe, you may recall, was Keith Levene’s favorite guitarist while Levene held down a spot in The Clash, and Yes was name-checked on the wrong side of the bed on the legendary Loves/Hates t-shirt designed by Bernie Rhodes, Malcolm McLaren, and Vivienne Westwood:

Johnny Thunders — not represented by the Ford Modeling Agency

The shirt’s full text is available here.

When Public Image Ltd. made their May 1980 appearance on American Bandstand, they had themselves a snorting good romp. The sound’s better than the picture on this clip, but it’s clear to see John Lydon’s determination to do it his way: not lip-sync, have a laugh, and provide something memorable to the live and home-viewing audience.

At 1:27 he’s in the cheap seats and, at 2:15, he kicks down the wall between audience and performers by dragging one woman onstage, and then ushers up a couple dozen more. At 3:06 we’re hard-pressed to know which song the kids in the baseball uniforms are clapping along to, but it hardly matters. In the interlude, at Lydon’s behest, Clark invites all the audience members onstage, and Lydon makes the cameraman earn his wage by running around the back of the stage. By 7:00, the audience members are clapping along–in time, this time–to the song that Levene, Jah Wobble, and Martin Atkins have stopped feigning to play.

For many in the audience, the lyrical reprise of the query “Is this living?” on the backing tape could be answered with a resounding yes.

By 1980, Clark had been the host of Bandstand for 25 years, and 20 years before, somehow escaped the payola hearings that ruined Alan “Moondog” Freed’s career and, in turn, his life. Say what you will about Clark, he was savvy through-and-through, and eventually came to regard Public Image Ltd.’s performance that day as one of his favorites.

In a 2012 interview in Rolling Stone, Lydon himself regarded Clark with kindness: “I remember him quite well. I remember the wigs. He didn’t have to let us on and he didn’t have to be so kind to us and give us that opportunity. I really appreciated that. He could have been Godzilla to us. And PiL is an odd act to allow on a show like that anyway. It showed a great sense of rebellion in him.”

Lydon, like Strummer, enjoyed taking the piss out of bloated rock star’s claims to artistry and authenticity, and with due affection brings the punk ethic of  “destroy the aura” to the roost of Dick Clark–who had no illusions about the business, and likely wasn’t vulnerable to having wool pulled over his eyes. Fun times, indeed.

Coda: Do you figure most American punks and post-punks tuned into this show, and that Lydon’s sartorial choices had an influence on this guy in particular?

P.S. In case you’re available and interested: I’m doing a reading in NYC on 2/15, 7pm, at KGB Bar, 85 E. 4th St.  Do join us!