Showing posts with label Fanny. Show all posts
Showing posts with label Fanny. Show all posts

Sunday, December 13, 2015

The Day After The Sabbath - Best of 2015

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password:  tdats

The Day After The Sabbath - Best of 2015 by Rich Aftersabbath on Mixcloud

The blog has now reached the ripe old age of six years! The past year of doing this has been a very enjoyable one - there's been two Dutch band profiles, Panda (119) and Blue Planet (127), a special and interview on the archival label World In Sound (114), a profile on krautrock producer Conny Planck (116), two heavy metal-inspired volumes; US (126) and NWOBHM (121), Scott Blackerby of The Acid Archives and Bad Cat Records (115) and a profile on The Gurvitz Brothers (125). Regional specials have honoured Spain again (123), Serbia (120), Portugal (113), Boston (117) and Iceland (124). Other themes have included Chicano rock (118) and a special on long prog tracks (122).

A year ago I promised I would be doing more interviews; I got an exclusive with the previously mysterious psych figure of Roy Rutanen and his band (link) and an exclusive with Jim Smith of Stonehouse (link). More exclusives came with Jaap van Eik of Panda (link) and Art Bausch of Blue Planet (link) and I spoke to four of the names appearing in Volume 126; Mike Gandia of Squadran, Danney Alkana of Alkana, Darren Welch of Axxe/Impeccable and Rob Griffin of Tyranny / Graven Image.

I hope that people still enjoy reading and listening to TDATS as much as I enjoy making it, here's to the on-coming year of many new ideas which are in the pipeline. As ever, please drop me a line via email or otherwise if you have any suggestions, and join up at the fb group where you can participate even more fully. My special thanks goes to the group admins that have increased greatly in number and efforts this year and been doing a great job there - you know who you are. Keep it PROTO guys :)

For what is now an annual round-up (last year's) of some of the best tracks appearing on the blog in the last year, here is a comp of fifteen tracks, one from each of the fifteen numbered volumes posted in 2015 so far. Enjoy!

01. Beatnicks - Back In Town (1972) - from v113
02. Gold - No Parking (1970) - from v114
       single and W.I.S. retrospective 'San Francisco Origins'
03. Fanny - Place in the Country (1971) - from v115
       from album 'Charity Ball'
04. Lokomotive Kreuzberg - Comeback (1975) - from v116
       from album 'Fette Jahre'
05. Brother Fox and the Tar Baby - Steel Dog Man (1969) - from v117
       from album 'Brother Fox and the Tar Baby'
06. Yaqui - I Need A Woman (1973) - from v118
       from album 'Yaqui'
07. Panda - Medicine Man (1971) - from v119
08. Pop Mašina - Vreme Za Nas (1975) - from v120
       from album 'Na Izvoru Svetlosti'
09. Fuzzy Duck - In Our Time (1971) - from v121
       from album ‘Fuzzy Duck’
10. Fusion Orchestra - Sonata In Z (1973) - from v122
       from album 'Skeleton In Armour'
11. Rockcelona - Queen, Friend And Dread (1979) - from v123
       from album 'La Bruja'
12. Svanfridur - My Dummy (1972) - from v124
       from album 'What's Hidden There?'
13. Gun - Runnin' Wild (1970) - from v125
14. Asia - Law Of The Land (1978) - from v126
       from album 'Asia'
15. Cinderella - The Love That We've Got (1971) - from v127

Starting the volume is one of its heaviest tracks, from Lisbon's Beatnicks. They made some of Portugal's best and heaviest rock in the '70s, with the "Cristine Goes to Town / Sing It Along / Little School Boy" and "Money / Back in Town" singles. They introduced progressive/electronic influences on later singles (youtube) which were good but very different, by the time of 1982's Aspectos Humanos album they had been through major line-up changes and seem to have become an inoffensive progressive pop band. Oh well, listen to "Back In Town" and it's clear they had the chops to become Portugal's top hard rock act, it's original and brilliant from start to end! Final members Ramiro Martins (bass, guitar), Antonio Emiliano (keyboards) and Tó Leal (vocals, percussion) all appear to have made more music later but nothing of interest here.

There is an interesting article here (portuguese, english), regarding the many changes the Beatnicks went through, including the brief membership of female singer Lena d'Água, and guitarist Manuel Cardoso, who was later in Tantra (coming later on here). Read Rock em Portugal's full Beatnicks bio here.


"A CD / LP combination. The CD contains 2 parts S.F. underground history with the first Gold line-up feat. lead singer Richard Coco. Their 45 record “NO PARKING” was already reissued on LP by Rockadelic and issued on the CD compilation “Nuggets from the Golden State”.

Part 1 (only on CD) are the Studio Sessions of Leo Kulka´s Golden State Recorders, 9 heavy guitar cuts (same as Rockadelic LP) with great congas and bizarre Rock´n Roll vocals and the previously unreissued 45-rpm flipside a 4:45 minute sensitive but totally unexpected version of Gershwin's "Summertime" produced by Country Joe McDonald (Country Joe and the Fish)."

"Part 2 of the CD is the vinyl release, a live set at the Fillmore-West Audition, a qualification gig for Bill Grahams club circuit, which was successfully passed - gigs at Winterland, Fillmore-West followed. These 42 minutes reach the highest level of power and a unique kind of heavy acid rock sound (especially the 6 min. killer version of “NO PARKING”) - Ed Scott´s hypnotic rhythm guitar, a mind blowing bass and drums create an outstanding and surrounding flow, Joe Bajza´s soaring solo guitar played in a kind of aggressive Cipollina / Jeff Beck style is brilliantly intense and brings true Sixties S.F. Hell´s Angels party feeling to your home. Detailed 12 page color booklet - 78 minutes of hot music reflect the “golden sprit” of the late60's early 70's in San Francisco....15 years later bands like Metallica, Slayer, Exodus…..continued these powerful Bay Area guitar excesses…"


Scott's RYM review here.  "Penned by Barclay, 'Place In the Country' was one of the album's best rockers. Nice showcase for the group's harmony vocals.   rating: **** stars"

"1971's "Charity Ball" found Fanny continuing their partnership with producer Richard Perry. Featuring largely original material (the one exception being a dynamite cover of the Buffalo Springfield's 'Special Care;), this time around the band seemed interested in showcasing their more commercial edge. Material like the title track, 'What's Wrong with Me?' and 'You're the One' seemed to have been crafted with an ear to top-40 airplay.

That wasn't to imply the band couldn't rock as hard as their male competitors. Nickey Barclay's 'Cat Fever', 'Special Care' (which I'd argue crushed The Buffalo Springfield original), and 'Soul Child' were all rockers that were worth hearing. Add to that, Jean Millington had a powerful, soul-infused voice, while June Millington was an overlooked lead guitarist with a penchant for fuzz leads. Interestingly, listening to the album for the first time in years, I guess the biggest surprise came in terms of band contributions. Jean and June Millington were clearly the band's focal points, but  being responsible for over half of the material, keyboardist Nicole Barclay was clearly the band's creative mainstay."

Lokomotive Kreuzberg

Lokomotive Kreuzberg Fette Jahre (1972)
Lokomotive Kreuzberg
Fette Jahre (1972)
Track 4 brings something a little different to the party. Lokomotive Kreuzberg was a Berlin polit-rock band that started in 1972. Not speaking German, it's impossible for me to comment on the lyrics, but the music on their 1975 album "Fette Jahre", engineered by Conny, is captivating. They mix many styles, from symphonic prog, to folk, to funk, to hard rock. At all times it is played with extreme talent, these guys sure had the chops to compare with the best. I have chosen the hardest rocking track on the album, which was recorded at Conny's studio, but you can take your pick from it. Others, such as the title track "Fette Jahre" (youtube), are equally good.

I've not had a chance to check out all of their four albums. I certainly will but they may not be the easiest band to get into for non-German speakers, especially as they use a lot of spoken-word skits to get certain points across on their agenda.

Brother Fox and the Tar Baby

Brother Fox & The Tar Baby
Track 5, "Steel Dog Man", starts as it means to go on with a stomping hard rock riff and tight playing, punctuated by glorious psych breaks, backed-up by earthy vocals that cut straight to the bone. Brother Fox and the Tar Baby featured the talents of former Profits guitarist Richie Bartlett, bassist Tom Belliveau, guitarist Dave Christiansen, drummer Bill Garr, singer Steve High and keyboardist Joe Santangelo. Dave Christiansen, Joseph Santangelo, Tom Belliveau and Richard Bartlett were previously in Front Page Review, also appearing in this volume. Belliveau  was also in Pugsley Munion (see vol59), and Bartlett was later in '80s new-wavers The Fools. They were signed by the small Oracle label, which released 1969's Bruce Patch-produced self-titled album. Christiansen was credited as writing all eleven tracks.

Brother Fox & The Tar Baby LP
This has a commercial edge and is a polished product, but it's done right and there's more than enough heaviness here too, over half the album is hard cuts with quite a unique take on combining late-'60s heavy psych with the chunky riffs and hammond organ of the freshly-emerging hard rock sounds of the times. This is what the first Boomerang album should have been like! (see Vol9)

The countrified feel, and high production quality with orchestration, shows that this was a serious stab at a successful album. The mellow tracks and ballads are all good, so make for a nicely diverse listen. The song-writing is consistently good, and the excellent vocals deserve a mention, sounding somewhat like Robert Plant in the heavier tracks. Highly recommended!

Panda - Stranger Medicine Man

Decca 6100013
Stranger begins deceptively, with a heavy Sabbathian tri-tone metal riff, but quickly morphs into a Slade-elic glam stomper with a sing-along chorus and more flashes of flute, great fun.  B-side Medicine Man is built around a similarly heavy, lumpen riff to "Swingin' About", this time with no flute and forays into blues, it's another of their best heavy tracks.

Pop Mašina

I consider there to be a 'big three' of heavy Serbain bands from the former half of the '70s, YU Grupa and Smak have already appeared so now it's time for the last of that trio, Pop Mašina (Pop Machine). They were formed in Belgrade in 1972 by Robert Nemeček (bass, vocals - formerly of Dogovor Iz 1804 and Džentlmeni. The other formative members on their two studio albums were Mihajlo Popović (drums) and Zoran Božinović (guitar - formerly in Džentlmeni).

Na Izvoru Svetlosti LP 1975
Their 1973 debut LP "Kiselina" (Acid), had contributions from members of S Vremena Na Vreme, Grupa SOS and acoustic band Dag. Although excelling in their heavy rock tracks like "Svemirska Prièa," the band played an equal amount of acoustic pop and folk-infused songs in a similar approach to Led Zep's album 'III'. The second and final studio album "Na Izvoru Svetlosti" (At the Spring of Light) followed suit, having a little more emphasis on the hard rock, with a great opener which is the track I have used in this comp, "Vreme za Nas". Track 2 gives you a good idea of their stage show with a live-recorded blues workout. Over-all this album is more consistent and you can hear the improved arrangements and more confident playing.

Fuzzy Duck

Fuzzy Duck s/t 1971
Fuzzy Duck s/t 1971
A belated appearance from a record that that I surely should have used by now, as it's really good. This is the eponymous Fuzzy Duck LP, one of the older entries here, recorded in 1971. They play jazzy prog rock, with excellent musicianship, driving hammond organ and plenty of rocking riffs. Bassist Mick Hawksworth had previously been in Andromeda (Vol51) with John Du Cann, another similarly cool band. He was also in other TDATS bands, Killing Floor (see Vol7) and Toe Fat (Vol2). Drummer Paul Francis had been in The End, and briefly in this volume's opening band, Tucky Buzzard. The Duck enjoyed some radio play, including "A Big Word From D" and "Double Fine Woman", which were both favoured by BBC stations.

Fuzzy Duck in the studio
Fuzzy Duck in the studio
In the Esoteric Recordings CD re-issue Paul Francis stated that one of the major things that broke the band up was internal friction with guitarist and founder Graham White, which he regrets in retrospect. They managed to turf him out and replace him with Garth Watt-Roy (Steamhammer, The Greatest Show On Earth) who was a great guitarist, but it didn't go down well with the record company. After the Duck had quacked it, Graham White joined Capability Brown (Vol54), Paul teamed up with Chris Speading and Steve Harley, playing on a couple of Cockney Rebel LPs and Mick Hawksworth worked with Alvin Lee among others.

Fusion Orchestra

Fusion Orchestra - Skeleton In Armour line-up, clockwise from left, Dave Bell, Stan Land, Dave Cowell, Colin Dawson and Jill Saward
Fusion Orchestra - Skeleton In Armour
line-up. Clockwise from left, Dave Bell,
Stan Land, Dave Cowell, Colin Dawson
and Jill Saward
Fusion Orchestra might be of interest to Babe Ruth fans, or those of Room. Frequently-heavy prog with a great front woman in Jill Saward, who also played flute, keyboard and more. The sole album 'Skeleton In Armour' is good progressive rock, drawing in many influences from Canterbury scene to hard rock, thankfully the band has a great attack and this LP keeps up momentum throughout, as you can hear in tracks like the one appearing here, and "Have I Left The Gas On?".

On the album, she is joined by the three founding members Dave Bell (drums), Stan Land (2nd guitar) and Colin Dawson (lead guitar). Dave Cowell played bass. Later in the bands' life Colin Dawson quit, so Alan Murphy took over, he later played in English pop bands Level 42 and coincidentally, Go West, who cropped up in the last volume via Hustler drummer Tony Beard. Although the band had a good live reputation, with fans frequently enjoying Jill Saward's titillating stage antics at the Marquee in London, they did not achieve commercial success on EMI and didn't get the green light for a second album. Jill had the most successful career afterwards, in the pop group Shakatak, and surprisingly none of the other players were in notable bands later. Colin Dawson started Fusion Orchestra 2 in 2008, in which he is the only original FO member.


Continuing into heavier territory, "Queen, Friend And Dread" from Barcelona's Rockcelona hits you hard.The LP it's taken from is like this all the way through, it never lets up. This unique and timeless collision between punk, heavy metal and garage rock recorded in 1979 is a real gem for anyone out there who looks for the ultimate in unrelenting fuzz. The group was founded in 1977 by Alfredo Valcárcel, and recorded only one album called "La Bruja" (The Witch).


Courtesy of Shadoks music (link) :- The Icelandic prog-rock band Svanfrídur released only one album, recorded six months after they played their first gig. This short-lived band rapidly rose to fame, receiving rave reviews for live performances, but in fact their music was way ahead of its time. They were unable to seal a recording contract so they formed their own label - Swan Records. When the album 'What’s Hidden There?' was released in autumn 1972 it got mixed reviews and sold only a few hundred copies, leaving the band with a great album but sadly not the income they had been hoping for. Recorded at London’s Majestic Studios the album was cut and pressed in England. Perhaps one of the best heavy prog / underground albums from Scandinavia with amazing guitar and all-English vocals. Would have been a famous and successful album on Decca UK.


Asia 1978
Not to be confused with the British "Asia", South Dakota's Asia made two LPs of heavy progressive rock and hard rock. They have an epic, regal quality to many of the songs, somewhat reminiscent of the kind of atmosphere conjured up by Led Zep's No Quarter or Kashmir for instance. They evolved from White Wing with members Michael English on vocals and multi-instrumentalist Mike Coates. Asia achieved some success playing the club circuit in the more urban areas of the upper Midwest. Their self-titled debut was recorded in two sessions at ASI studios in Minneapolis in 1978 and was privately released the same year.


Following is a snippet of the interiews I conducted with Art Bausch of Blue Planet and Betty Raadgever of Cinderella.

Cinderella in 1971
Me: Have you heard of the band Cinderella, that made a single in 1971?

Art: Yes, I did studio work with them on their first single, together with Aad and Peter. That was while Blue Planet was still going. I’ve been seen it on Youtube.

Me: Did you guys write the single or were you just brought it to the session?

Art: The main girl, Betty Raadgever wrote it. Their producer, Gerrit Jan Leenders, I did other work for him too. That’s how that started. My memory is good, especially of that period. Everything was so intense and every day was a party.

We take a brief diversion here to read some responses that Cinderella's Betty Raadgever kindly gave for this article.

Betty Raadgever
Me: Hi Betty, did Cinderella make any more music other than the single?

Betty: Cinderella did make more songs, but they are not recorded on a album, unfortunately. And of course I wrote a lot of songs after Cinderella for my other bands: Eyeliner and The Betty Ray Experience.

Me: I spoke to Art Bausch. I asked him about your Cinderella single and he confirmed that he, Peter and Aad Kreeft played on it. Did Blue Planet play on both sides?

Betty: Blue Planet played on both sides of the single, but I wrote the lyrics and music. Aad was a good friend of mine and we knew the other guys from Leiden/Oegstgeest, where we all came from. A very good band, Blue Planet!

Me: Did the other guys in Cinderella play or sing on it too (Renee, Bernardien, Nico)?

Betty; The singers on the record are Betty, Bernardien and Renee in the chorus. I am singing the lead, and the b-side, "The Love That We've Go", Bernardien sings. The guys from BP played all the music.

Me: Did Cinderella break up for any reason or did it change into a different band?

Betty: After four years I choose to switch bands and became lead singer of a hard rock band called "For Shame". Cinderella was over... After the hard rock period I had four other female groups: Trevira 2000EyelinerNasty Girls and The Betty Ray Experience. The other Cinderella members stopped playing in bands.

Me: Thanks Betty!

Friday, March 6, 2015

The Day After The Sabbath 115: Top of the Scott's (Badcat Records)

Download from: [mf] or [mg]
unzip password:  tdats

TDATS 115: Top of the Scott's - Badcat Records interview by Rich Aftersabbath on Mixcloud

As many of you will have discovered by now, one of the greatest free resources on the net for finding out about obscure music is Rate Your Music (link). Although it seems to have been originally created as a way of rating and reviewing the records you personally own, due to its "wiki"-type ethos of user contribution it has become one of the best general catalogues in the world for all recorded music.

Scott Blackerby
I go there almost daily, and one contributor/reviewer who frequently comes up on albums and bands that I am interested in is a user that goes by the tag of RDTEN1 (link). He now has over 2500 reviews there! I have found leads from so many of his detailed reviews in making TDATS that I decided he fully deserved some praise here. When I made contact with him recently I was not surprised to find out that he has been an avid record collector and dealer for years, he has a lot of interesting things to say and he plys his trade under the name Badcat Records (link). His name is Scott Blackerby and he lives in Reston, Virginia. What I have done here is asked Scott to pick fifteen tunes for a comp, and say a little about each one. The majority of the acts he picked are brand new to TDATS so hopefully it will be an informative listen for you all. Following that is an interview I conducted with him, mostly regarding what it is like to deal in obscure rock and how he finds the nuggets and information for his reviews.

Scott ~ "Here are 15 of my favorite song finds from 2014. Musically they’re all pretty much rock, hard rock, or blues-rock oriented.  Admittedly there are some oddball choices; Irish blues-rocker, Quebec garage rockers, A German band, and one from Peru."

01. Bloody Mary - Dragon Lady (1974) from album 'Bloody Mary'
There's a rumour going around that Bloody Mary is either Sir Lord Baltimore under another name, or is at least connected in some way. Not surprising as the vocals do sound remarkably similar to John Garner...although he refutes any connection. Scott's full review can be read >here<. "Based on everything I'd read, I have to admit the percussion heavy opening came as a surprise to my ears, but once the lead guitar and keyboards kicked in (along with the screeching lead vocals), I felt more comfortable with the collection's hard rock reputation.   The opener actually boasted what may have been the album's best melody.   rating: **** stars"
02. The Fallen Angels - Room At The Top (1967) from album "The Fallen Angels"
Scott's full review here. "Penned by Bryant, 'Room At the Top' was a driving pseudo-garage tune that showcased Richard Kumer's powerhouse drumming and some Wally Cook sitar touches (actually it sounded like an electric guitar given an odd tuning).  The band actually gave the track a cool, pseudo-British feel (imagine Mick Jagger fronting a true guitar band).  Always loved the freak-out fade.  Roulette tapped the track as the lead-off single.    rating: **** stars"
03. Mitch Ryder - Ain't Nobody White (1979) from album 'Naked But Not Dead'
Scott's full review here. "The third 'Look Ma, No Wheels' composition, anyone who doubted Ryder still had his killer voice only needed to check out the raw, bluesy 'Ain't Nobody White'.    What a growl of a voice and the live version was even tougher than the studio take  !!!   There's an extended, slightly stoned performance of the song from the German RockPalast series (youtube)  rating: **** stars"
04. Rory Gallagher - Let Me In (1975) from album 'Against the Grain'
Scott's full review here. "Anyone who knew Gallagher has a hardcore blues artist was probably going to be surprised by the boogie-styled 'Let Me In'.   Maybe not quite top-40 material, but surprisingly commercial and accessible.  There's a clip of Gallagher performing the tune for a 1975 episode of Don Kirshner's Rock Concert. It's worth watching just to see a somewhat stiff Kirshner reading the introduction off of cue cards (youtube).  You had to wonder if Kirshner had a clue as to who Gallagher was. rating: **** stars"
05. Les Napoleons - Fou De Toi (1966) from album 'Les Napoleons A Go Go'
Scott's full review here. "Having been released as their debut single, 'For de Toi' was a blazing Kinks-styled garage rocker showcasing an amazing Jean Guy De Levo solo (Dave Davies would have been proud of the performances.  There's decent live black and white television performance of the tune, though the video and sound are out of sync (youtube)  rating: **** stars"
06. Flo & Eddie - It Never Happened (1972) from album 'The Phlorescent Leech & Eddie'
"When it comes to biting humor, Flo and Eddie are among the best acts out there.  Bolstered by a dark, folk-rock melody that snuck into your head and wouldn't leave, 'It Never Happened" was one of the best tunes on the album.   rating: ***** stars"
07. One St. Stephen - Junkie's Lament (1975) from album 'One St. Stephen'
Scott's full review here. "Well, with his ravaged vocal delivery, 'Junkie's Lament' literally did sound like a strung out addict wailing away on his last couple of breaths.  Iggy Pop on steroids?  Seriously disturbing tune.   rating: **** stars"

08. String Driven Thing - Josephine (1974) from album 'Please Mind Your Head'
Scott's RYM review here. "Always loved James Bell's churning bass line on this one  ...  nice Bad Company-styled blues-rocker that should have provided the band with a massive AOR commercial success.  rating: **** stars"

09. Terry Reid - Live Life (1973) from album 'River'
Scott's RYM review here. "Easily one of the best things he's ever recorded, 'Live Life' had everything going for it including a tasty, slightly Latin-esque melody (thanks to Willie Bobo's percussion), some first-rate guitar, and one of Reid's most energetic performances.  The video and sound quality aren't great, but there's 1973 performance of the tune on British television.  The live version was way funkier than the studio version (youtube).  rating: **** stars"
10. We All Together - Silly Roadman (1974) from album 'Volumen II'
Scott's RYM review here. "Even though something seemed to have been lost in the translation, 'Silly Roadman' had a cool, mildly lysergic, mid-'60s flavor that I find fascinating.   Love the segment about halfway through where the song shifted into heavy rock mode with Guerrero toughening up his voice while guitarist Cornejo and keyboardist Varvande got a chance to briefly stretch out.   rating: **** stars"
11. Fanny - Place in the Country (1971) from album 'Charity Ball'
Scott's RYM review here.  "Penned by Barclay, 'Place In the Country' was one of the album's best rockers.   Nice showcase for the group's harmony vocals.   rating: **** stars"

12. The Petards - Drive (1968) from album 'A Deeper Blue'
Scott's RYM review here. "Nice Beatles influenced rocker ...  how could you not like a German band that could work Florida and Georgia into their lyrics.   How many American bands have ever worked Bavaria or Niedersachsen"

13. Hudson Brothers - Hard On Me (1975) from album 'Ba-Fa'
Scott's RYM review here. "A typical hard rocker that you probably didn't want a ten year old to listen to ...  well today the lyrics are very PG.   Nice to hear them toughen up their sound a bit.   rating: **** stars"

14. Stephen Spano - Eye To Eye (1975) from album 'Eye to Eye'
Scott's RYM review here. "Featuring fuzz guitar, meltdown synthesizer, and full rock instrumentation, the title track was quite different from the rest of the album.  Rock, progressive moves, and even jazzy chords ...  it was all here.  One of my picks for standout performance.  My only complaint is the tune faded out just as Spano was beginning to showcase his tuneful lead guitar moves.   rating: **** stars"
15. John Entwistle - Ten Little Friends (1972) from album 'Whistle Rymes'
Scott's RYM review here. "Great little boogie rocker with Peter Frampton providing the blazing lead guitar.  As for the song, I've read different different stories including it was inspired by a gift of a pack of toy trolls that Keith Moon gave to Entwistle.  The trolls included a character named "Mr. Bones".  An alternative story traced the song to an autobiographical base - namely a reflection of Entwistle's musical dexterity on multiple instruments.  Regardless, it was one killer tune. rating: **** stars"

Interview with Scott

Hi Scott, thanks for your time! Before I start the questions proper - what's the significance of your RYM username, "RDTEN1"?

The tag (which was originally for my email address) is actually work related.  I work for the Navy and it relates to the kind of money I deal with Research, Development, Test, and Evaluation, Navy (RDTEN).   For some reason RDTEN wasn't available, so I grabbed the next best thing - RDTEN1.

True story - every now and then I'll get unsolicited email from people wanting a picture of me thinking it stands for red 10, or a hot looking redhead.   Amazing.  When I tell them I'm a middle aged white guy, many folks don't believe it.

Q1. Can you tell us some of the major events and influences in your life that lead you to start BadCatRecords?

So, BadCatRecords is a small on-line website that focuses on talking about and selling '60s and '70s vinyl.  I started it 2004 when I woke up one day and discovered I had somehow managed to accumulate some 30,000 albums.  A back-of-the-envelope calculation indicated that if I did nothing but listen to albums 12 hours a day, it would take me four years to get through the collection.  That was just way more vinyl than I ever needed and it seemed unlikely I was ever going to get that kind of spare time to simply listen to music, so I decided to set up a small website and start selling some of the stuff.

Q2. How long has it been going now? Can you tell us a little about your 
experiences of starting it and how it has developed since then? 

I started selling in 2004.  My initial plans were to list LPs in some of the specialized music publications favored by hardcore collectors (like Goldmine) but a friend at work taught me some basic HTML .  It was enough to let me set up a barebones, but functional website where I started listing vinyl  -   It took a couple of months to upload about half of my original collection and then it took a couple of years for the website to generate a steady stream of traffic and customers.  Today it averages 500+ hits a day.  I realize that's nothing in the overall scheme of things, and unfortunately most of those hits are simply people reading record reviews, or looking for information on a band.   Still, over the ten years the site has now had over a million visitors.  I realize Amazon gets that kind of traffic in a matter of hour, but for a small, homegrown site like mine, which gets virtually no publicity, that's still a neat accomplishment.  

A couple of months back I ran a query against the BadCatRecords name and was surprised at how many on-line references and links there were to the website.  

Ironically, on occasion people mistake BadCatRecords for a true storefront business.  Last summer I was cutting my lawn when a couple of young German collectors showed up looking for BadCatRecords.   Their English wasn't great and my German was equally limited, but they finally realized what I was saying.  Since they'd driven out to Reston,  I let them to browse the stacks.  They ended up buying about 100 soul LPs so it turned into a productive day for all of us.

Q3. Do you have any stories regarding extremely rare finds or particularly 
memorable finds and sales? 

With a regular day job and family obligations (soccer, music lessons, Boy Scouts, homework, etc. ), I don't have a great deal of time to go looking for stuff.  Still, like every collector I've had some nice finds.  

I was at a local community yard sale and  an older lady was selling a bunch of stuff including what appeared to be a stack of religious LPs.  I wasn't expecting anything, but scattered throughout the religious and easy listening stuff were some rare psych LPs (Food, Kak, Mason, etc.).  She was asking a dollar for each LP.  I asked her where she'd gotten the psych stuff and she told me it belonged to her older son.  She'd been asking him to clear the stuff out of her house for years and had finally decided to do it herself.  I told her the psych stuff was worth way more than a dollar. She seemed surprised and asked if I would be willing to pay $10 a pop.  I ended up buying 20 psych LPs for $10 apiece.  Yes, I know I probably should have paid her even more.  Virtually all of them sold online within a matter of weeks.

About two years ago I bought an Ultra Violet LP with an Andy Warhol designed cover.  I found it buried in the discount bin  at a local used record store for a dollar.   Musically it's one of those clear-out-the-party kind of LPs, but the Warhol cover and the fact few copies were pressed makes it a collectible.   It was gone literally an hour after I listed it on line.   

To be honest, most of the music I buy is based on it being something that looks interesting to me.  I've purchased albums for the cover art.  I've bought albums because of the label they were issued under.   I've bought albums because I recognize a band member.   Sure, I'll buy something I know I can resell for a profit ("Dark Side of the Moon" with the posters and stickers), but the vast majority of my collection was purchased because it looked like something that would be cool to hear.   Moreover, most of what I buy is on the cheap side.  While I'd love to spend $200 - $300 for an LP, that's not really in the family budget.

As for sales, I list albums on the BadCatRecords site, but also sell on MusicStack, GEMM. Amazon, and a couple of newer sites.   Deep pocket collectors tend to buy directly off the BadCatRecords website.  There are some collectors who seem to have immense resources at their disposal and I've even dealt with a couple of European and Japanese collectors who buy rarities as an investment.   I've had people spend thousands of dollars on vinyl.  I had a guy spend close to $1,000 on a sealed Peter  Grudzien LP.  Perhaps he got a bargain since it is rare, but those kind of purchases are simply mind-boggling.   Personally I can't image spending that kind of money on an album.   Maybe when I win the lottery.  That said, for every buyer who drops the equivalent of a mortgage payment on vinyl, there are a hundreds who are spending $10 - $50 to buy a slice of their past.  Those are the folks who make up most of my sales.   

I somehow got interested in tax scam albums (you can look the topic up on the BadCat website - link) and about a year ago got a call from a local guy who found some tax scam LPs and wanted to sell them.  He gave me a great price and they quickly sold off my website.  Wish I had more of that happen.   LOL 

Q4. Are you originally from Reston, Virginia? Have you always lived around 
there? How has living there influenced your musical tastes and pursuits, or any 
other places you have lived?

Born in Southern Alabama.  My father was a Department of Defense civilian who had a series of overseas postings.  I spent 14 years living with my family throughout Europe.  Virginia became the family "home base" between overseas assignments.   

The Washington DC area is where many of today's jobs are located.  I would be hard pressed to make the kind of salary I earn here were I living somewhere else in the country.   Admittedly you pay a steep price to live in this area, but it has a very cosmopolitan feel.   If you're into culture and music, there's always something going on in this area.  If so inclined, you could literally see a concert every night of the week.  Doesn't happen in my case, but if you're a young hipster with disposable cash, the opportunities are there ...

It tends to get overlooked, but the Washington DC area has long had an active musical scene - there are some impressive 60s (Fallen Angels), 70s (Artful Dodger) bands that called this are their home.   Go-Go music may not have caught on nationally, but the late Chuck Brown remains an icon in this area.  Think of all the hardcore bands that called this area home - Bad Brains, Slickee Boys, Teen Idles, Fugazi ...   I love all of those bands.  The other thing Washington DC had when I was a teenager was WHFS.   WHFS was this funky little FM radio station that had DJs like Damian Eistein and Jonathan "Weasel" Gilbert.  The station let the DJs pick what they wanted to play which meant it was literally  everything and anything other than top-40 material.    I can't even begin to count the number of albums I bought after hearing something played on WHFS.

Living overseas as a teenager certainly impacted my musical tastes and consumed a big part of my limited disposable income.   As much as I loved Armed Forces Network (AFN) and top-40 rock, I loved European radio stations, including Radio Luxemburg, and Radio Caroline.  Whereas AFN had a pretty regimented play list, European stations were all over the musical map.   There are literally dozens of bands I never would have heard on American radio - some good, some not so good, but all different from typical American top-40.   It certainly opened my ears to a musical sounds far beyond the top-40 most of my friends lived in.   As a teenager I spent a couple of years living in Belgium.  A buddy of mine (hi Mark), introduced me to record libraries.   I'd never heard of the concept, but the way it worked was you paid a membership fee, brought in your record stylus for them to check, and then you could check out a dozen LPs at a time.   I'm still selling albums that I "discovered" living overseas - Bees Make Honey (pub rock), The Boots (German garage rockers). Irish Coffee (Belgian rockers),  Taste (Irish blues-rockers).   The list goes on and on and on ...

Q5. Have you ever been a musician yourself? If so, what do you play and were/are 
you in a band?

Bought a bass in high school and took the instrument to college, but was smart enough to realize there were people far more talented than I was.  I think I read somewhere music critics are all frustrated wannabe musicians.   That would certainly capture it for me.   Maybe when I retire I'll have time to learn how to play an instrument.   Luckily both of my kids seem to have the musical talents I didn't get.

Q6. You appreciate and appraise a very eclectic range of musical genres. Could 
you tell us what your favourite styles in old rock are, and why? 

I looked at this question and wondered about it for a couple of minutes.  I actually looked through a pile of records on my desk and it dawned on me that yeah, my tastes are pretty eclectic.  The current stack has a copy of the new AC/DC release (vinyl), a couple of tax scam LPs, an obscure soul LP, and a copy of an album by the Dutch band Pussycat.  I guess that is  diverse.  Musically I'm willing to try pretty much anything.  I have an eleven year old and I'm surprised at how much of the contemporary stuff he listens to that I actually enjoy.  Yes, I'll admit to having some rap and even Lady Gaga on my iPhone.   

What do I really enjoy ?   I think it's only natural that we gravitate to what we grew up with.  In my case I I love '60s soul, power pop, '70s FM rock, new wave, AOR bands.  The list goes on and on.  I've even been trying to understand jazz.   Is there anything I can't deal with ?   Sure there is.  Can't say I'm a big fan of old country,  bad disco, or Musique Concrete.  Auto-tuning drives me crazy.    True story - For years I'd read articles about Lou Reed's "Metal Machine Music".   I remember thinking no album could  be that bad. There had to be a reason the album kept showing up in so many media stories.   I tracked a copy down in college and, yes, it was that bad.   I've only been able to listen to the double LP once.    

Q7. Who are some of your favourite artists from those styles, famous or not? 

I could go on for pages and pages.

Rory Gallagher, Danny Gatton, and Roy Buchanan are all favorite guitarists.  Sadly, all have passed-on, though I was lucky enough to see Gallagher play - once at a street festival in Brussels Belgium.   Gatton and Buchanan were both local artists (Buchanan lived in Reston for a couple of years).  While each released some enjoyable material, they were supposedly even more impressive in a live setting.

I'm a big soul fan.  Wilson Pickett (who lived and died in Northern Virginia),  Otis Redding, Marvin Gaye, Tammi Terrell, Laura Lee ....   There's a whole universe of soul artists out there who are all but unknown today.   It's always struck me as ironic that I sell more soul to Europeans and Japanese customers than Americans.  It makes me wonder how Americans can be so blind to their own culture.

I love 60s and '70s pop psych bands like Anonymous, Big Star, The Byrds, Colours, Ellie Pop, Flat Earth Society,  The Leopards ...

I'll admit to having a long standing taste for blues-rock bands like Bad Company, Free, Taste, and yes, even AC/DC.   After a crappy day at work, a couple of AC/DC tunes are a good way to re-set your balance.

Q8. Personally, I think the short period between the late '60s and early '70s 
for psych/prog/hard rock was the most creatively interesting time in rock 
history. What are your opinions on why there was such a creative explosion 
during those times.

Sounds like a grad school thesis waiting to happen.   I'm a little too young to have been socially aware during that timeframe, but there's probably something to be said for that thesis.   Why did the lines start to come down?  Not sure, but that "golden" period  certainly didn't last very long.  I can remember while I was in high school you would hear all sorts for musical genres played on the same radio stations (The O'Jays followed by Firefall), followed by George Harrison).  By the time I graduated from college that kind of genre mixing was largely gone with radio becoming more and more homogenized

I don't list to a great deal of radio these days, but when I do, I hear a more open and eclectic playlist coming back.  When my kids listen to the radio you're liable to hear a fairly diverse mix that includes rap, country, pop, dance tunes, hard rock, etc.   Musical diversity is so much better than hearing a single genre all day long.

Q9. What other periods and genres which are markedly different do you listen to, 
up to the current day? 

Pretty much whatever is playing is okay with me.   My eleven year old complains if I have an oldies rock station on.   To be honest, what little time I spend in my car tends to be spent listening to NPR. Shows you what cutting edge tastes I have.

Q10. Your appraisals and reviews are very well-informed and written.  What are 
your main methods of gathering the information, and have you ever studied, or 
worked in, any domains other than your record business, that have helped you 
develop your skills? Had you ever considered journalism?

Thanks for the compliment.  I try to research the groups I write about, but in many cases there simply isn't a great deal of reference material out there to work with.  As such, a lot of the stuff I've dumped on the BadCatRecords website and other places is little more than speculation.  Fact of the matter is that a lot of what I've written is probably wrong, but until some comes along and provides the actual facts, that's the best you can do.  I also try to avoid popular bands.  Does anyone need to hear what I think about "Revolver" or "Hotel California"?   Probably not. 

In my real life I work for the US Navy and the job I have entails a lot of writing, so there's a clear overlap.  Hopefully the music stuff is more interesting than some of the business stuff I write.

Years ago Goldmine published a couple of items I wrote and some material I wrote ended up in an obscure book music reference book (The Acid Archives) published by a Swedish music collector by the name of Patrick Lundborg.  Sadly Patrick passed away in June 2014.    Do I have a great a American novel in me ?  If so, it has never shown any interest in getting out.   There are a bunch of topics I'd like to write more about and publish on the website.   I'm still interested in tax scam records.  What a great concept - let's release music that we purposely don't want to sell in order to get a tax break.  How American can you get?   I've got a bunch of material on banned record covers.   There are other obscure topics as well.

Q11. How often do you get in touch with the artists themselves? Do you have any 
interesting or particularly memorable stories on doing so? For instance, times 
when you got some valuable information by some effort, that nobody may have ever 
discovered other-wise.

It seems I hear from someone I've written about at least once a month.  Most of the times it will be someone happy to see they've been remembered and offering to provided information, or correct factual errors I've made in a write-up.  Frequently they'd like help in reconnecting with former band members.   Occasionally I can help.  Someone contacted me a month ago looking for an ex-husband. Many want to buy an album they released, or were somehow affiliated with.   Musicians seem to suffer a lot of broken marriages and house fires.  I've made at least a half dozen sales to band members who effectively lost everything  associated with their prior lives.  

Every now and then I'll hear from someone who thinks I'm an asshole for having written something critical of their work.  I try not to be mean-spirited when I write something.  Occasionally I lose that battle and if someone calls me on it, I'm at least willing to look at the topic again.  I won't reveal the person's name, but I wrote a scathing critique of a song this individual had written.  It was one of the most irritating hits I've ever heard.  The writer wasn't amused and let me know that I was a no-talent loser.   That's fine, but after listening to it, their song still sucks.   Anyhow, I'm thrilled to hear from all of these folks. The fact they took time from their busy lives to contact me is a treat and I still marvel that they somehow managed to stumble on to the BadCatRecords website.

So within the last two months I had two exchanges that left a lasting impression on me.

I found an obscure album at a flea market.  Though I'd never heard of the band I bought the album because I knew a little bit about the label it was released on.   Anyhow, I started looking into the band and discovered it wasn't really a band, rather was the work of a single guy.  To protect his privacy I won't name the individual, but he's become a Grammy winning composer, producer, and writer.  I tracked him down and sent him a note asking if he'd ever heard this album. Turned out he wasn't even aware of the LP.   It was apparently some material he had recorded as a demo and unknown to him some unscrupulous folks had released it under a different name without his knowledge.  I sold him one of the two copies  I had.   It was a nice feeling reuniting the "creator" and his music.

Again, I'll protect the person's privacy, but about two months ago I got an email form a lady living in Majorca.  Her father was visiting her and they had somehow ended up looking for his name on the internet.  He'd been in an obscure English '60s band and they ended up at the BadCatRecords website because I'd written a review of the band's one and only LP.   The review included photos and links to a couple of the band's songs that I'd found on YouTube.   Here's where the story turns sad, but also kind of uplifting.  The father suffers from dementia, but when they were looking at the band photos and the song clips, he regained his focus and started telling the daughter about his days in this band.   
It was touching for her to take the time to write me to tell me how nice it was to have regained her father, if only for a few hours.  She was also nice enough to pass along some of the information her father had provided on the group.

As I said, most of the interactions are positive, though there are some exceptions.  I've had some artists tell me I'm a douchebag for writing less than sterling reviews.  I always remind them comments reflect one person's opinion.  Nothing more than that and the fact of the matter is very few people are ever going to see one of my reviews.  Over the last decade  I've been threatened with a couple of lawsuits.   One relatively unknown band apparently hired a legal firm to protect their legacy (not that they had one).  They came after me apparently under the impression BadCatRecords was reissuing the group's albums.  I was selling a single used copy which was well within my rights.   The law firm went away after I suggested they were wasting their time.  Another artist demanded I turn over a rather valuable copy of her album as it belonged to her.   I suggested she get a lawyer and take me to court.  Haven't heard back from her.  Still have the LP for sale.

Again, most of my dealings are very positive.  The thing you walk away with is what a tough life music is.  Virtually none of these folks made much money and few of them are known beyond hardcore collectors circles.  The lucky ones moves on to the next stage of their lives and kept music as a hobby.   Others have held on to the dream, even when there's no chance of making it.   Just speculation on my part, but if there is an afterlife, I would not be surprised to discover there are lots of music managers, A&R folks, and record label presidents occupying some of the lower and hotter tiers of that afterlife.

Q12. What is the future for Bad Cat Records? Do you have any further plans 
regarding your love of rock music; maybe a book, or your own label, or other 
types of project in mind?

I've sold about half of the collection so there are only another 15,000 LPs to go.  Well, there would be 15,000 if I stopped buying.  The fact this is a hobby rather than a business makes a big difference.  If I had to depend on this for a living I would be in big trouble.  There's certainly money to be made in vinyl, but you'd have to scale up to a massive level and you'd have to constantly be looking for new stock at a time when more and more people are getting back into collecting records.  I can't help but feel that if it were a job, it would lose much of the joy I associate with it as a hobby.  Besides, with a real life and a family, I don't have the time, the interest, or the personal drive to do this on a full time basis.  

So BadCatRecords will remain a hobby.  The extra income has helped the IRS pay down the national debt, and allowed us to pay some of our older kid's college tuition costs, as well as allowing us to pay off the mortgage on a rental property.  That's about the right level of intensity.

Q13. Do you watch much live music? For instance old bands from the days of the 
records you sell, that are still around. Or old-styled/retro bands, around where 
you live or further afar? 

I typically see a couple of bands a year.  As I mentioned, the Washington area is full of clubs an music venues.   We live ten minutes away from WolfTrap Farm Park which has a wonderful summer concert program covering everything from opera to surprisingly contemporary group - Ke$ha played there this past summer.   Opera and Ke$ha.   Who would have thought?    Jiffy Lube Pavilion is 30 minutes away.  The down side is that as much as I enjoy a concert,  ticket prices are simply stunning these days.   Paul Simon and Sting were in town a couple of months ago and while I was interested in seeing them, the asking prices were simply insane.  There's no way I'd pay $100 to see anyone.   

That means my wife and I tend to see local acts such a Mary Ann Redman (a wonderfully talented Washington area singer) and older groups that are no-longer prime sellers (Doobie Brothers, Peter Frampton, Rush, Steely Dan, ZZ Top).

Q14. Could you tell us about any other favourite established or new artists from 
your local area, or anywhere around the world?

Sure, though these aren't going to be The Day After The Sabbath  oriented metal acts, but so what.

As mentioned, there's a local singer named Mary Ann Redman whom I think is great.  She has an amazing set of pipes and has a loyal local following.  My wife and I  see her once or twice a year.  Here's a link to her website: (maybe she'll send me a pair of tickets to a show).

Sadly she died in  1996, but Eva Cassidy was a fascinating Washington area singer.   She recorded an amazing album of duets with the late Go-Go musician Chuck Brown.  Her cover of Curtis Mayfield's "People Get Ready" is stunning.   One of Cassidy's cousins runs a tribute website: 

He's not a local musician, and while he is well known to 60s pop fans, few other folks have heard the name Emitt Rhodes.   He's way to pop for most The Day After The Sabbath followers, but Rhodes  is simply one of the best pop artists to ever record.  I won't spend a lot of time detailing his musical career, but the guy recorded some of the best Beatles- esque albums ever released before basically dropping out of performing.    He's a longtime favorite and I would love to see some established act give him a helping hand to re-invigorate his career.  Here's a link to his website: 

Q15. Are there any bars, venues or record stores or other music fan haunts that 
would be good to check out for anyone who finds themselves in Reston or wider 

The area is awash in bars, but as a 50 + year old dad, I'd be hard pressed to tell you what this month's in-place is.   If you're looking for a low key place that serves wonderful chilli dogs, a decent selection of beers, and doesn't have a dress code - Vienna Inn in Vienna, Virginia (couple of miles down the road from Tysons Corner).
Whitlows On Wilson is located in Arlington, Virginia and has a cool vibe and a younger crowd.
Bier Baron Tavern; Madam's Organ, Church Key - all nice places in DC.

I live near the Reston Town Center which is an upscale area full of happening restaurants and bars.  Very young and fashionable demographic which means I don't have much need for it, but so what. 

Music venues I can do a little better:
The Birchmere - very eclectic list of bands
State Theater - nicely restored  old movie theater that had an interesting mix 
of local and national bands
Warner Theater -
9:30 Club - saw ZZ Top here a couple of years back -
WolfTrap yes it's a national park with concerts !!!

Q16. What have you learnt from your experiences of running Bad Cat? Do you have 
any useful advice for rock fanatics who do something similar, or are considering 
starting something similar?

Wish I had some silver bullet piece of advice that would make everyone successful.  I don't.   Things I've learned include:

Keep good business records for the IRS
Be nice to the post office staff (I see them so often I know them by their first names)
Treat customers the way you would like to be treated
Don't over-grade vinyl; if an album is VG, don't describe it as being mint
If someone asks you to take a picture of the 'B' side matrix of an album groove, tell them you've already sold it.  Someone that obsessive simply cannot be pleased.   They're not worth the time and frustration.
Focus on what you enjoy.   If you hate Scandinavian death metal, why would you sell it?
Buy sturdy LP mailers and buy them in bulk (500 or more at a time in order to keep the costs reasonable)
Try to put your family and friends before any of this other stuff
Try not to lose the joy that brought you into the business.  I guess it sounds kind of saccharine, but the fact of the matter is I still get a thrill out of hearing a new album. There's just something incredibly cool about hold the album sleeve; reading the liner notes, and enjoying an album on a good stereo system, or with a quality pair of headphones.

Q17. Finally, do you have anything further to say to The Day After The Sabbath  
followers who will be reading this and listening to your picks?

I'd actually spent time on The Day After the Sabbath website, I remember reading an article on Fred Cole and Zipper, and have to admit I was surprised you'd have any interest in BadCatRecords.   Your comments about having read many of the BadCat online reviews certainly made me smile.   You always kind of wonder if anyone knows you have stuff out there.  Anyhow, thanks for the nice comments about the site reviews, and for the opportunity to answer your questions.  It was a blast.

Thanks for your time Scott, and all the best!

Rich signing out. Check out Scott's site at and his RYM activities at

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