As promised, here are a slew of photos to illustrate my report on Finnish glam rockers Naked’s U.S. Summer Tour kick-off at The Bowery Electric in New York City on July 20th, 2011.
Tag: skeletonpete
Hell(sinki) Yeah!
Revved up, fist pumping music that’s serious about only one thing; having some serious fun. That’s what Naked present and represent. It’s a brand of party rock that came out of garages and frat houses in the sixties to mutate into the likes of everything from The Stooges and The MC5 to The New York Dolls, Cheap Trick, and Kiss. Hailing from Helsinki Finland, home of Hanoi Rocks (probably the only 80’s glam band that got it right), Naked have gained much success, an international following, and radio play since their inception in 2001.
Bowery Boyz
I caught the July 20th opening night set at The Bowery Electric on New York’s Lower East Side; a fitting spot to begin since the video for single “Sonic High” prominently features East Village sites. Though essentially plugging their newest album “Double Down” the set included a nice mix of material from across their ten year career. Kicking off the evening with “Revolution” the band immediately displayed its strong suit, trashy rhythms with instantly catchy choruses punctuated by three part harmony vocals. Naked’s ability to pull off their song’s recorded harmonies on stage is impressive and was highlighted later in the set by a surprise snippet of the acapella opening of Queen’s “Fat Bottom Girls”.
While each member clearly exudes his own personality, offering the audience a host of possibilities to focus on, the group also gives off a cohesive “band of brothers” vibe. Wiry lead vocalist “The Muff” – so dubbed for his mushroom cloud of pitch black hair – is an energetic and engaging front man. Minus the goatee he sports in the band’s videos he gave off an even more youthful appearance as he exhorted the fans to join in on sing-a-long choruses. In addition to vocal duties Muff chunks out the raucous rhythm chords that define this style of music. Bassist Ilari was all smiles and exuberance belying the fact that he had only arrived in The States a few hours before the gig and guitarist Zack reeled off strings of lead melodies between singing harmonies. “Mr.” Tikka’s solid drum work added a sturdy backbone to the freneticism that unfolded before him.
SkeletonPete Says
I will confess that Naked won me over early when I spied a Mosrite “Ventures” guitar on stage. It’s a garage punk fan-boy’s sucker punch if there ever was one. Though they left the confetti machine at home, it was great to experience the band’s play-to-the-rafters style in the Bowery Electric’s confines.
Still Time To Get Naked
As of this writing there is still an opportunity to catch the band in the New York area, which I highly recommend you do. Check Naked’s website for current tour details.
Where’s the Pictures, Pete?
My photo coverage of the Bowery Electric gig can be found here. Lots of images to document the rollicking good time had by all. You should also check out Ken Pierce’s fun “Day Out With The Muff” report.
Click any image to enlarge and launch viewer. All photos copyright 2011 Peter Parrella.
Saturday June 18, 2011
While many weathered the heat to get gander at aquatically adorned Mermaid Parade revelers, the real Brooklyn VIP Party was going down at Bay Ridge’s Street Sounds Music Store, in the shadow of the Verrazano Bridge as we like to say. It was a special day and those in the know packed Rocky Sciano’s family run business to take in the beautiful and voluptuous curves of those American designed classics – Gretsch Guitars. You may know Gretsch instruments as the Rock-A-Billy wreckers painted up in delicious Hot Rod colors, or maybe the country picker’s choice in the hands of Chet Atkins, or maybe the hell’s bells ringing red double cutaway Jet Firebird of AC/DC’s Malcolm Young . “Who’s Next”? “Quadrophenia”? – all Pete Townshend’s 6120, gifted to him by Joe Walsh. Django – Gretsch. Eddie Cochran – Gretsch. Got the point?
Homecoming and History
The Gretsch family company started its life in Brooklyn NYC in 1883 making banjos and drums for marching bands. They initiated their historic line of guitars in 1954. For this special event Fred Gretsch III and Product Specialist Joe Carducci paid a visit to original home turf bringing along California calendar girl Kim Falcon and top-notch picker Paul Pigat, AKA Cousin Harley. Of course the afternoon was all about the gear; the star item being the prototype of Gretsch’s 1957 Duo Jet George Harrison replica, reproduced down to the rust on the Bigsby vibrato spring. With only 60 of these puppies being produced worldwide, this Harrison family authorized gem was a thrill to ogle slowly revolving in its display case. Along with the Harrison collectors item Street Sounds showed off walls hung with beautiful examples of the expansive Gretsch line and District Product Manager David Waters was on hand throughout the afternoon to offer attendees help and information on specific models.
As part of the festivities, Mssrs. Gretsch and Carducci presented “The Fred and Joe Show” highlighting the company’s history and key artists. It was augmented to include information about the convoluted journey of George’s Duo Jet. It’s a great story, you can read it here. Raffle tickets were chosen by Ms. Falcon (with a little help from Rocky’s mom). Prizes included heaps of Gretsch merch like T-shirts, playing cards, Zippo Lighters and bolo ties. In addition, two lucky participants won killer Gretsch guitars. Paul Pigat played some smokin’ rock-a-billy, a smooth take on Hoagy Carmichael’s “Stardust”, and taught a compact lesson on the art of Travis picking. Up and coming group Foxy Studs (Joe on guitar, Christina on drums, Tammie singing and Elia on Bass) gave the audience a look at and listen to the future of Gretsch guitar and drum players. After the raffles and presentation Fred and Kim spent time meeting fans and signing autographs on calendars, posters and even a few guitars.
Whoa! Haven’t seen you since the Fort Hamilton High School “Battle of the Bands” in 1972
The event was like old home week for local musicians and brought out players young and umm…seasoned from the surrounding neighborhoods. It is just so cool that so many of us have kept the faith and kept playing. There were some Prodigal Children, a Rockingham or two, John “The Cat” Gatto from – genuflect now – The Good Rats, even a couple of members of Dance Half Done. Modern Drummer editor Billy Amendola was on hand as was Piercing Metal’s main mensch Ken Pierce.
The special day continued into evening with a walking tour at the original factory site – 60 Broadway in Williamsburg. Apparently, the pioneering Gretsch family beat the hipster invasion to the punch by over 100 years!
P.S.
The Frosted Pink Cupcake Lollipops were mind blowing! – no that’s not a psychedelic tribute band.
The photos below tell the story of a wonderful time had by all. Click any image to launch the gallery. (All photos copyright 2011, Peter Parrella)
Ben Waters
Boogie 4 Stu: A Tribute to Ian Stewart
Eagle Records
Who’s Stu?
Ian Stewart, the erstwhile sixth Rolling Stone, may have been relegated to a historical footnote when manager Andrew Oldham decided he did not fit the teenage heart-throb mold in 1963, but – unlike let’s say Pete Best – his influence never ceased to pervade the band. Willingly accepting the duties of road manager and driver “Stu” also took the role of “big brother” to the burgeoning blues band. He continued to record with the group in their early years, playing both piano and organ on tracks of his choosing and notoriously refused to be a part of any tune not in a major key. For the rest of his life he pulled no punches in assessments of the group in the midst of sycophants and hangers on. Stones’ guitarist Keith Richards’ autobiography clearly outlines how Stewart was crucial to their early success. His day job at Imperial Chemical Industries helped pay for rehearsal space and his work phone often served as booking agency for the band. “He put his money where his mouth was, at least where his heart was, because he didn’t talk a lot about it” says Richards. He held a “natural authority” over the group “which never changed”, “…without the leap he made from where he was coming from, to play with this bunch of kids, we’d be nowhere.”
Outside The Stones, Stewart famously pounds the keys on Led Zeppelin’s Little Richard style rave-up “Rock N Roll”, and is named in their “Boogie with Stu” from the “Physical Graffitti” album. He was also part of the stellar studio band during the “Howlin’ Wolf London Sessions”, that’s him on “Sitting On Top of the World”.
What It Is…
“Boogie 4 Stu” is pianist Ben Waters’ tribute to Stewart (who passed away in 1985) and the music he loved to play. Waters was struck with woogie-boogie flu at a young age, not only seeing Stewart play live but witnessing a summit of Ray Charles, Jerry Lee Lewis and Fats Domino at Domino’s 60th birthday gig. “When I decided to make this album for Stu I hadn’t got any big plans. I just wanted to say thanks to him”, says Waters in the liner notes. He was pleasantly surprised when a boatload of Ian’s friends, admirers and fellow musicians offered to be involved, including every member of the The Rolling Stones, Jools Holland and P.J. Harvey.
Waters and company offer a tight little set of boogie and jump based tunes by Albert Ammons, Big Maceo, Big Joe Turner and Amos Milburn. Polly Jean does a moody multi-tracked vocal on Doc Pomus’s “Lonely Avenue”. Keith and Ronnie Wood get in lead vocals on “Worried Life Blues”, and all of the Stones convene on Dylan’s “Watching The River Flow”. Though recorded in various studios around the world and under varying circumstances (Jagger literally emailed his vocal in) veteran producer/engineer Glyn Johns pulls the project together with a mix that does not reveal its pastiche origins. In fact it feels like it was all put together in one room during an afternoon session.
SkeletonPete Says…
With its lovely watercolor cover by artist Peter Blake (Sgt Pepper’s, Face Dances) “Boogie 4 Stu” does Ian Stewart’s memory proud. If it sends you looking for a listen to the music of his influences and mentors it succeeds well beyond its humble beginnings. The final track features the man himself with his stage band Rocket 88 and makes me very curious about what Stewart gems would appear should a Beatles style “anthology” ever emerge from the Rolling Stones’ vaults. A “Jamming with Edward” type compilation of Stu based tracks seems like a no-brainer. In the meantime, we don’t have to pipe dream to enjoy Waters’ fine tribute.
Proceeds from the sale of this disc will go to the British Heart Fund.