“Dig It Up” - You Cant Bury Love

Last year, I featured a different spooky song each day in October for a feature I called 31 Songs For Halloween. I don’t think I’ll be able to pull off anything that ambitious this season, but I would like to bring back some of the profiles for those who might not have seen them the first time around.

Australia’s The Hoodoo Gurus are not only one of the most talented garage bands around, they’re also one of the spookiest. This was evident on their rollicking 1984 debut, Stoneage Romeos, which came across as the perfect soundtrack to a Halloween party. “Leilani” was about a tropical human sacrifice, “In The Echo Chamber” was based on a torture scene from Get Smart, and “Death Ship” described a ghostly crew that lured other sailors to their doom.

“Dig It Up” features a galloping backbeat, twanging guitars that raise the spirit of The Cramps, and opens with the line, “My girlfriend lives in the ground.” Head Guru Dave Faulkner sings of placing flowers on a grave each day and laments, “I want her back/Because I look so bad, so bad in black/Like a maniac.” Later, he concludes, “You can’t bury love, you gotta dig it up.” The band breaks into some wild jamming, along with Faulkner’s ear-piercing screams.

The cause of the beloved’s death is never revealed, because it would be too painful. “My friends, you ask me why she’s six feet down/I can’t tell you why ‘cos if I even try/I’d fall flat down on my face.” Faulkner’s promise to paint his girlfriend’s room pink and blue if she’ll return doesn’t seem like much of an incentive, but then “Dig It Up,” like the best of The Hoodoo Gurus’ energetic garage rock, skillfully balances being macabre with being silly.

CD Review: THE LIKE - Release Me

Note: This review originally appeared in the Illinois Entertainer.

The Like have been around awhile, having started out as teenage girls in L.A., but Release Me finds founding members vocalist-guitarist Z Berg and drummer-vocalist Tennessee Thomas taking a different approach, with new band members. It’s questionable how much bassist Laena Geronimo and organist Annie Monroe contributed to this recording, since the small print on the CD states Victor Axelrod played organ on all tracks and Alex Greenwald played bass on all tracks. But however these songs came together, they’re a whole lot of fun.

As the cover photo suggests, there’s an emphasis on the 1960s here, but The Like successfully explore other genres as well. Berg is a gifted songwriter who matches clever and caustic lyrics to irresistible melodies, whether she’s evoking Dusty Springfield on the soulful “In The End” or zinging a two-timing boyfriend on the harder-edged “Wishing He Was Dead.” On “Narcissus In A Red Dress,” Berg drifts into Lily Allen style social satire, and dives head first into vintage New Wave on the sexy "Fair Game." The first single, “He’s Not A Boy,” like so many of the tracks on Release Me, is a British Invasion inspired romp. Since The Like are actively touring, it’s reasonable to assume that its newest members are now fully active.

Time To Make Superior Donuts

It's all in the ingredients. Picture from Rich Cotovsky;s Facebook page.

When I first heard that Rich Cotovsky was heading to Washington D.C., I thought the Obama administration had made a swap with the Mary-Arrchie Theatre. Cotovsky would become the President’s new Chief of Staff and the wily Rahm Emanuel, having tricked everyone into thinking he was gunning to become the Mayor of Chicago, would actually snag the more prestigious position of being a theater’s Artistic Director.

Emanuel could reinvent the late night show Bitch With Rich as Bitch With Rahm, and he’d have plenty of time to grow a beard and long hair for next year’s Abbie Hoffman Died For Our Sins theater festival. Meanwhile, Cotovsky, a veteran of in-your-face plays like Wild Dogs, would test Barack Obama’s calm and cool demeanor by eating a Twinkie off the floor of the Oval Office.

Actually, Cotovsky’s going to Washington D.C. for three-months to join the cast of the critically-acclaimed Tracy Letts comedy Superior Donuts. It’s a high profile gig for a talented actor who will surely make the most of it. Mary-Arrchie will be giving Cotovsky a send off party tomorrow night at Justin’s Bar on Southport.

He’s generated a lot of good will at the theater, as well as among the countless performers who have taken part in Abbie Hoffman Died For Our Sins, an annual weekend celebration of drama, comedy, and music. (I know because I’m one of them.) So here’s a toast to Rich Cotovsky: Knock ‘em dead in Donuts.

By The Time We Got To Long Grove

Photo by Pam.

When Pam and I made a last-minute decision to check out the Long Grove Apple Festival yesterday, I wasn’t really thinking about seeing live bands. Long Grove, a small suburb northwest of Chicago, is mostly known for its assortment of small shops selling gifts and crafts. Back in the 1970s, the focus was more on antiques. Long Grove merits the occasional visit because because some of the shops offer unique and fun items, and there are a few cool cafes. Overall though, it’s pretty sedate.

The ambience perks up during the Strawberry Festival and the Apple Festival, held in the summer and fall, respectively. Parking becomes virtually impossible, people crowd the streets and food vendors sell various snacks and refreshments. There were about four stages scattered around the area yesterday, and due to the chilly weather, the musicians were bundled up in heavier clothes.

The Dime Store String Band was playing the last song from its set of bluegrass tunes when we arrived. They had good harmonies, and the picking was impressive. Wish we could have seen more of them. Wind Gypsys were cranking out an authentic version of the Jimi Hendrix classic, “Voodoo Child,” which made for an interesting contrast to the area’s small town allure. They also covered The Rolling Stones and Wilson Pickett.

7th Heaven, a local copy band that’s been getting a lot of press lately, served as the Apple Festival’s headline act. They offered a compelling acoustic take on U2’s “Beautiful Day,” as well as a cover of “Only The Lonely,” the 1980s hit by The Motels. All five band members sang on a stirring rendition of Pink Floyd’s “Another Brick In The Wall,” as the crowd sang along and danced. Hey man, Long Grove rocks.

Personal Note: When Pam and I got married 14 years ago on October 5th, we went over to Long Grove with our wedding photographer to have some pictures taken at the town’s gazebo. Yesterday, we felt a rush of happiness as we went back to that same gazebo, kissed, and snapped some photos. Happy Anniversary, Pam!

“Alison Gross” - Money Can’t Buy Thee My Love

Last year, I featured a different spooky song each day in October for a feature I called 31 Songs For Halloween. I don’t think I’ll be able to pull off anything that ambitious this season, but I would like to bring back some of the profiles for those who might not have seen them the first time around.

Steeleye Span is known for updating centuries-old ballads with electric guitar and drum arrangements. Such is the case with “Alison Gross” from the band’s 1973 release, Parcel Of Rogues. It spins the tale of a witch who believes the way to a man’s heart is through bribery. She tries to woo a potential lover by offering him a series of riches, but he’s so repulsed by her appearance, he screams, “Away, away, you ugly witch/Go far away and let me be/I never would kiss your ugly mouth/For all of the gifts that you give to me.” Infuriated, Alison Gross waves a magic wand and turns him into a worm.

According to Wikipedia, Steeleye Span added its own chorus and left off the original ballad’s happy ending, which had the man being restored to his proper shape on Halloween by a passing fairy. Also, he may not have been transformed to an earthworm, since the original lyrics used the word wyrm, which meant dragon. Unlike some of the ancient ballads, which can be slow and gloomy, “Alison Gross” feels like a rowdy party song villagers might have sung while swinging steins of mead.

“Rhiannon” Taken By The Wind

Last year, I featured a different spooky song each day in October for a feature I called 31 Songs For Halloween. I don’t think I’ll be able to pull off anything that ambitious this season, but I would like to bring back some of the profiles for those who might not have seen them the first time around.

Back in 1975, no one could have predicted that the arrival of Stevie Nicks and Lindsey Buckingham would transform Fleetwood Mac into the world’s hottest rock band. Perhaps some of that success came from divine intervention. Nicks explained that her melodic composition “Rhiannon,” which became a Top 40 hit, was about a Welsh witch, but Rhiannon was also a goddess in Welsh mythology who wore a gold dress and rode a white horse. Wikipedia states that Nicks based her “Rhiannon” on a much more recent tale, Triad, a supernatural novel penned by Mary Leader, and discovered the mythological connection later. Actually, the song’s mysterious lyrics like, “Would you stay if she promised you heaven” and “She is like a cat in the dark/And then she is the darkness,” could refer to either the deity or the sorceress.

Fleetwood Mac, having already recorded scary songs like “Hypnotized” and “Black Magic Woman,” knew how to bring “Rhiannon” to life with a classic rock arrangement. Incidentally, www.goddess.com states that in some medieval tales, Rhiannon became Vivienne, the Lady of the Lake. Or in Monty Python’s words, the watery tart who lobbed a scimitar at King Arthur.

“Jacksie” - A Love That Never Dies

Last year, I featured a different spooky song each day in October for a feature I called 31 Songs For Halloween. I don’t think I’ll be able to pull off anything that ambitious this season, but I would like to bring back some of the profiles for those who might not have seen them the first time around.

Over The Rhine, the Cincinnati based band headed by vocalist/guitarist Karin Bergquist and bassist/keyboards player Linford Detweiler, has garnered critical acclaim for weaving elements of folk, country, and indie rock behind thought-provoking lyrics.

“Jacksie,” the haunting opening track from the band’s 1992 Patience CD, was inspired by the book, A Grief Observed by C.S. Lewis. It deals with the loss of a loved one. Still, a casual listener could be forgiven for thinking this is a classic ghost story, especially with lyrics like, “They laid her in the ground./She still comes around./A love that never dies takes you by surprise.” Bergquist’s ethereal vocals, set to a slow, melodic arrangement, sends chills up your spine, especially the way her “la la la la la la la” echoes like you’re traveling through a dark forest.