Lux Lives Seattle Is Happening!

Astor Park, Seattle, May 20, 1982, photo credit: Mike Leach

Lux Lives is an annual celebration of Lux Interior’s life that was started in  Scotland by Colin Duff, a yearly gathering of Cramps fans which is a non-profit event with proceeds going to charity.  It was brought to the US by Kogar the Swinging Ape, who has been putting on shows on the east coast for several years, presenting bands, music, and video all catered towards Cramps fans, put on by Cramps fans.  Kogar has donated the proceeds from his events to Lux Interiors favorite charity, the Best Friends Animal Society.


I am proud to announce that the first Seattle LUX LIVES event is on, and will take place the weekend of February 5-6, marking six years since Lux’s passing on to the mystery plane. We too will be donating all proceeds to Best Friends, and we invite you all to come celebrate the life and work of Lux and the Cramps with us.


LUX LIVES SEATTLE will kick off on Friday,  February 5 with a night of movies that inspired Lux & the Cramps at the Grand Illusion Cinema in Seattle’s U-District, presented by Something Weird Video.  SWV’s fearless leader, Lisa Petrucci, will be announcing the lineup of films very soon, so stay tuned for more details!

On Saturday, February 6, we move to Darrell’s Tavern in Shoreline, WA for the big party! And we have most of the lineup confirmed, so I decided to make the announcement today.


The Boss Martians

Die Nasty

The F-Holes

DJ Thee Swingin’ Creeper


Miss J9 Fierce

We are still talking to some other people and there may be more entertainment added to the bill, so stay tuned, and if you want to get involved or know a band or performer that would like to get involved, send me an email at or post on our Facebook event page, because we definitely could fit some more fun into this night!

Until then,…


Album of the Day: Reigning Sound, Break Up Break Down (2001, Sympathy For The Record Industry)




Track Listing:

1 Since When
2 I Don’t Care
3 You Don’t Hear The Music
4 Goodbye
5 As Long
6 Want You
7 So Goes Love
8 Take A Ride
9 Waiting For The Day
10 So Sad
11 I’m So Thankful

AllMusic Review by Jason Anderson [4/5]

Former Oblivians and Compulsive Gamblers frontman Greg Cartwright cools his boiling garage leanings to a simmer on the Memphis musician’s debut with the Reigning Sound. It’s all about the material on Break Up Break Down, and there are only scattered references to the primal blues-rock of Cartwright’s notable ’90s projects. Heart-tugging vocals and songwriting are the central components that this country-folk collection revolves around. Highlights like the waltz-time lament “Goodbye” have just what it takes to grip the inner Hank Williams in every garage rocker, without tripping any irony-minded alerts that equate anything emotional with overt sentimentality. Perhaps this delicate country-rock balancing act is what impressed the Hives enough to take the Reigning Sound out on tour, or perhaps the decision was tribute to Cartwright’s overlooked punk/gospel work with Oblivians. Such thoughts won’t concern fans of traditional American music after they’ve confronted the authenticity and the sweetness of Break Up Break Down.

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Album of the Day, The Fugs (1966. ESP Disk)




Track Listing

The Fugs Second Album
1 Frenzy 2:03
2 I Want To Know 2:01
3 Skin Flowers 2:22
4 Group Grope 3:41
5 Coming Down 3:47
6 Dirty Old Man 2:50
7 Kill For Peace 2:07
8 Morning Morning 2:07
9 Doin’ All Right 2:37
10 Virgin Forest 11:16
Live From The Players Theater On MacDougal Street In Greenwich Village 1967
11 I Want To Know 2:35
12 Mutant Stomp 2:57
Three Tunes From “Thrown Off Atlantic”
13 Carpe Diem 3:38
14 Wide, Wide River 2:50
15 Nameless Voices Crying For Kindness 2:52

AllMusic Review by Richie Unterberger [4.5/5]

At the time of its release, the Fugs’ second (self-titled) album contained the most outrageous lyrics ever heard on a Top 100 rock & roll LP. The group, with roots in New York’s underground folk and poetry scenes, flung themselves wholeheartedly into all-out rock & roll on this 1966 record, which addresses concerns like free love, the madness of war, and government repression. The CD reissue of this classic includes two previously unreleased live performances and three tracks from the unreleased album they recorded for Atlantic in 1967.

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Album of the Day: The Yardbirds, Little Games (1967, EMI)




Track Listing (2003 reissue)

1 Little Games 2:28
2 Smile On Me (2002 Stereo Mix) 3:17
3 White Summer 3:56
4 Tinker, Tailor, Soldier, Sailor (2002 Stereo Mix) 2:49
5 Glimpses 4:24
6 Drinking Muddy Water 2:56
7 No Excess Baggage 2:33
8 Stealing Stealing 2:25
9 Only The Black Rose 2:53
10 Little Soldier Boy 2:39
Additional Studio Recordings 1967-1968
11 Puzzles [1991 US Stereo Mix] 2:11
12 I Remember The Night [1991 US Stereo Mix] 3:04
13 Ha Ha Said The Clown 2:29
14 Ten Little Indians [1991 US Stereo Mix] 2:16
15 Goodnight Sweet Josephine [Version 1 Unphased Version] 2:43
16 Think About It 3:26
17 Goodnight Sweet Josephine [Phased [US Single] Version] 2:47
BBC Sessions
18 Most Likely You Go Your Way (And I’ll Go Mine) 2:51
19 Little Games 2:24
20 Drinking Muddy Water 2:43
21 Think About It 3:03
22 Goodnight Sweet Josephine 2:33
23 My Baby 2:56
24 White Summer 4:26
25 Dazed And Confused 5:47

AllMusic Review by Bruce Eder [3/5]

If almost any group other than the Yardbirds had released Little Games, it would be considered a flawed but prime late-’60s psychedelic/hard rock artifact instead of a serious step backward, and even a disappointment. Not that it’s a bad album — it just lacks the cohesion and polish of the group’s preceding album, The Yardbirds (aka Over Under Sideways Down aka Roger the Engineer). And well it should — although they were nominally the same group they’d been a year earlier, in reality the Yardbirds had undergone a massive shift in personnel since the release of The Yardbirds. The departure of original bassist Paul Samwell-Smith in June of 1966 set off a sequence of personnel shifts, bringing guitarist Jimmy Page into the lineup, first on bass and then on lead guitar in tandem with Jeff Beck (while rhythm guitarist Chris Dreja switched to bass), until Beck’s exit in November 1966 for a solo career left Page as their lone guitarist. At the same time, the band was forced — by the failure of its single “Happenings Ten Years Time Ago” — to accept a new producer in the guise of Mickie Most, who was currently enjoying huge success with Donovan and had a formidable string of hit singles to his credit with Herman’s Hermits, the Animals, et al. the Yardbirds’ blues roots and progressive tendencies clashed with Most’s pop/rock preferences, and the two sides never did reconcile, much less mesh for more than a few minutes on the finished album. To top it off, the bandmembers were finally seeing some serious money for their live performances (ironically, just as they were hanging on by their fingertips to a recording contract), courtesy of their new manager, Peter Grant, and so were committed to lots of stage work. The overall result was a hastily done and uneven LP with flashes of brilliance. Apart from the title single — one of the better compromises between where the group had been and where Most wanted to take them — the two best cuts were “White Summer” and “Drinking Muddy Water,” excellent showcases for the experimental and bluesy sides of the band, respectively; both, curiously, were also virtually thefts, “White Summer” lifted from Davy Graham’s arrangement of the 300-year-old “She Moves Through the Fair” and “Drinking Muddy Water” a rewrite of “Rollin’ and Tumblin’,” a blues standard usually attributed to McKinley Morganfield (aka Muddy Waters). The best of the rest included “Only the Black Rose,” a strangely beautiful, moody acoustic psychedelic piece; “Stealing, Stealing,” an unusual (for this band) pre-World War II-style acoustic blues complete with kazoo; and “Smile on Me,” a hard, bluesy number that could have come from any part of the group’s history. The attempt at a catchy rocker, “No Excess Baggage,” however, needed more work and better involvement from vocalist Keith Relf; the power chord-laden “Tinker, Tailor, Soldier, Sailor” was a great piece of psychedelic pyrotechnics, but it also sounded more like the Who than the Yardbirds, though it did introduce Jimmy Page’s violin bow discourses on the guitar; and “Little Soldier Boy” was a silly psychedelic pop piece more appropriate to the Monkees than the Yardbirds. The album was unintentionally revealing, in hindsight, of the growing schism within the band, as Relf and drummer Jim McCarty’s growing embrace of flower power and hallucinogenic drugs came to be reflected in the trippier numbers such as “Glimpses,” whereas Jimmy Page was starting to take his blues slower and flashier, and into wholly new territory with that violin bow. One more album or a proper concert might’ve sealed the deal for the Yardbirds, but instead one more tour sealed the fate of the band.

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Album of the Day: The Misunderstood, Before The Dream Faded (1982, Cherry Red)

Front Cover copy (1)



Track Listing:

Colour Of Their Sound - Produced by Dick Leahy, recorded 1966 in London at Fontana Studios and IBC
1 Children Of The Sun 2:51
2 My Mind 2:34
3 Who Do You Love 2:26
4 I Unseen 2:01
5 Find A Hidden Door 2:16
6 I Can Take You To The Sun 3:38
Blue Day In Riverside - 1965 USA recordings (preserved from acetate)
7 I’m Not Talking 2:25
8 Who’s Been Talking 2:57
9 I Need Your Love 3:20
10 You Don’t Have To Go Out 4:43
11 I Cried My Eyes Out 2:39
12 Like I Do 2:51
13 Untitled 2:22

AllMusic Review by Richie Unterberger [4.5/5]

One of the great lost ’60s albums. Side one includes all six of the tracks the Misunderstood recorded in England in 1966, with magnificent guitar work and nervy, ambitious (if a bit overtly cosmic) songwriting that combines some of the best aspects of the Jeff Beck-era Yardbirds and Syd Barrett’s Pink Floyd. Remember that Pink Floyd and Hendrix had yet to record when these sides were waxed; they aren’t derivations, but genuinely innovative and groundbreaking performances. Side two contains seven pre-psychedelic demos from their U.S. garage days in the mid-’60s that, while not nearly as important as their 1966 work, are solid, crunching R&B-soaked rock in the tradition of their chief British influences.

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Album of the Day: Arch Hall Jr. & the Archers, Wild Guitar! (2005, Norton Records)




Track Listing:

1 The Sadist
2 Dune Buggy
3 Buzzola
4 Konga Joe
5 Theme From Wild Guitar
6 Termites
7 Steak’s Theme
8 Monkey In My Hatband
9 Back In Business
10 Run Vickie Run
11 Mike Calls The Shots
12 Guitar Twist
13 A Date With Eegah
14 Theme From Eegah
15 I’m Growin’ Taller
16 Wild Guitar Trailer
17 Stairfall
18 Twist Fever
19 Publicity
20 Money And Records
21 Steak
22 Eagah Crashes The Party
23 Brownsville Road
24 Vickie
25 Girl Bait
26 Daisy Dance
27 The Kidnappers
28 Judy Poody
29 Organ Twist
30 Bud Smells A Rat
31 Bud And Steak Square Off
32 Pep Talk
33 Archers Theme
34 If A Man Answers
35 Further On Up The Road
36 Stop Sneakin’ Round
37 Nancy Czar Interview
38 Teenage Idol
39 Good Golly Miss Molly
40 Wild Guitar
41 Hello Mary Lou
42 Susie Q
43 Yes I Will
44 Archers Theme Outro
45 You Little Punk
46 Watch Your Step
47 Big Boy Pete
48 The Choppers

AllMusic Review by Mark Deming [4/5]

Fans of oddball cinema have long known the name Arch Hall, Jr. as the star of such low-budget epics as Wild Guitar, Eegah!, The Choppers, and The Sadist (the latter featuring his finest performance as a creepy teenage psycho pattered after Charles Starkweather), but while (with the exception of The Sadist) he sang a few rock & roll numbers in each of his films, the guy never seemed to have made any records. As it turns out, Arch Hall, Jr. racked up one commercially released single during the course of his career in music, but there’s more to the man than that, and thankfully the cultural archivists at Norton Records have finally set the record straight on his musical abilities with Wild Guitar, which pulls together both sides of that rare 45 along with tunes from his movies, dialogue clips, and some unreleased live material. Actually, the latter category is where the real action is on this disc; the tunes from Hall’s movies are pretty good (especially “I’m Growing Taller Every Day” and “Brownsville Road”), but it’s when listeners get to a live gig that Hall and his band, the Archers, played at a Florida drive-in in 1962 (where Wild Guitar was playing) that things really start to hop. Turns out Hall was a hot guitar player with a taste for the blues and no fear of letting it rip (not many white guys were name-checking Bobby “Blue” Bland in 1962), and his bandmembers could certainly keep up as they roar through versions of “Good Golly Miss Molly,” “Suzie Q,” and “Further On Up the Road.” Hall is in even stronger form on two tunes from a 1964 nightclub date, and it makes you wish someone had the presence of mind to cut an album on these guys when they were hot. Still, Wild Guitar at least allows you to hear Arch Hall, Jr. make with the rhythm on your stereo at last, and confirms this guy was a natural-born rock & roller, and not some teen actor who got handed a guitar. Very fun stuff.

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Album of the Day: Little Richard, Get Down With It: The Okeh Sessions (2004, Epic/Legacy)




Track Listing:

1 I Don’t Want To Discuss It 2:28
2 Land Of A Thousand Dances 2:10
3 The Commandments Of Love 2:27
4 Money 2:02
5 Poor Dog (Who Can’t Wag His Own Tail) 3:06
6 I Need Love 2:39
7 Never Gonna Let You Go 2:41
8 Don’t Deceive Me 4:39
9 Function At The Junction 2:35
10 Well All Right 2:56
11 Hurry Sundown 2:50
12 A Little Bit Of Something (Beats A Whole Lot Of Nothing) 3:10
13 Golden Arrow 2:41
14 Rocking Chair 3:19
15 Get Down With It 3:16
16 Rose Mary 2:52
17 Hound Dog 2:56

AllMusic Review by Thom Jurek [4/5]

While Little Richard Penniman is well known for his Specialty, Mercury, Veejay, and Modern recordings (though many of the sides on the latter two labels were merely redos of his Specialty hits), he is little celebrated for these wonderful sides recorded for Okeh in 1966 and 1967. The Little Richard on these sessions is a seasoned R&B singer whose feet are deeply rooted in modern-era Southern soul. That said, there are a few traces of Motown that creep in as well — despite the fact that the material was all recorded in Hollywood. For Okeh, Little Richard recorded devastatingly fine versions of “Function at the Junction,” “I Don’t Want to Discuss It,” Berry Gordy’s “M-O-N-E-Y,” “Poor Dog,” “Hurry Sundown,” and Sam Cooke’s “Well All Right” to mention a few. To help him pull it all off — this was seen as a last-ditch survival effort for the singer — Little Richard’s sidemen for these dates include Johnny “Guitar” Watson, Larry Williams, Eddie Fletcher, and Glen Willings — a crack studio band if there ever was one. In sum, the Okeh material yielded one fine, 11-track album in The Explosive Little Richard released in 1967, and three issued B-sides for its singles. Appearing on this CD for the very first time are three leftover tracks that include smoking raw versions of Fats Domino’s “Rocking Chair” and Leiber & Stoller’s “Hound Dog.” For those who are contemplating a Little Richard CD, the Specialty sides should come first because they contain the original versions of his classics. For those who already have that material, this set is an excellent addition to the Penniman shelf. There isn’t a loser in the bunch, and these performances are truly inspired, burning from start to finish; they are startling even today. In addition to the great music, soul expert Charles White’s liner notes are thorough and authoritative and offer the same kind of exuberance Penniman put into these performances.

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Stones Song of the Day: “Dear Doctor”


By Greg Prevost, from his book Rolling Stones Gear


May brought several more songs into being, including “No Expectations,” “Dear Doctor,” “Parachute Woman,” “Factory Girl,” “Salt Of The Earth” (known as “Silver Blanket” in its early incarnation), “Blood Red Wine,” “Memo From Turner #1,” and “I’m A Country Boy,” as well as some early takes of “Sister Morphine,” “Love In Vain,” and “You Got The Silver.” During the sessions, Keith mainly used his moon-painted Gibson Les Paul Custom for both leads and rhythm and also played his Gibson ES-330, his blue Fender Telecaster, and his non-reverse Firebird VII. Bill used both his sunburst Vox Wyman Bass and his customized Dallas Tuxedo bass, and also added organ to several tracks. Charlie continued with his Ludwig kit, occasionally changing the set’s rack tom to a Ludwig white marine pearl rack tom. He added congas, tablas, bongos, and other percussion along with Mick and Rocky Dijon, who also played congas. For amplification, Keith used a mixture of the Vox Supreme, Vox 760, Vox AC-30, and his Triumph amplifier, and Bill used a Vox Foundation Bass amp.

Album of the Day: Jefferson Airplane, Surrealistic Pillow (1967, RCA Victor)




Track Listing:

She Has Funny Cars 3:03
Somebody To Love 2:54
My Best Friend 2:59
Today 2:57
Comin’ Back To Me 5:18
3/5 Of A Mile In 10 Seconds 3:39
D.C.B.A. – 25 2:33
How Do You Feel 3:26
Embryonic Journey 1:51
White Rabbit 2:27
Plastic Fantastic Lover 2:33

AllMusic Review by Bruce Eder [5/5]

The second album by Jefferson Airplane, Surrealistic Pillow was a groundbreaking piece of folk-rock-based psychedelia, and it hit like a shot heard round the world; where the later efforts from bands like the Grateful Dead, Quicksilver Messenger Service, and especially, the Charlatans, were initially not too much more than cult successes, Surrealistic Pillow rode the pop charts for most of 1967, soaring into that rarefied Top Five region occupied by the likes of the Beatles, the Rolling Stones, and so on, to which few American rock acts apart from the Byrds had been able to lay claim since 1964. And decades later the album still comes off as strong as any of those artists’ best work. From the Top Ten singles “White Rabbit” and “Somebody to Love” to the sublime “Embryonic Journey,” the sensibilities are fierce, the material manages to be both melodic and complex (and it rocks, too), and the performances, sparked by new member Grace Slick on most of the lead vocals, are inspired, helped along by Jerry Garcia (serving as spiritual and musical advisor and sometimes guitarist). Every song is a perfectly cut diamond, too perfect in the eyes of the bandmembers, who felt that following the direction of producer Rick Jarrard and working within three- and four-minute running times, and delivering carefully sung accompaniments and succinct solos, resulted in a record that didn’t represent their real sound. Regardless, they did wonderful things with the music within that framework, and the only pity is that RCA didn’t record for official release any of the group’s shows from the same era, when this material made up the bulk of their repertory. That way the live versions, with the band’s creativity unrestricted, could be compared and contrasted with the record. The songwriting was spread around between Marty Balin, Slick, Paul Kantner, and Jorma Kaukonen, and Slick and Balin (who never had a prettier song than “Today,” which he’d actually written for Tony Bennett) shared the vocals; the whole album was resplendent in a happy balance of all of these creative elements, before excessive experimentation (musical and chemical) began affecting the band’s ability to do a straightforward song. The group never made a better album, and few artists from the era ever did.

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Stones (Related) Song of the Day: “Shades of Orange” (The End)


By Greg Prevost, from his book Rolling Stones Gear


Before they began work on the album, the group had some time off for personal projects. Bill continued with his own productions, in particular his protégé group the End, whose excellent Introspection album was released on Decca later in the year. Brian spent most of his time at Olympic studios with Jimi Hendrix, adding percussion to “All Along The Watchtower” during one of the sessions, while expectant father Charlie stayed home with his wife Shirley, who was soon to give birth to their daughter Serafina on March 18. Mick and Keith stuck to Stones’ business, writing several songs for the new album while staying either at Redlands or at Mick’s place in Chelsea.