Doesn't John Conyers care what he's doing to his legacy?
by
DC Larson

Those relatively few and routinely ignored 'progressive Democrats' who robotically urge that the donkey be rallied 'round in times of balloting ('We're changing the party from the inside,' they perenially insist -- a job that somehow never generates issue) are pointing to the soon-to-be-chaired hearings on Rep. Dennis Kucinich's presidential impeachment call as exemplary of the decency inclination amongst their corporatized fellows.

An email recently sent out by online activism coordinator The Pen hailed the upcoming proceedings. "But will they be real hearings..," it asked, "or just a fly by with action on impeachment itself still expressly off the table?"

Actually, those hearings will prove instead that venerable, powerful liberals in the Democrat-led Congress are as unconcerned about political justice as is any neo-con in Rupert Murdoch's Rolodex.

The most damning bit at hand is House Speaker Nancy Pelosi's notorious declaration that "impeachment is off the table." There can be no reasonable hope of conviction when the High Judge so pre-emptively rules.

Given that decree, it can reasonably be predicted that despite any fiery rhetoric, condemnatory assertions or camera-friendly cavortings the impeachment hearings will likely produce, absolutely nothing substantive will come from them.

Comes now the sad tale of Congressman John Conyers.

In a July 23 letter to Conyers, Chairman of the House Judiciary Committee, independent presidential candidate Ralph Nader noted that while several witnesses were set to appear during the hearings -- including former congressman, now-Libertarian presidential candidate Bob Barr -- Nader himself was not on the list.

Nader reminded Conyers that they had had "several conversations and two meetings" focusing on impeachment. And that he had previously drafted a letter to the Chairman laying out options available to him.

"This is not the first time that I have been excluded from testifying on subjects both of us have been concerned about and have discussed," Nader wrote Conyers in the most recent letter. "Remember your invitation to testify at your unofficial public hearing right after the 2004 elections regarding 'irregularities' in Ohio? Within two days, your chief of staff, Perry Applebaum, persuaded you to disinvite me.

"Applebaum has been a problem with my appearing before a Committee Chairman whom I have known, admired and worked with for nearly forty years. He has performed his exclusionary behavior on other occasions..."

The phenomenon of Nader's being shut out of hearings to which his knowledge and decades of experience might well contribute consequentially, perceived not illogically as Democrat "payback" for daring to exercise his constitutional right to seek elective office, is not a new one.

A 6/25/08 Washington Post article ("Miles to go") noted that, "Since 2000, Nader has been shut out of places that used to welcome him. Once a familiar figure on the Hill, he is shunned by Democrats when he offers to testify at congressional hearings, even on matters such as auto safety."

Nader himself observed to the Post that Delaware Senator Joe Biden, Chairman of the Foreign Relations Committee and Judiciary Committee member, had once said of him, "[Nader] better not come up to Capitol Hill."

Judiciary Committee Chairman Conyers has over decades of senate service earned a reputation as a champion of the public interest.

But in 2008 and with elections looming, all that deserved renown seems to mean little to Conyers. His presumably willful participation in this uber partisan stuntery -- at the expense of the public interest and with high crimes unpunished being the likely result -- illustrates to what depths even 'venerable, powerful' liberals will dive when the donkey demands.



end

Teacher's Pet "s/t" (Smog Veil, 2008)
Pagans "the BLUE album" (Smog Veil, 2008)
by
DC Larson

Like jagged stones depth-bombed into serene playlist waters, landmark '70s/'80s vinyl by the New York Dolls, Ramones, Dickies and Dead Kennedys wrought ripples that spread across the nation and beyond.

Duly inspired/corrupted, smaller scenes sprang up and featured their own clubs and must-see bands. Boston had Willie "Loco" Alexander and the Boom Boom Band. Motor City Detroit (which had birthed Proto-Punks the Stooges and the MC5) gave up Destroy All Monsters.

And a few combos found greater success upon leaving their respective small pools: Pere Ubu, the Dead Boys* and the Rubber City Rebels, from Cleveland; The Replacements and Husker Du, from Minneapolis.

But many others's recordings went largely unnoticed, owing to limited promotion and regional-only renown. Fortunately, we have access to retrospectives.

TEACHER'S PET was formed in 1977, the same year that saw debut LPs issuing from Blondie, the Heartbreakers (Johnny Thunders version) and Richard Hell and the Voidoids. In a not uncommon tale for the period, the four-man group's existence was relatively brief. But tracks recorded by them in 1979 have just been reissued.

Over 18 tracks (plus vintage videos) , "Teacher's Pet" presents sleek and headlong nascent power-pop of benign mien. Teacher's Pet treated Ohio crowds to the sort of guitar-stoked, keyboards-laden tunecraft that at once echoed venerable melodizing and inspired dancers floor-ward.

Like their live sets, the CD mixes originals with covers. "Meet Me At the Hot Dog Stand in Half An Hour But Don't Tell Your Dad," "Cincinnati Stomp" and "Hooked On You" all buzz with ampheteminized good humor. (And all three are also included as video versions.)

Covers are represented by readings of the Professionals's (Sex Pistols Steve Jones and Paul Cook) "Lonely Boy," Eddie Cochran's "Summertime Blues" and the Paul Revere and the Raiders transistor radio hit, "I'm Henry the VIII, I Am."

PAGANS - Like fellow Clevelanders Teacher's Pet, the Pagans came into being in "Summer of Hate" '77. But they had no time for breezy and tuneful finesse. Theirs was instead a rocketing molten mass of surly rock'n'roll bombast with existence-shredding implications.

Usual suspects guitar, vocals, bass and drums were employed as weapons against the doldrums of Rubber City ennui. "the BLUE album" captures an '89 tour gig. The fighting-trim Punk brutality of sweaty cuts "She's a Cadaver," "Her Name Was Jane" and "Us and All Our Friends Are So Messed Up" fit seamlessly beside a razory cover of the Stones's "Heart of Stone."

The ultimate worth of "the BLUE album" lies in its documenting of splenetic Punk ferocity without a NYC address. Rude guitars charge, crash, and charge anew. Dangerous drums pound into neighboring dimensions. And vocalist Mike Hudson screams and growls like a street fighting man possessed. (Today, Hudson offers his eyewitness chronicling of those times in his tome, "Diary of a Punk.")

Chronicles like these make it plain that for collectors intent on amassing complete 1970s Punk disc collections, the task continues...


http://www.thebandteacherspet.com
http://www.myspace.com/thebandteacherspet
http://www.myspace.com/pagansclepunk
http://www.clepunk.com
http://www.smogveil.com

* Prior to their "Dead Boys" NYC debut, that band's members stormed their hometown of Cleveland as Frankenstein. (And before that, some had gigged as Cleveland's Rocket From the Tombs.) A 1996 three-track CD issued by Hell Yeah! includes 1975 Frankenstein demos of songs later to see new life on the Dead Boys's first Sire LP in 1977.

(copyright 2008, DC Larson)

To Smear a King:
Crossing swords with the power of myth
by DC Larson

It has become something of a tradition, albeit a regrettable one. As the August anniversary of Elvis Presley's 1977 death approaches, self-righteous hectors villify him as "racist."

It is a false claim, though for some one not requiring that examinable evidence ever be produced. But putting one's hands on contrary testimony is easily done.

The myth-debunking website Snopes.com (on its "Urban Legends Reference Page") details the origin of the counterfeit claim. The site cites Michael T. Bertrand's book "Race, Rock, and Elvis."

Bertrand had found that the April 1957 issue of the white-owned Sepia magazine contained the article, "How Negroes Feel About Elvis." The piece noted that, "colored opinion about the hydromatically-hipped hillbilly from Mississippi runs the gamut from caustic condemnation to ardent admiration." It offered views allegedly collected from both celebrities and "people in the street."

Snopes writes, "Presumably from the 'people in the street' came the infamous and uncredited quotation, "The only thing Negroes can do for me is shine my shoes and buy my records."

Sepia sought input from African-American Minister Milton Perry. "I feel," Perry told the magazine, "that an overwhelming majority of people who know him speak of this boy who practices humility and a love for racial harmony. I learned that he is not too proud or important to speak to anyone and to spend time with his fans of whatever color, wherever and whenever they approach him."

It was not long, though, before the anonymous, 'people in the street' comment was being falsely attributed to the singer, himself. Again, Snopes. "The rumor grew and spread throughout 1957. It mattered not that the story came cloaked in impossible details, such as Elvis supposedly making the statement in Boston (a city he had never visited) or on Edward R. Murrow's Person To Person television program (on which Elvis never appeared)."

Unable to source the rumored comment, the website records, Jet magazine sent reporter Louie Robinson to interview Presley on the "Jailhouse Rock" set. ("The 'Pelvis' Gives His Views On Vicious anti-Negro slur" Jet, August 1, 1957)

"I never said anything like that," Presley told Robinson. "And people who know me know I wouldn't have said that."

A number of fellow musicians, whites and blacks, came to Presley's defense at the time. Notable among them was R&B singer Darlene Love, who had backed Presley with vocal group the Blossoms. "I would never think that Elvis Presley was a racist," Love was later quoted as saying in a 2002 article. "He was born in the South, and he probably grew up with that, but that doesn't mean he stayed that way." ("False Rumor Taints Elvis," Cox News Service, August 16, 2002)

(Other contradictory direct evidence exists on Charly Records's 2006 "The Million Dollar Quartet, 50th Anniversary Special Edition." In 1956, Sun Records alum Elvis joined Carl Perkins, Jerry Lee Lewis and Johnny Cash at the Memphis studio for an impromptu session. Prior to a loose, collective retelling of his then-chart hit, "Don't Be Cruel," Elvis related seeing Billy Ward and the Dominoes's recent cover performance of it. "Much better than that record of mine," Presley concedes. He describes Ward's onstage energy: "He was hittin' it, boy!" Jerry Lee responds, "Oh man, that's classic!" Performers naturally admiring a fellow performer; not a hint of color consciousness to be found.)

Myths, though, are of a seductive quality -- often for cultural reasons other than themselves. This popular legend-based anti-Elvis sentiment persists, with recent illustrations including Public Enemy's "Fight The Power" (1989) and Living Colour's "Elvis Is Dead" (1990).

(To his credit, Public Enemy's Chuck D. later expressed a more complex and nuanced opinion. He told a reporter, "As a musicologist -- and I consider myself one -- there was always a great deal of respect for Elvis, especially during his Sun sessions. As black people, we all knew that...My whole thing was the one-sidedness -- like, Elvis's status in America made it seem like nobody else counted. My heroes came before him. My heroes were probably his heroes..."Chuck D. Speaks on Elvis's Legacy," Associated Press, 8/12/02.)

As noted in an 8/11/07 New York Times op-ed ("How did Elvis get turned into a racist? ") by author Peter Guralnick, singer Mary J. Blige also cited the scurrilous myth as if it were at all based in fact.

Of course rock'n'roll existed prior to Presley's 1954 recording debut at Sun Records in Memphis. It was in some cases electrifying and wondrous in ways known only to audiences and subsequent vinyl collectors.

But the national stage appearance of Crown Electric Co. truck driver Elvis marked -- not an example of white culture appropriating something blacks had already developed but for which they were denied credit -- but the emergence of the hitherto-unrepresented working class into popular culture visibility.

In early years, Elvis did perform for segregated audiences in the pre-Civil Rights-era South. But for critics highlighting that to be fair, they need to note that segregation of public facilities was then a matter of civil law and not of performers's choosing.

Some might hold that, that being the case, performers had a moral duty to refrain entirely from public performance. But that would have made performing impossible for all musicians, black as well as white. And for many, it's as much a calling as a profession.

A Memphis, Tennessee contemporary of Presley's, Paul Burlison first earned renown as lead guitarist for Johnny Burnette and the Rock'n'Roll Trio. I interviewed him for a 2000 Goldmine article. He shared something of what the situation was like for working musicians in that time and place.

Paul was in a country band in 1951, when he caught the attention of blues man Howlin' Wolf. He began backing Wolf on the latter's radio program, though due to racial codes, Burlison's name could not be cited in group introductions.

"The reason I didn't play in the clubs with him was because of the racial thing back then," Paul told me. He recalled having to enter black clubs through back doors and said of Wolf, "It was the same with him if he came up to where we were playing. We would have liked to have [played clubs together], of course. It just wasn't permitted in those days. Not in Memphis, anyhow."

(Before his death in 2003, Paul's credits included not only rockabilly genre pioneering giants the Rock'n'Roll Trio, but international solo work and a 1990s showcase at the Smithsonian Institution.)

The "Elvis was racist" article-of-faith mantra is an offshoot of the larger fiction holding against evidence that rock'n'roll is exclusively black in origin. But Tennessee rockabilly guitar man Carl Perkins did not sound like venerated shouter Big Joe Turner, nor did the frantic storms of Jerry Lee Lewis recall the risible and urbane stylings of Fats Waller -- though all helped develop the music.

In his invaluable volume, "Unsung Heroes of Rock'n'Roll," veteran music writer Nick Tosches noted that the burgeoning sound which spread across 1950s America began in regional pockets and was of mixed parentage.

"Rock'n'roll was not created solely by blacks or whites," wrote Tosches. Earlier, after dispatching mono-racial rock'n'roll creation arguments, the author observed, "One could make just as strong a case for Jews being the central ethnic group in rock'n'roll's early history; for it was they who produced many of the best songs, cultivated much of the greatest talent, and operated the majority of the pioneering record companies."

Difficult as it would be to construct an exhaustive review of early rock'n'roll without citing Doc Pomus, Mort Schuman, Les Bihari, or Sid Nathan, it is telling that many of today's race-as-creative-qualification theorists might not even be able to identify those men, significant to the style's germination though they were.

Rock'n'roll was more than just music, it acted as a socially-unifying wing of the growing civil rights movement, uniting people on the dance floor just as others would come together in polling places. (Not to paint an overly-rosy portrait. It was not the entire solution. But it did help immeasurably to spur the phenomenon.)

It is flatly anti-creative to argue as some do that an individual or community can "steal" art from another, and that instances of blended creation be discouraged and reviled. That's how art is created. One artist inspires another, an idea is raised up, turned around, and new art is born.

Concepts like ownership, territoriality and separatism are wholly foreign to the phenomenon. (Which is not to argue that these invalid notions are still not useful for some; indeed, Mos Def founds the narrative of his 2002 "Rock and Roll" upon that very sand.)

Too, this involves a fundamental issue, that of reason versus emotion. There is evidence -- which merits intellectual regard and can convert the unsympathetic -- and there is self-righteously uncritical passion. It is the latter that animates the "Elvis was racist" lie.

That untruth is comfortable within a cultural posture that pronounces it acceptable and proper for genuine histories of oppression and appropriation to be universally assigned so as to include any specific instance or individual the speaker might select.

It is a model in which an argument's merit turns not on soundness, on actual provability, but merely on the identity and cause of the arguer; in which unfounded partisan sentiment assumes all the legitimacy of objective fact and demands respect as such.

There is a long and reprehensible history of struggling artists being denied rightful due. And both black and white musicians were so victimized, indicating that the matter is one perhaps more of business predation and of class than racial prejudice.

Critics are correct to point out that elements of white-dominated mass popular culture have at times assumed and reinvented black culture-born idioms, while paying neither due acknowledgment nor recompense. Deserving artists went unnoticed -- and that was criminal.

But such critics expose themselves as intellectually illegitimate and unethical when they seek to superimpose that tragic broad reality upon every specific target that might be tactically magnetic, without benefit of evidence. (And yes, it is ironic that while Presley's 1950's white racist detractors despised his music's multi-racial sensibility, many of his contemporary ones castigate him for the identical reason.)

Elvis was one of many talented men and women whose music helped American popular culture become representative of all the country's people. To ignore that today and instead proffer slanderous myths is an affront not only to his contributions and the prize of racial unity but to the intellectual ideals of honesty and reason.

END

(A shorter and substantially different version of this piece ran in Counterpunch, in 2007.)

CD REVIEWS: Rockabilly Magazine #34 2007 by DC Larson (copyright (c) 2007 Rockabilly)

Jerry Lee Lewis
"Last Man Standing" (Artists First)

"There are those rare pioneers within whom the
fires burn only more brightly in seniority," the
sage imparted. "For them, advancing years bring
additional glories."

"But," ventured the acolyte, "suppose such were
to be paired with younger, more accessible
colleagues. Would not the old seem obsolete
beside the new?"

The elder eyed him. "Boy, are you crazy?"

Recommended Tracks "Hadacol Boogie" (w/Buddy
Guy), "That Kind of Fool" (w/Keith Richards)

http://www.jerryleelewis.com/



Link Wray and his Wray Men
"White Lightning, Lost Cadence
Sessions '58" (Sundazed)

The guitar that savaged the world, leaving an
upright generation in tatters and urging its upstart
successor to new delirium. Link's pioneering, DIY
distortion and scramble chords threatened global
domination. Mission accomplished.

Recommended Tracks "Comanche," "Creepy"

http://www.linkwraylegend.com/
http://www.sundazed.com/



Boz and the Bozmen
"Dress in Deadmens' Suits" (Raucous)

Bracing, in-your-face tumble from the international
guitar hero, whose hillbilly inclinations enjoyed
spotlight on this 1987 Bozmen debut LP. Basic in
conception and combustable in presentation, with
spirit nods to Eddie Cochran and Marc Bolan. Steve
Hooker brought the surly R&B swerve.

Recommended Tracks "Mars and Jupiter Stomp,"
"Wild Heroine" (Steve Hooker)

http://www.bozboorer.com/
http://www.raucousrecords.com/



Davie Allan and the Arrows
"Restless in L.A." (Sundazed)

As much trebly vehemence as you'd hope for from the
fabled King of Fuzz Guitar, whose early works included
proud outsider biker flick soundtracks and downshifted,
pensive ruminations. A mostly instrumental set in which
Davie's ambitious lead narratives, endorsed by acrobatic
Arrows, voice more emotion than many singers.

Recommended Tracks "Toxic Terror," "Wicked Woman"

http://www.davieallan.com/
http://www.sundazed.com/



The Sharks
"Ruff Stuff" (Raucous)

'83 alternates and outtakes. Ripping ghoulish strut from UK
Strat/standup/snare. Grisly cheek. More blade-slash than
average psychos, and certainly more gallows punchlines.
Among the first and best.

Recommended Tracks "Deathrow," "Take a Razor to Your Head"

http://www.the-sharks.co.uk/
http://www.raucousrecords.com/



The Tremors
"Invasion of the Saucermen" (Brain Drain)

Their spooky, riveting creature-bop is loved by
legions of the finger-popping undead. GASP IN
HORROR at sparks-throwing trio rockabilly from
the great B-movie beyond. Every cemetery is a
juke joint in the skewed dimension of the creepy
cool.

Recommended Tracks "World War III Boogie,"
"Late Night Drive In Monster Show"

http://www.tremorsrockabilly.com/



Dale Watson
"Whiskey Or God" (Palo Duro)

Holy Fire and alcoholic escape share more than visceral
palliative benefit. Each leaves both the haunting spectre
of last night's respite and the new morn's reality of
enduring hardships. Limber-legged old school country
acknowledges that while both spirit and spirits may be
weak, the flesh remains willing.

Recommended Tracks "Sit and Drink and Cry,"
"Whiskey Or God"

http://www.dalewatson.com/
http://www.palodurorecords.com/



Wayne Hancock
"Tulsa" (Bloodshot)

While the moods and rhythms vary, encompassing
handy western swing, forlorn country blues and
jostling jukers, the heart never wavers. An all-originals
songlist so emotionally pregnant and skillfully crafted
deserves -- and here receives -- nothing short of First
Chair interpretation.

Recommended Tracks "Tulsa," "Gonna Be Flyin' Tonight"

http://www.waynehancock.com/
http://www.bloodshotrecords.com/



The Astro Zombies
"Burgandy Livers" (Raucous)

Sweaty and frantic live sample of gnashing French demons,
including skanky stutter-stepping beside the welcome,
hyper-speed bar chord crash/bash. Fury-fueled fun. The
strange and wonderful product of punk/psycho pile up.

Recommended Tracks "You Are Shit," "666 Racing"

http://www.theastrozombies.com/
http://www.raucousrecords.com/



Buzz Campbell and Hot Rod Lincoln
"Runaway Girl" (King)

Gretsch slung low, Buzz barnstorms across rootsy
overland. Fina and fiery cover from Ty Cox and Tim
Butler. The thundering stompers may first claim your
attention, but it is the swinging and swooping muses
that will bind it.

Recommended Tracks "Joint's Gonna Jump,"
"Walk Away"

http://www.hotrodlincoln.net/



The Bluejays
"A Hundred Songs" (Hithouse)

It is the desired destination of countless musicians,
the point at which alluring strains, siken harmonies
and trusted roots stylings collude with thoughtful
verse. Real world music grounded in human experience,
but reaching still for the fantastic. For the Bluejays,
that rainbow's-end reward is but the starting line.

Recommended Tracks "Anytime," "Devil in Disguise"

http://www.the-bluejays.com/




The Silvermen
"The Silvermen Attack" (self)

Succeeds as foray into complex jam territory, never
losing strident rock'n'roll identity or succumbing to
self-indulgent seriousness. Dynamic and flourescent,
with alert instrumentation more than equal to the task
charted by artfully busy arrangements.

Recommended Tracks "ronky donk machine,"
"one of the things"

http://www.the-silvermen.com/



Trent Summar
"Horseshoes and Hand Grenades" (Palo Duro)

Contemporary country generally smothers its own
potential by denying heritage in favor of latter-day pop
envy. Not so, here. Kicking Average Joe anthems
honor both moment and memory. Full band swings,
storms and even cruises, as appropriate. A rudely
fun party.

Recommended Tracks "Louisville Nashville Line,"
"He Stopped Loving Her Today"

http://www.myspace.com/trentsummar
http://www.palodurorecords.com/



7 Shot Screamers
"In Wonderland" (Big Muddy)

Evolution morphed St. Louis phenoms from de
riguer neo-billies to full-blown modern rock'n'roll
personalities modeling rip-and-stitch panache.
Ear-splitting flash becomes nuanced gentility
becomes technicolor conflagration sporting a
lopsided grin. One seconds Morrisey's "rockabilly
meets the New York Dolls line.

Recommended Tracks "World Domination Ball,"
"Hand of Glory"

http://www.7shotscreamers.com/
http://www.bigmuddyrecords.org/



The Derailers
"Soldiers of Love" (Palo Duro)

Seldom are fetching tunefulness and hard-knocks
poeticisms so cleverly conjoined, especially with
the welcome plus of time-tested hardwood twang.
Harmonies, hooks, jangly six strings and story-telling
heart for the midnight masses. The sound of living.

Recommended Tracks "Soldier of Love,"
"Hey, Valerie!"

http://www.derailers.com/
http://www.palodurorecords.com/



West Side Winders
"Snaken Not Stirred" (95 North)

Guitarist Dan Peters also adds hearty vocals and
pens all originals, wisely expanding soloing beyond
the familiar Sun vocabulary and instilling remarkable,
blast-force neo-rockabilly with topical sensibility. A
whimsicality looms at times, a jutted jaw at others.

Recommended Tracks "Little Doggies," "Keep it in
the Family"

http://www.westsidewinders.com/



Colin Winski
"Rock Therapy" (Takoma)

L.A. shouter Colin didn't so much replicate fires that
preceded as loose the mighty blaze naturally within.
Born of legendary indie Rollin' Rock and possibly the
most uproarious of 70s/80s voices (and performers),
he was equally comfortable with heartsore country
psalms.

Recommended Tracks "Love Me," "Burnin' Desire"

http://www.rockabillyhall.com/ColinWinski1.html



DVDs:

"Dark Angel" (Cult Epics)
Story, Production and Direction by Nico B.

Paige Richards recalls the innocent sinfulness that ensured
Bettie's fame. Brief, faux verite color vignettes are intercut
with stylized b/w recreations of classic 16mm loops like
"Whip Dance," "Fighting Girls" and "Bound and Gagged."
Danny B. Harvey charges each. Extras include photo
gallery and nude shoot. Accompanying soundtrack available.

http://www.bettiepagedarkangel.com/
http://www.cultepics.com/



V/A
Psycho Ward (Split Seven Records)

Pro-shot club footage. The Henchmen offer a trio of
bone crunchers, followed by 5 tracks of sturm und drang
from UK/US Phantom Rockers. Highlight: 4 songs by
raging L.A. metallic grotequeries the Hellbillys. Also here,
the Slanderin, the Phenomenauts and Los Creepers. Extras
include Phenomenauts's video "The Mission" and Devil Doll
interviews.

http://www.splitsevenrecords.com/



Two Tons of Steel
"Two Tons Tuesday Live from
Gruene Hall" (Palo Duro)

Freewheeling reminder that the division between honky
tonk country and orthodox rockabilly is negligible.
Colorful, whirlweind 15-song live DVD, accompanying
15-song CD. Classic covers ("Little Pig," a video version
of "Red Hot") mixed with romping originals including
"Unglued" and "Stinking Drunks."

http://www.twotons.com/
http://www.palodurorecords.com/



"Psychobilly Sickness" (Hardball 8/Stay Sick)
Directed by Ryan Davis and Duncan Garcia

Psychobilly's origin and import are explored through
narration and interviews with notables like P. Paul
Fenech, Kim Nekroman, Pip Hancox and Nick 13.
Covers psycho's global spread and impact. Acts
glimpsed include Demented Are Go, the Koffin Kats,
12 Step Rebels and the Starlite Wranglers.

http://www.psychobillysickness.com/
http://www.myspace.com/staysickpictures
http://www.hairball8.com/