blackleatherbookshelf: (Flames)
Dictators Forever
3 Out Of 5 Stars

Producers Sandy Pearlman and Murray Krugman saw the nascent Blue Oyster Cult sound in The Dictators' voice and made "Manifest Destiny" parallel the early BOC discs. Thick, sludgy guitars, vocals back in the mix and heavy on the reverb. As a result, I really can't give this 5 stars due to the muddy production, but at the same time, this was the album that made me a Dictators fan for life! Why the Dic's haven't been put on the pantheon they deserve is beyond me, but with songs like "Science Gone Too Far" and their blistering cover of The Stooges' "Search And Destroy," they proved they could blast as well as their CBGB contemporaries of the period. And they were not without a sense of humor; just check out the opening lines of "Hey Boys" or Handsome Dick's monologue on "Disease." "Manifest Destiny" is a brilliant artifact of an era in American Music. They followed it up with their masterpiece, "Bloodbrothers," and Sony has been kind enough to leave "Go Girl Crazy!" in print. My advice is get 'em all now and that includes the recent "DFFD" because it still smokes the competition.

Then there's "Bloodbrothers": The Dictators make sure you know exactly what you're in for as soon as the music starts..."Faster And Louder!" This was the most forward of the Dic's three original albums and the closest they came to a mainstream sound. That being if you could call anything The Dictators did "mainstream." Their's was a take no prisoners attitude, with everything about "Bloodbrothers" being so sorely missing in music at the time of its release. In 1978, Punk was just beginning to come into its own and the whole CBGB's crowd was setting their sights on world domination.

That may have been to The Dictators' detriment. In a period when bands were deliberately trying to sound more garagey and nihilistic, Handsome Dick Manitoba and the boys were rocking polished and hard, more like Blue Oyster Cult than the Dead Boys. Despite being "Faster And Louder," this band was not trying to break punk rock's land speed records. A classic case of zigging when they should have zagged. No matter. There were no other bands with this much panache, humor and ballsy fun coming out of NYC, and "Bloodbrothers" spends its nine songs without letting up on the throttle once. If you aren't out of breath by the end of The 'Tators' rip snorting cover of "Slow Death," then you'd better start the record over and start paying attention.

As others have noted, there are "breaks" between the segues on "Bloodbrothers" that someone should have picked up during the mastering process. You can get "Manifest Destiny" as an Auto-rip from Amazon. but not "Bloodbrothers." BB you can get from I-Tunes.


   
blackleatherbookshelf: (Flames)
The Spirits of the '70's
4 Out Of 5 Stars

Offering conclusive proof that the 70's were more than disco balls and The Captain & Tenille, this punky soundtrack to the movie "CBGB" mixes in classic New York punk and new wave, along with some classic proto-punk and the late owner of the club, Hilly Kristal, singing a country inflected ditty called "Birds and The Bees." It's enough to make you sappy for the old, ugly pre-Disneyfied Times Square.

The mix is pretty cool, as well. While you get some of the more obvious (IE famous) bands to break out from the CBGB stage (Blondie, Talking Heads), you also are offered some of the better bands that got brought into the big label league, only to fall victim to an audience (and more often than not, record labels) that just didn't get it. Those bands include delights from The Dictators, Laughing Dogs, Tuff Darts and others. Then there's the notorious of the bunch, like Wayne (eventually Jayne) County and Johnny Thunders. There's also quite a few others that fell somewhere in the middle, building a well known reputation but never equaling the talk with the sales (New York Dolls, Television, Dead Boys).

If it seems to you that the bands I'm pointing out are all pretty darn different from each other (Dead Boys' nihilistic punk is not the same as Blondie's power pop is not the same as Television's arty guitar compositions), then you're right. The tiny stage of CBGB's was a place that hatched all sorts of Bowery Bands, and while the DIY ethic was often the same, the bands could often be miles apart. So having the likes of the MC5 ("Kick Out The Jams"), Iggy and The Stooges ("I Wanna Be Your Dog") and The Velvet Underground ("I Can't Stand It") along for the ride shows that the roots of the NYC Scene came from just as many sources as the sounds the new bands were making on their own.

There are a few nods to the aftermath of the time, including Joey Ramone's posthumous "I Got Knocked Down (But I'll Get Up)" from 2002 as something of a footnote to the period. The neighborhood that fostered musicians and junkies is now gentrified and the original club closed. Kristal died in 2007, a year after the bar closed over a rent dispute. At one point, some jokers in Las Vegas wanted to open a club that carried the namesake amid all the rest of the phony glitter. There's real gentrification for you. But as Richard Hell sings, "I was saying let me outta here before I was even born!" which about sums up the heart of this whole soundtrack. While the trendier of the 70's NYC luminaries were headed for Studio 54, a whole batch of young ne'er-do-wells were smashing their way out in the opposite direction, preserved here on the "CBGB" Soundtrack.


   

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