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hoto by AKane Naka mula (ter On fF. 92 of The Se or Ay Ki i) Paul wy : 3 A = 5 CG: Tim Rose ee sc a Below gre $ ds $1 deshow wW @ SOMe SERRATE Rocks onl Mayas ths mas | CS 24 some nice guy sent ty, record Vv. g : Dead Rock Stars by Take Austen ~ a = ri Sone 4 gi epg nen Ne e.10: the Ri OTher twd OAS wese Sant +6 me e RiS€ and Fall of Vee Tay - : met Lavnt he but fecords vy paul craton 3 - a thane Huge a nce

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STAMPS FoR COOL. NEW Avip NEL ee Ane TUrE *LETTER

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TOMRADIO is your source for on the edge alternative music.

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The Supersuckers rule. | first saw them in Seattle opening for the Dwarves. They knocked my socks off. Four guys, two guitars (Sometimes two matching Gibson Les Pauls). They like to give you the finger and tell you how old they are. They write songs about giant gorillas and about being poor. But the best thing about the Supersuckers is that they play their instruments with power. They also seem to have a Hell of a good time doing it, One of the most amazing things I've ever seen was ata free promotional show by Subpop at Rockcandy, a club in Seattle, where the band was covered in beer and other miscellaneous liquids thrown on them by the audience. They seemed to feed off the abuse. They got better and better as they got wetter and wetter., and never faltered, even when literally blinded by beer. It's impossible to say exactly what makes them great. They've just got something Phil Collins never even heard of. . Needless to say | was very excited when | saw that the Suckers were playing Boston, my hometown with their buddies The Dwarves. Since they were playing there on the same night as Shonen Knife, | drove down to Providence to see an earlier show. Unfortunately, Providence is a seasonal town, and in the summers not many people are around to see punk rock shows. Nevertheless, the Suckers wowed the twenty people who showed. | guess | felt bold in my old school town or something because | started a conversation with Dan, the drummer. | don't remember what it started as, but it evolved into a comparing-notes-about-Seattle thing. Ed, the bassist/singer told me about the difficulties of releasing anything on vinyl. Sadly, before | could reach any kind of real conversation level, The Dwarves set something on fire, some locals smoked the club out with chemical fire extinguishers and all Hell broke loose.

Oh well, it was great to see them, | thought, and prepared for another great band, Shonen Knife. Shonen Knife played at T.T.’s, The Dwarves/Suckers at The Middle East, literally next door to one another. Waiting outside for my friend Jessica to show up, | was keeping company with Dan and Ron, the guitar player, who thought | should blow off the Shonen Knife show to see them again. They couldn't convince me, but we had a nice talk. They told me about Arizona, where they all met and started The Black Supersuckers. They dropped the Black when they moved to Seattle in the Eighties (before the Mudhoney album came out they are quick to explain). They told me they had spent the previous night in some house built on the border of New York and Connecticut, “with a little plaque to prove it. They talked about their US/Canada tour, and the worst town they played was Vancouver. "Fuckin' Calgary was more fun than Vancouver.” As if Calgary were Butte, Montana or something. Personally | wouldn't know. My knowledge of Canadian cities is not what it should be.

We talked about Shonen Knife, who they do not like because they are too nice, and strippers, who they do like, and about Boston, where they had never been before. Basically the Supersuckers are genuinely nice guyS orf someone told them to be nice to their fans. | suspect it's a little of both. There new album is out and they are on tour right now.

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The posters were everywhere: "Jim Rose Circus Sideshow. . . Midnight. . . Freaks!" The night of the show arrived and as the witching hour approached no necessity for a slick, flashy barker hawking the venue existed. A line spread three people thick

tending a half block back

ollectively hungered for the bizarre. Suddenly- The dreaded announcement was made-"SOLD OUT!" Inside, literally thousands of people craned their necks to see Mr. Rose's Cabaret of the Nauseating. The clubs usual Punk crowd was there, but tonight mixed in were the purveyors of Classic Rock, Top 40 and Sweet Soul Music. For tonight was not about music (though it was very "Rock and Roll"). Tonight was about Freaks-and voyeurism knows no social boundaries.

Actually "Freak" is not

“tly correct. "Geek" is more ‘rate. In a sideshow a Freak ld usually be someone ysically different than the ormal ” people who make up the audience. A pinhead or mulefaced woman are examples. A Geek is a sideshow entertainer who does something bizarre, or disgusting to genteel sensibilities for the pleasure of the viewing audience (traditionally biting the head off of a live chicken and drinking the blood). That is closer to what Jim Rose's posse of young, body manipulators and modern primitives are. If you go expecting to see Siamese twins (as my friend did) you may be disappointed.

Besides Mr. Rose and his .

lovely assistant (whose job differs

from Vanna White's in amount of time handling maggots and bile and tracheal fluid covered objects) there were four performers that evening. Billy Ray Cyrus lookalike

Ai CIRCUS ‘a, ‘SIDESHOW:

aN, Torture King, with an expression of dour seriousness, displayed his chest as a human pincushion with over 40 needles piercing the skin. He then stuck needles and skewers through the skin of his throat, arm, orbit of his eyes and in one cheek and out the other. His bored, . distant expression showed no pain or emotion and from where I was standing, his skin showed no blood. Later when I spoke to him up close, his body actually did look like you'd expect one to after sticking pins through it, but during the show it's amazingly clean looking. Also his mood was much friendlier and more open than his stage personality. I guess it's important not to seem too normal when your skewering yourself for showbiz purposes.

Mr. Lifto, a handsome young oddity emerged in drag, looking not unlike the killer in Silence of the Lambs (not Hannibal, the other one). He then lifts weights and

. irons (the kind you iron clothes

with) with hooks in his pierced ears, tongue, nipples and of course, penis. This stunt was the favorite of the fellow next to me.

2 es 2

The star attraction is The Tube. His big trick is to insert seven feet of rubber hose into his stomach via his nose and then have 40 ounces of beer, some ketchup, chocolate syrup and a bottle of Maalox pumped into his stomach and then sucked out with a giant syringe. Then the extracted liquid, now greenish from the bile, is poured into cups and drunk by the performers, with Al Jourgenson of Ministry as the guest Mocha-Bile Beer Cocktail drinker of that evening. This stunt brings down the house. My favorite performer was Slug. Slug plays keyboard circus organ style in accompaniment all night until it is his turn to shine. After a velvet throated rendition of Misty, he leaves the ivories to demonstrate that his esophagus has other skills. After eating some worms, crickets and maggots, he wows the audience with classic sword swallowing. What is most appealing about Slug is that he shows the most personality during his act, specifically he acts like a mugging, wise-assed, likable little kid - one that would eat worms to show off and make the girls go "ewwwwww.

The soul of the sideshow, though, is of course Mr. Rose himself. Manically emceeing shirtless in a vest with his boxers pulled way higher then his pants’ waistline (cool 90's style), Mr. Rose hawks his cadre ( at one point screaming at Torture King “I would never exploit you!") adding humor to the unsettling and framing the performers acts with his own classic tricks (Bed of Nails, lying in glass, straitjacket escape, etc.). What he adds to these old chestnuts is his style. Houdini used to perform to a patient audience sitting in-a theater for hours while he would perform a seemingly impossible escape.

What is most striking about the entire act is that these performers are, in some ways, mirror images of the punk members of their audience. They are young, grundgy, intelligent people who are tapped into a certain energy that a lot of their generation feels. The Generation X,"Slacker", “Eightball” and "Dirty Plotte" comix, RESearch books, etc. etc. Groove. Rose's Geeks share more than a Seattle home in common with SubPop records and Today's audiences wouldn't play “Hate” comics. I can't explain it that. They want blood! So instead _ any better than that who they are of going the usual magician route- truly fits in. Jim Rose puts part of it trying to impress audiences by developing better and more baffling tricks and illusions- Rose does old tricks louder and nastier then anyone before.

While a modern audience would be expected to marvel at a straitjacket escape only if it was done remarkably fast or as part of a dangerous scenario (suspended over blades or something), Mr. Rose appeases the audience by escaping slowly and methodically- WHILE SCREAMING IN PAIN! (He of course proceeded the trick with an allusion to intentional shoulder dislocation.) Another time he does an old Houdini trick of swallowing needles and thread and regurgitating a threaded needle. Instead of needles, though, he uses razor blades. Now obviously threading needles is more impressive, but razors-That is so gross! And therein lies the heart of the magic of the 90's that sells out rock clubs.

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Chicago, Dlinois is world renowned for it's R 'n' B tradition. Many famous bluesman such as Howlin’ Wolf, Muddy Waters and Little Walter recorded under Chess label and that is one reason why Chess is considered, historically, Chicago's most important R'n'B record label. While Chess is deservedly recognized, we must acknowledge the contributions of Vee Jay records, an independent label whose influence and music is less known, but in the world of R'n'B is possibly just as significant.

Vee Jay was the first Black- owned major record company. Vee Jay's success was due in part to its versatility and because its product was firmly grounded in and did not part from its Black roots. As with Chess, Vee Jay's roots grew up from the South. And the Southern Black music that played an essential role in the history of Vee Jay was Gospel.

In his book on Soul music Nowhere To Run , Gerri Hershey describes Chicago as a Gospel "fortress". It was the demand for Gospel records in the Chicago area that motivated Vivian Bracken, husband James Bracken and Calvin Carter to establish Vee Jay. (Vee stands for Vivian and Jay for James.) Randy Wood, who became the president of Vee Jay in 1963, tells about the formation of Vee Jay in Arnold Shaw's great book Honkers and Shouters :

"The company started out as a Gospel label. The Brackens had a set of small retail record shops in the suburbs of Chicago, as far out as Gary (Indiana). They had

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just didn't have sufficient product. Companies like Apollo and Savoy had limited catalogues. People interested in Gospel collect records the way kids collect their favorite Rock artists. James Bracken told me that that was one of the reasons for forming Vee Jay.” (p. 327)

One of the great Soul singers with a background in Gospel is Jerry Butler. Like many Black Chicago artists, Jerry Butler was born in the South ( Sunflower, Miss. ) and as a youth moved to Chicago. When he was only 15 years old Butler's father passed away, leaving him to support his three siblings by singing Gospel. Despite his singing talents, he studied to be a chef and an ice sculptor (Hence, among other reasons, Butler's nickname, "The Iceman"). After a time, he began singing at Traveling Souls Spiritualist Church where a meeting with songwriter Curtis Mayfield and Sam Goodin led to the formation of the Impressions.

At the Impressions’ audition for Vee Jay in 1958, Butler sang "For Your Precious Love” which shot up to the Top Ten in five weeks. But without consulting members, Calvin Carter had the credits read: "Jerry Butler and the Impressions” which caused friction and his breakup with the band. As a solo artist, Butler scored a number one hit on the R'n'B charts with "He Will Break Your

Heart". In 1962, in an effort to cross

over into the mainstream, he _recorded “Moon River" and the following year he recorded “Make it Easy on Yourself", written by Burt Bacharach and Hal David.

Both songs made the Pop and R 'n' B charts, and although Butler called the songs "prostitution in a sense,”

he acknowledged the legitimacy of ‘

reaching wider audiences and making money. (Shaw, p. 326) From the beginning, Vee Jay Records sought to cross over into the Pop record markets. While Chess records recorded Blues that was raw and authentic and scored hits with rockers like Bo Diddley and Chuck Berry, Vee Jay found Chicago's vocal groups could sing ballads that could be hits in the Pop market. Vee Jay's first release was by the Spaniels, a group that started singing together at Roosevelt High School. Named after a dog breed and possessing super cool vocals, the Spaniels scored a huge hit with “Goodnight, Well It's Time to Go", a 1954 release. Another group with a smash

ballad hit on Vee Jay was the Dells, who began singing in choir and

then together at Thorton Township

High School. In his book Rhythm and Blues, Lynn Ellis McCutcheon

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c e Dells “a fine contemporary group and one of the last of the great R ‘n' B giants of the fifties." (p. 257) The Dells' biggest hit, indeed the song that became Synonymous with them, was "Oh, What a Night", recorded in May of 1956. The song featured an interesting use of call-and-response with lead singer Johnny Funches repeating "Oh, what a night" while the group responded with "To hold Ou...to squeeze you". "Oh What a Night" reached number four on the R'n'B charts and started the Dells on a successful career that brought them to "The Ed Sullivan

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The Impressions, 1958. Clockwise from top

Show" and "The Tonight Show’. The Dells are still active today and are celebrating 1992 as their 40th year in the business. (see next issu for more on the Dells) The production of Calvin

Carter at Vee Jay was a creative force in making the records hits. "Records cut by Vee Jay were true vocal records with lean instrumental backgrounds. Voices were used inventively to fill the Spaces generally assigned to instruments.” (p. 317, Shaw) With the exception of "Sincerely" by the Moonglows (one of whom was a brother of one of the Spaniels), Chess Records' experiments in production dealt mostly with adding echo and distortion to Blue's vocals.

Another Vocal group who

scored a hit with Vee Jay was the El

Dorados who came from Englewood High School. The El Dorados sound as outgoing and partying as the Spaniels sound cool. The El Dorados, who recorded with Vee Jay from ‘54 through ‘58, had one smash hit entitled "At My

‘Front Door", which reached

number 1 on the R 'n’ B charts in 1955. Although the group recorded many great ballads, such as “I Began to Realize", "At My Front Door" is their most intense, rockingest tune-I love that song.

With songs like the ones mentioned and other successful releases by artists such as John Lee Hooker, Jimmy Reed and Dee Clark, it is no wonder Vee Jay Records was initially very successful. Within two years of the Spaniels "Goodnight, Well it's Time to Go" Vee Jay owned a building on Michigan Avenue across the street from Chess. By 1962, Vee Jay was selling incredible amounts of records with a white band called The Four Seasons who had three number one Pop hits in ‘62 and ‘63, “Sherry”, "Big Girls Don't Cry", and “Walk Like a Man".

Despite it's early prosperity, the strings of hit records and the outward appearance of thriving enterprise, Vee Jay folded in 1965. Through a deal negotiated by Randy Wood in 1963, Vee Jay released four Beatles singles in '63 and '64, but the Beatles did not catch on in the states until "I want to Hold Your Hand", which was released by Capitol. This was bad luck for Vee Jay, but even if the Beatles had scored with Vee Jay, it still might not have saved the label which was mismanaged and in debt.

When Randy Wood took over as president in 1963, Vee Jay was trying to regroup from every standpoint-from the location of masters to paying creditors, distributors and artists. As Wood stated, “We found one pressing to whom we owed a quarter of a million dollars. At one point, we had no fewer than sixty-four legal

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42. The Eldorados (Courtesy of Vee Jay Records)

acts going on." (p. 338, Shaw) Part of the problem was past owner Abner Ewert's refusal to straighten out the bookkeeping. Also because the business was family owned, there was a reluctance to fire any of the ‘dead weight”. After missing a chance to sign hitmaker Johnny Rivers, Vee Jay's luck had run out. They filed for bankruptcy in 1965 and a company called Modern

Distributors formed by Betty Chapetta “spun off" the masters to \

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EDUCATION

WHITE BOY READS 8% FEWER BLACK MALES GO TO COLLEGE THAN 1980, RUSHES UP TO GROUP RAPPING AT SLUM ST. CORNER TO MOTIVATE -

a. You guys’ got equal access b. to make yourselves a success c. Get unstuck from this mess! IN RESPONSE, THEY RAP BACK

1e You expect us to matriculate?

2. Having grown up in

' @ separate state?

3. Don’t you shake your finger.

White Boy, it’s too late!

WELL, SAYS WHITE BOY. WHY

NOT CUT A RECORD, OR GET A SPORTS CONTRACT: HE CAN'T FINISH BECAUSE OF FAT LIP

BIAS

cs - : — tie fo 3 the Four 5eason sii

several record companies.

The rise and fall of Vee Jay Records is important because of the great authentic R ‘n’ B that came out of Chicago in the ‘50's and '60's. The songs of the vocal groups and Soul singers of Chicago influenced R ‘n’ B and Pop and, hence, Rock and Roll.

As a business, Vee Jay is important as the first Black owned record company. As R'n'B expert Arnold Shaw puts it: “Perhaps Vee

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Jay's experience as a Black owned label that failed helped Berry Gordy build the Black owned enterprise that became the fabulously successful Motown entertainment complex.

Also recommended; The World of Soul by Arnold Shaw and Chicago Soul by Robert Pruter.

IF THINGS ARE REAL OB-yI- pe CHE DOESN'T Notice. IT”

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A: Can you tell how you got together. big cand... | t:well usually in England it's d1z- ga’ ‘cause in Sngland tnezes a orass section, but we ‘avn't got one in t-e states, For starters we can’t “ford it. We got together ten years 223, same nucleus, there's orly one serson different. Ae started off as born again Anarchists, early eight:es, really strict with ourselves. Lived in the same ‘ouse, shared tne Sane -0- ney...um... I tried really ‘ard for us to...to set ug tais alterma*ive Living style, but we decided tnat we were, .un ..it were'’nt the test way to live for

us, It was false you xnow, -t as a tit lixe a religion. So gradually We gct nore and more debdaucnec,.

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us, lixe wher. Dan comes out a5 tre na- wed san in the bodysuit, it’s abou» Duten resistance fighter during Nazi vation and it°S 2...

Eut how's anyone going to get that? Well it don't matter really if cney éo or if they don't, it's *ne spirit, YR KNOW. ee

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A: What about when you were a kid? -; Fuckin ‘ell, let me ‘ave a chink.

Ch we did a brilliant thing...°* were'nt actually on ‘alloween, we ‘ac i+ after ‘aloween. Where all of us sade costunes for sorebodies birthday ard..uh,.ane were a Creature from the Black 12690", and i made nyself a fifteen foot wire tail.

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