Too much woman (for a hen-pecked man).
“What’s the difference between you and Peter Tork?” asks Phil.
“Me?” says me.
“As an example. What’s the difference between you and Peter Tork?”
“I don’t know. What’s the difference?”
“You didn’t date Nico.”
I love it when Phil comes to visit.
We picked him up this morning for a late breakfast and a few hours of general bumming around. The plan, as laid out yesterday, had been to maybe do some record shopping.
“No,” he says, at breakfast. “Scratch that. I blew my budget yesterday. Unless…”
When Phil trails off like that, it’s an invitation to prod him for more. This is always worthwhile. “Yes, Phil?”
“Well, I’m trying to fill in some of the gaps in rock history between, oh, Char Vinnedge and, oh, Chrissy Hynde…”
Jenn and I grin at each other. “Who?” says Jenn. —She’s asking about Char Vinnedge, of course. I mean, if you don’t know from Chrissy Hynde, well, read this and go buy some albums and listen to them and then come back. Not to be snooty or anything. But.
Anyway: Char Vinnedge: as Phil tells it, back in 1964 the Beatles came to America. Vinnedge went to see them in concert and (like most screaming young girl fans) left with the burning desire to form her own band just like them. So she dragooned her sister and a couple of friends into playing the songs she wrote and they called themselves the Luv’d Ones and if they never quote broke out of the Michigan circuit back in the day, we can in this 21st century buy a run of their stuff off Sundazed Records and with the benefit of hindsight note how ahead of their time they were and how Vinnedge was a guitar god of the first water and if we go a bit overboard sometimes, assuring folks they weren’t the puppets of record company executives, they weren’t a marketing gimmick at all, why, that all-girl band really did play their instruments, well, it’s understandable. (We’re frequently reminded the Monkees could play their instruments, after all.) —But the Luv’d Ones are unusual. They were ahead of their time. They blazed a trail, back there in the mid ’60s, for all that it’s gone largely unnoticed.
Rock history, then, from Char Vinnedge to Chrissy Hynde.
“Well,” says Phil, “for one thing, there’s the Joy of Cooking.” And can we stop for a moment and reflect on how fucking cool it is to name an American roots-folk-rock band the Joy of Cooking? “They were formed in the late ’60s, early ’70s, when I think both of them were in their 30s. So they were doing rock songs about housewives being abandoned by their husbands and having nothing to do all day but drink, you know? But they weren’t an all-woman band. They had some guys who would come and play their instruments and keep their mouths shut. And anyway, they aren’t the ones I’m looking for. Not today…”
“Oh?” I say.
“Fanny,” says Phil. “Fanny and Birtha.”
“Fanny,” says Jenn.
“And Birtha,” says Phil. “I’ve got one album by Fanny, but it sucks. Still. It’s an all-woman heavy rock band from like 1971. And Birtha I think put out two albums, and everyone says they’re better than Fanny, but I’ve never seen either one anywhere. So I’m safe. I’m not going to find them. I mean, I blew my music budget yesterday…”
So we pay for breakfast and Jenn heads back to the house to work on the latest page of Dicebox and Phil and I stroll down Hawthorne to Excalibur, where he picks up a 1973 copy of The History of Underground Comics (out of print). “I blew my music budget,” he says. “Not my buying-neat-stuff-on-a-whim budget.” And on our stroll back to the car, we happened to pass Crossroads Music, and since Phil had already blown his music budget and anyway he was not going to find what he was looking for, he was safe, right?
Score: Birtha, by Birtha; Charity Ball and Rock and Roll Survivors, by Fanny; and a copy of Sandinista on vinyl, which isn’t one of the gaps Phil was trying to fill, but is pretty thin on the ground at this moment in history, so.
And so I got to hear Birtha, and I got to hear Fanny, and I think I agree: Birtha’s the better band. The opening track on the album—“Free Spirit”—gets this chugging beat underway that cries out for some Quentin Tarantinoid to dredge it up for a perfectly obscure moment of transcendent pop-culture swagger on film. And if Shele couldn’t quite do the Janis she was trying for (I think it was Shele), well, she hit close enough to not have any regrets, I think. —But I’m perverse: I think I like Fanny better. Of the two albums we heard, I’d be more likely to play Charity Ball than Birtha. More range—no, not quite; more ambition in what they were reaching for, even if they weren’t as successful in pulling it off. It was a more fun album, in some respects. But I want both albums in the house—it was like—okay. There’s the Replacements song, “Alex Chilton,” right, which is one of the best songs ever. And it’s about Alex Chilton, who was the prodigy kid behind Big Star, whom a lot of people who know from music talk about but you don’t hear all that much. So I finally go out and get the CD that has Big Star’s first two albums together, and I play it, and it was—but I need to digress again. Back in high school there was a cool radio station in Chicago whose call letters escape me. Michael Palin, looking for a quick hit of cash, did a couple of rather funny television commercials for them. In one of them, he was inexplicably holding a pizza while informing the viewer that this particular radio station did not play its music over and over and over again from some pre-programmed hit list. Variety, that was the key. A wide spectrum of songs. He looks down at the pizza, and sighs. Holds it up. “And to think,” he says, “This was once ‘Stairway to Heaven’.”
Maybe you had to be there. But: the point: Big Star is pretty squarely in the genre called Classic Rock; it’s what you’d hear on the radio in the upper 90s to the low 100s, I guess, and don’t those stations usually have a morning Zoo? “Aqualung” and Foreigner? You know? Big Star would in style and approach and general sound fit seamlessly into that format. —Except that it isn’t pizza.
And neither is Birtha. And neither is Fanny.
And now I want to hear some Luv’d Ones, too.
“They weren’t the first, though,” says Phil. As if one could ever point to anyone and say, that person, there, that’s the first. As if the category we’re talking about—women rock instrumentalists? Rock bands fronted by women who wanted to front their own rock band?—were anything more than a vague sketch. Fanny and Birtha weren’t the only points (we could maybe hunt around for whatever Bitch put down on tape somewhere) and of course Char Vinnedge wasn’t the first (if you wanted to get silly about it, you could point to maybe Bessie Smith).
But Phil wants to talk about somebody else. “Nope. There was somebody earlier…”
“Who, Phil?”
He grins. “Kathy Marshall, the Queen of the Surf Guitar. She was 13 years old. She played a lot with Eddie and the Showmen and blew Dick Dale off the stage. And guess how many recordings she has.”
I shrug. Phil holds up his thumb and his forefinger and makes a circle with them.
“There’s a couple of acetates somewhere of two songs written for her that nobody’s pressed,” he says. “That, and maybe six pages of photos of this 13-year-old girl in a cute little dress with a Fender Stratocaster in the Encyclopedia of Surf Guitar. She apparently lives in Orange County these days. Had a couple of kids. She’s what, 52?”
And then we talked about whether one can categorically state that Death is a character in every Coen Brothers movie (I can’t find it in The Big Lebowski and I’m not entirely certain about The Man Who Wasn’t There) and what you’d maybe put on a mix tape that begins with “Mink Car” and ends with “All Tomorrow’s Parties.”
“Hey,” says Phil. “What’s the difference between you and Peter Tork?”
I love it when he comes to visit.
Commenting is closed for this article.
Hey, Phil. This one's for you:
http://www.angelfire.com/or3/surftones
Not suprised to hear about Dale's jelousy. Art Tatum was said to be so jealous of the incredible Dorothy Donnegan's piano playing that he wouldn't appear at shows with her:
http://www.jitterbuzz.com/dordon.html
Different genres, same old sexist shite.
To hell with getting the blog, Kip. I wanna' shoutcast. Too bad it's probably a federal crime these days or something.