American Indie: The Last Independent Automaker Docuseries Tells the Story of Nerd-Chic Pioneer American Motors

The Last Independent Automaker is a six-part documentary series about the incredible history of American Motors Corporation, told by the people who loved it. 

Everyone loves an underdog, particularly if it involves a Levi's Gremlin—Real Reldnew, 1984.

 

The Lost Footage: KISS Live at Cobo Hall, Detroit, Michigan, May 16, 1975.

Hey kids, remember the rock group KISS? 

No, not the current pair of flaccid yentas and day-hire imposters trading under the name—I'm talking about the group born from the fertile New York streets of the 1970s. The one that unwittingly managed to blend the rust-belt bombast of Grand Funk Railroad with the street smarts of the New York Dolls and wrap the whole thing up in kabuki-themed Evel Knievel production with just the slightest touch of Alice, Iggy and Ziggy mixed in to satisfy the elitists.  

Well, that KISS only lasted for about three years, starting in 1974 with the eponymous debut album and blowing the doors off the finish line with 1977's Love Gun, their sixth long-player in under 48 months. Sure, they put out music for decades after that, but like most underdogs who actually get what they want, success forever changed them.

That of course necessitated the firing of Ace Frehley and Peter Criss, two modern-day Bowery Boys straight out of central casting whose careers would've hit a brick wall at the Lincoln Tunnel without the drive and organization of Paul and Gene. Unfortunately, the pair took 75% of the personality and all of the humor and street credibility out the door with them. 

But back in '75, they were still cocky, aggressive, and white hot. And like other bands of the era, they knew if they could take Detroit, the undisputed ground-zero for high-energy rock and roll, they could succeed anywhere. So the band and manager doubled down and decided to record a live album at Cobo Hall. 

Now, nearly fifty years later, a video artifact of that landmark gig in May of 1975 surfaces without explanation. 

There's some missed cues, the tempos sway, the guitars are slightly out of tune and are plugged directly into the amps, and I think you can hear Peter's kick pedal occasionally. In other words a perfect scenario for teen nirvana.

It's pretty great.

1:04 Let Me Go, Rock & Roll 

3:24 C'mon & Love Me  

6:57 Firehouse  

12:40 Deuce  

18:59 Rock & Roll All Nite  

24:42 Quick glimpse of the banner from the back cover of Alive!  

25:49 Black Diamond

Abandoned Detroit - The City of Neglect

Still hungry for more Detroit ruin porn? Follow along as Bob, aka Detroit Unseen, takes you on a journey documenting the spectacular ruins of Detroit and his personal recovery from drug addiction.
There's no shortage of web sites and short films documenting the rise and fall and current revival of Detroit, but the city's legacy is vast and star-crossed enough to support yet another take on the subject. It could benefit from some tighter edits, but there's a pandemic on and it's not exactly like most of us are pressed for time.

From the filmmaker: 

With Detroit you take the good with the bad, recognize the good as it comes and preserve the good that has come before. Many that enter the City of Detroit can sense the urgency of change and the spirit of reinvention. We certainly understand this, and the photos represent what we have seen along the way. The Flag of Detroit contains the two Latin slogans “Speramus Meliora” and “Resurget Cineribus” meaning “We hope for better things” and “It will rise from the ashes.” The prophetic phrases originally created in reference to the great fire of 1805, ring true more now than ever. We take these slogans to heart everyday as we go out and explore our great city.

Mark, Mel, and Don: The Rise and Fall of Grand Funk Railroad

Times Square, New York City, June 14, 1970.

Quarantine got you down? Why not check out Peter Makowski's condensed account of when three working-class yobs from Flint, Michigan, tapped into the national zeitgeist and briefly ruled the world?

Excerpted from Grand Funk Railroad: The Forgotten Story of a True American Band

"But the fact that the media played absolutely no part in Grand  Funk’s success turned out to be a major selling point to their audience. Critic/documentary maker, native of Detroit and bona fide Funk fan Michael Moore once said: 'People loved this band because some record company didn’t concoct it; image consultants didn’t choreograph it. This was a people’s band that just wanted to rock. A hard-driving, industrial rock’n’roll band that related to the average hard-working American.'

Indeed. There was a huge, ignored and uncatered-for audience in the U.S. Midwest who worked nine to five, paid their taxes and every weekend partied their brains out on a mixture of ripple wine, grass and barbiturates. While the middle classes had the privilege to protest about Vietnam, these poor bastards were actually being shipped out there to fight. This was a pissed-off generation who simply wanted to rock’n’roll. Grand Funk came to the rescue." –Peter Makowski, Classic Rock  / Louder

Now surf on over and read the complete story on LOUDER

 

John Brannon Crowd Surfing at Circle Jerks Gig in Detroit 06-06-82

With the Circle Jerks officially back in the saddle and the news that Detroit's favorite Fun Boy Three tribute band, the mighty Negative Approach, will be firing up the van and strapping on the jackboots in order to accompany Morris, Hetson, Schloss, and Associates on the majority of the dates, I figured this photo would make a timely addition to the long-dormant PDGB blogroll.

Long story long, the day started in Ann Arbor, where we stole a Rick Springfield promotional standup from the dearly missed Schoolkids Records, with every intention of giving to the Circle Jerks. We did, they played, and Keith utilized the cardboard Rick as stage prop while the crowd partook in the usual sweaty shenanigans that culminated in JB getting in some epic crowd surfing runs. NA, of course, opened the show, and now the Circle Jerks are reuniting for a tour to commemorate the 40th Anniversary of Group Sex, their influential first release. Concerned the punkness needed a little extra shove to send it over the edge, they invited Negative Approach and Adolescents along for the ride. Now shaping up to be the Old Punker event of the summer, the tour dates are below. Sadly, at this point it doesn't look like the fellas will be venturing East of the Mississippi, but we're confident there are more dates to come.

Punk Rock in Detroit (1976-1986) Presented by Third Man Records and Cranbrook Art Museum

C'mon down and hang for a bit and bat the fat–it could be wacky. It's free.

Where:  Third Man Records
              441 W Canfield St, Detroit, MI 48201
       
When:   Saturday, August 4, 2 p.m.

02.07.73 Raw Power Released, Life Made Tolerable.

Released 49 years ago today.

Brutal, simple, and boogie-free, Raw Power forgoes melody instead relying on the visceral power of the guitar riff to drive the songs forward. Although hardly noticed when released in 1973, the album would serve as the "how to guide" for aspiring guitarists of the nascent punk scene. Without it, players such as Cheetah Chrome, Johnny Ramone, Steve Jones, and countless others would likely have never made it out of the basement. For that we are eternally grateful.

Produced by David Bowie, the original mix was polarizing. Several attempts have since been made to "improve" it, which at this point is a bit like trying to punch up the Ten Commandments for a more casual feel. But before the masters were committed to vinyl, a few early mixes were leaked to WABX, Detroit's premier FM rock station at the time. Listen here as Mark Parenteau and Dennis Frawley discuss and play the tracks during a live broadcast.

John Lee Hooker in Frogtown: The Secret Session at Toledo's Sweeney Sound Engineering

Dig below the surface of Toledo's rich and diverse music history and you'll inevitably uncover vague references to  John Lee Hooker recording at Toledo's Sweeney Sound Engineering. While the bluesman's affinity for the Toledo-adjacent Hines Farm blues club is well documented, the link between Hooker and Sweeney Sound is far more tenuous.

Hooker's notoriously cavalier attitude regarding the signing of and adhering to binding contracts makes verification difficult, but Sheldon Brown, son of Detroit Based Fortune Records founder Jack Brown, has long maintained that John Lee Hooker’s first recording session was actually conducted under his father’s supervision at Toledo’s Sweeney Sound Engineering. The session, which reportedly produced the tracks “Miss Sadie Mae: Curl my Baby's Hair” and “609 Boogie,” went unreleased at the time. Additionally, David A Carson confirms the session in his exhaustive Grit, Noise, and Revolution: The Birth of Detroit Rock 'n' Roll. This is significant as historians have for years generally credited Hooker's late 1948 recording of "Boogie Chillen" at United Sound Systems in Detroit as his first session. These claims instead indicate that Hooker's first session was, in fact, in Toledo.

Information detailing the history of Sweeney Sound Engineering is similarly hazy, a lazy google search turning up a 1950 recording of Fred Harris & his Uptown Band. Ripped from the 1980 release, Vintage Toledo Blues 1950-1980 (TRH Records #8001), Fred Harris--not to be confused with the legendary Canadian TV host of the same name--apparently went on to form Fred Harris' Red Tops who recorded this jam in the studio at Toledo's WTOD radio station in 1957.

Given the willingness of Fortune Records founder Brown to travel to Toledo for a session, what other gems may have been committed to tape or acetate inside the walls of Sweeney Sound Engineering? Those with even cursory knowledge of the studio and or the owners/employees are encouraged to chime in in the comments.

Linkapalooza: 
The Bull- Fred Harris' Red Tops Organ Trio- New Song
Remembering Hines Farm, a legendary African-American mecca for the blues
Hines Farm Movie

Five Photos: House Industries Exhibit at Henry Ford Museum of American Innovation

 House Industries: A Type of Learning

As you might expect, the exhibit leans heavily on the work of Ed "Big Daddy" Roth.

House Industries first collaborated with Roth over twenty years ago, turning some of his iconic hand lettering into font and clip-art sets for graphic designers and collectors of Roth paraphernalia.

Roth's Mysterion disappeared decades ago after a confluence of owners picked its chassis dry. The remnants were reportedly acquired by a body shop owner in Missouri. This replica was built by Dave Shuten.

Also on hand is Evel Knievel's jumpsuit from his failed Snake River Canyon Jump. It shares a display case with a generic Misfits poster, some back issues of Thrasher, a fuel tank and some other sundries pulled from the psyche of 70's era teens.

A Danelelctro doubleneck guitar--six on top, four on the bottom--accompanies a display of the "Flyer" font set. Culled from a selection 80s hardcore flyers and records and often named accordingly, the typefaces will be instantly recognizable to even casual hardcore aficionados. If it feels a little as if your youth has been co-opted for others benefit, well, you are not alone. That said, HI cuts no corners, and everyone one of its products and projects is completed with the utmost integrity. The exhibit runs through September 4, 2017 at the Henry Ford Museum of American Innovation in Dearborn, Michigan.

DETROIT | Official Trailer 2

The second trailer for Kathryn Bigelow's long awaited film DETROIT. Based on the Detroit riots of 1967, the film employs the notorious police raid at Algiers Motel as storytelling device.  Formerly located on Woodward avenue and Virginia Park, the hotel was demolished in the late 1970s and the land turned into a small common area. Let's hope what few truths exist don't get lost in the name of art.
Kathryn Biglow, Detroit, Detroit Riots, 1967, 12th street, Mark Boal, Hannah Murray

Have a Funk-Filled 4th!

"They Would Pick Him Up When He Fell." Rolling Stones Visit Gibson Guitar Factory in Kalamazoo, Michigan, 1975

Photo Courtesy of WMU Archives and Regional History Collections

Keith Richards and Ron Wood tour the Gibson guitar factory July of 1975.
Like most of the small to medium sized rust belt burgs located within the inescapable gravitational pull of Detroit, auto manufacturing was a driving force in the economy of Kalamazoo, Michigan. (Until the mid-1990s, K-Zoo was home to both the Checker Motors Corporation and GM's two-million sq. foot Fisher Body stamping plant.) But, in a textbook example of the odd dichotomy and attitude that defined the rust belt, Kalamazoo was also home to Gibson Guitar Factory--i.e., "yeah, wood or metal, strings or wheels, it don't matter much to us, we MAKE shit here." Founded as the Gibson Mandolin-Guitar Mfg Co. Ltd in the early 20th century, Gibson called 225 Parsons St. home until the move of its operations to Nashville was complete in 1984. A decade earlier, the Stones came to visit.

Photo Courtesy of WMU Archives and Regional History Collections

Gibson was owned by Norlin in '75, and in retrospect quality was at an all-time low. Ron Wood was still a relatively new Stone, and the band was slated to play COBO Hall on July 27 and 28. Keef was still living in 24/7 party mode.

Photo Courtesy of WMU Archives and Regional History Collections

Jump on over to MLive for the rest of the photos and the complete story.
As for the old factory on Parsons St.? It's still humming, turning out some of the finest quality instruments available today as the Heritage Guitar company.
(Photos Courtesy of WMU Archives and Regional History Collections)

Burger Thang Detroit, May 29 - June 25

Neue Haus Detroit presents Burger Thang, a show of recent works by Matt O’Brien, Chris Moore, and Greg Bokor. Official Release: Around 1982 a small group of kids from Mt. Clemens, Ann Arbor, Hudsonville, Bloomfield Hills, East Lansing and Maumee, Ohio all would meet at a ‘hole in the wall’ around the corner of Cass Avenue and Willis. That ‘hole in the wall’ was called the Freezer Theatre. They played in bands together and hung out at the Burger King on Cass Avenue. Out of this petri dish came the bands; Negative Approach, The Necros, The Meatmen, and Bored Youth, to name a few.

Three of that small group, Matt O’Brien, Chris Moore and Greg Bokor have since focused their talents on making art amongst other ventures. This show reunites them and the city that gave them much of their inspiration during that time.

Burger Thang runs from May 29-June 25 at Spread Art @detroit contemporary on 5141 Rosa Parks, Detroit.

Public Opening and Artist Talk,Thursday, May 29 at 7pm with Matt O’Brien, Chris Moore, and Greg Bokor. Burgers and drinks will be available.

Admission: Free Donation of $5 is suggested.

Contact neuehausdetroit@gmail.com for more information or visit the tumblr http://neuehausdetroit.tumblr.com/.
http://gregbokor.com/ 
http://mtobrien.com/ 
http://www.mooresong.com/ 

Neue Haus Detroit is a roving art, music, and artisan exhibition. Augusta Morrison is the founder and curator. NHD focuses on emerging artists and creating experiential happenings in alternative art spaces.

This Machine Kills Teenage Boredom: Where Is It Now?

Ibanez Deluxe 59'er "Lawsuit" Les Paul Copy
Featuring a low price of entry and above average playability, this guitar was the ideal weapon in the war on teenage boredom. Some two decades before these gits were considered "collectable," this example came into my life wearing Grover tuning pegs, a brass nut, and a Dimarzio X2N pickup in the bridge and a Super II in the neck. In other words, massive ass kicking capability without the financial risk associated with domestic instruments. Artistic expression frustration soon revealed it possessed the almost supernatural ability to remain in near perfect tune, even after repeated aerial maneuvers and the associated hard landings. I had Lemmy sign it in gold paint marker in '85, but that had started to fade by the time it disappeared. It may or may not of had an "ULTRA 94" sticker between the pickups.

Unfortunately, it was "lost" in Minneapolis at 7th Street Entry in 1987. On tour with the Circle Jerks, the 59'er never made it back into the Necros van that night. Although the idea of this axe being haphazardly strummed by some 15-year old in a musty basement somewhere trying to play along with the Heartbreakers' L.A.M.F. LP is appealing, I'd rather have it back. In the slim chance this missive finds it's way to someone who knows of its whereabouts, do tell. The story alone will be worth the wait.

PS: They are called "lawsuit" models because Gibson sued-and won-to force Ibanez to quit using the "mustache" or "open book" headstock shape.
When lost, this Ibanez was in a generic case.
Circle Jerks, Necros, First Avenue, 7th Street Entry, Negative Approach, Punk, Touch and Go, Gibson, Fender, stolen guitar

05.29.71 The Stooges and Bob Seger at the Toledo Sports Arena.

Power to 'em. The people, that is.

Last gig with the five piece line-up of Iggy, Ron and Scott Asheton, James Williamson, and James 'Jimmy' Recca on bass. The next two gigs scheduled for Pittsburgh and Los Angeles were cancelled because Williamson quit. They'd regroup as "Iggy and the Stooges" in 1973.

THEY'RE GR-R-REAT!

Courtesy of http://twitter.com/LakeSuperior

The Legendary Cobo

The Legendary Cobo from Douglas Akers on Vimeo.

Just as the highly anticipated Grande Ballroom doc "Louder Than  Love" has (finally!) started appearing on the film festival circuit, the makers of an equally exciting and long-brewing Motor City-centric project have turned to kickstarter in search of funds to turn their vision into reality. Picking up where the the Grande, Cinderella, Eastown, and other legendary Detroit concert venues left off, Cobo Hall not only supplied the ambiance for live albums from Kiss, Bob Seger, Hank Williams Jr., and more, but also provided the stage for Martin Luther King to recite his "I Had a Dream" speech months before the Washington D.C. version. But that barely scratches the surface of the Cobo story. For complete details, check out the official website here: The Legendary Cobo

Faces, Cobo Hall, September 6, 1976

"We used to make Cobo Hall feel intimate. It has a really good sound in there. That was the epitome of our playing in Detroit; it never got better than that. There was just something magic about that place." IAN MCLAGAN

Does This Sash Make Me Look Fat?

 

















Random photo snapped at the 2013 North
American International Auto Show(NAIAS)in
Detroit Last Week.

So wait, when did Bibendum get so svelte? This photo is evidence that the following conversion actually took place in an office somewhere:

"Uh, yeah. I've been meaning to bring this up. You know Bibendum? Our century-old, illustrated pneumatic cartoon mascot-The one that's supposed to represent big round inner-tubes? I think he's too fat-it's just not in tune with the message that we want to send. I mean who wants to be represented by a fat person?"

Well Mr. corporate executive, I can think of numerous successful entities currently subscribing to the "girth gives birth to mirth" ethic. Here's one you might've heard of, right off the top of my head: Christmas. Not to mention Bob's Big Boy, FAT Wreck Chords and maybe last but never least, Fat Tony's out on the Vineyard.

The old adage remains true: "Never trust a skinny butcher,  barber or tire salesman."   The lone exception of course, if said butcher, barber or tire salesman's name is always prefaced with the word "skinny." As in, "c'mon  kids, we're all going over to skinny Dave's for haircuts. Then I'm gonna' get a new set of Michelins from skinny Bob at the tire store."  Bonus points if the individual is in fact, obese. But I digress.

I expect this kind of shortsighted nonsense from American companies as they flail desperately at ideas while they fight their way to the bottom. But from the French -the world's premier practitioners of the butter and cigarettes lifestyle- this type of deranged lunacy is inexcusable.

I'll take my Bibendum classic style, thank you:

Three Nights, Six Bands, Seven Bucks.

I Got Your Toledo Rock Party Weekend Right Here:

Friday:  The Bob Seger System & Electric Sideshow.
Saturday: MC5 & Orphic
Sunday: The Rationals and Orphic

State Theater, 2476 Collingwood Blvd. Toledo, Ohio

Pass the word.

Why Did Glenn Frey Roll The Rationals Van?

Was it:

1. Because the Detroit Native suffered a momentary, hallucinogenic-induced glimpse of a future world gone mad some forty-years hence, where, even after writing dozens of criminally-mellow top ten money-making hits for the Eagles and guest-starring on Miami Vice, his seemingly incoherent, booze-addled band-mate Joe Walsh would still be considered "the cool one," by non-dicks everywhere? 
2. Because he was hurrying to meet Cher at a Bally Total Fitness Center to engage in a shiny, satin/spandex-clad and poofy-coiffed workout of such crass intent that even fellow wealth enthusiast and Eagles band-mate Don Henley would hang his head in shame?
3. Or was it simply a case of the heat, in fact, being on? 

Like all good modern-day folklore, the story accompanying the above photograph evolved fast and furiously on the lips of those farthest from the facts, speculation and hearsay eventually evolving into climatic local legend, truth be damned:

"Frey rode along with The Rationals to the 1968 Democratic Convention in Chicago, and upon arrival immediately encountered the MC5, who were wasting no time leaving Chi-town and suggested The Rationals do the same, post-haste. And, due to the chaos, rioting, and confusion in the streets, the van went greasy-side up during a high-speed evasive maneuver required to guarantee the band and their gear safe passage from the streets of Chicago." A romantic story, but bogus nonetheless. 

The Truth Comes Out:
Years later, Frey came clean while being interviewed about gigging at Traverse City, Michigan's 1960's teen hangout, The Tanz Haus:

“Yeah I remember the place,” laughed Frey. “One time I borrowed The Rationals van to get up there and I was flying through a small town (Manton) and lost control of the van on the curve and totaled the van and trashed the equipment I borrowed as well.”

Club employee Sue Sivek also remembers that night:

“It was May 13, 1967 and I noted in my diary that his band, The Mushrooms, were not very good, they were mediocre at best. But I also noted that the singer (Glenn) was good and had talent. You could tell he was better than the rest. Though most of us were shocked when he made it big.”

FUN FACT: Glenn sings backup and strums acoustic guitar on the awesome original version of Bob Seger's "Ramblin' Gamblin' Man."

Although The Rationals' legacy may not shine with the same intensity as their rust-belt rock'n'roll brethren, they stood shoulder to shoulder with the likes of the MC5, The Frost, and The Stooges while hammering their own R&B influenced sound out of the indigenous hard Michigan rock. So much so, John Sinclair named his book Guitar Army: Rock and Revolution with The MC5 and the White Panther Party after the Rationals song of the same name.