Review: The Rippers' 'Honesty'

One of the delights of exploring classic psych is discovering how bands from around the world grooved around with it. Germany's The Rippers went the garagey root, with simple arrangements built around guitar, bass, drums, and organ and a pleasingly gruff singer who could pass for Zoot Money. You won't find anything as revelatory of Zoot and Dantalian's Chariot's "Madman Running Through the Fields" on The Rippers' one and only LP, but Honesty is still a highly enjoyable product of 1968 that often sounds more like a product of 1966. 

Review: 'Punk: The Last Word'

When you call your book Punk: The Last Word, you better be pretty damn comprehensive. A title like that yawps "Here's all that's left you'll ever need to know and everyone else can shut it."

At 600 pages, Chris Sullivan and (mostly) Stephen Colegrave's oral history is certainly fat. And they definitely cast a wide net to snare up whatever might be considered punk. Along with the expected punk rock bits, Punk: The Last Word also spews a lot of ink on fashion, venues, lifestyles, beatniks, underground theater, and old, dead philosophers and poets. 

Vinyl Reissue of The Animals' 'Animalisms'

While their top-tier British peers were progressing emphatically by the spring of 1966, The Animals were perfectly happy to continue on as if it were still 1964, doing what they always did best: putting their Newcastle stamp on American blues, soul, R&B, and tin pan alley tunes. "Shapes of Things","19th Nervous Breakdown", "See My Friends", "Substitute", and "Nowhere Man" were not enough to throw them off course. So May 1966's Animalisms was yet another platter of mostly other people's material, the two exceptions being Eric Burdon and new keyboardist Dave Rowberry's "You're on My Mind" and "She'll Return It" (I refuse to acknowledge the lame minute of clapping credited to Rowberry alone...whoops!). 

Review: 'Classic Monsters, Modern Art'

When I took my wife to see The Bride of Frankenstein at NY's Museum of Modern Art on one of our first dates, the one thing she commented on after seeing it for the first time was how "iconic" every frame of it is. It may not be as lauded as Citizen Kane, but Kane doesn't have an image half as indelible as Karloff's monster lumbering through a crypt or Lanchester's Bride shrieking in horror when she first meets him. As far as I'm concerned, the horror of the unseen (see The Haunting or The Blair Witch Project) will always be scariest, but the monsters, crypts, and grave yards of less frightening films will never fail to scratch the itchy shoulders of those like me who look forward to Halloween more than Christmas.