Stephen Bladd rocks out on the drums, Daniel Klein beats that bass, and Magic Dick gets into the act with a soulful piece of harp. The Contours get credit for the original, a surprisingly sanitized version that doesn’t square with the carnal energy they had displayed on their signature hit, “Do You Love Me?” In the hands of Peter Wolf and company, the raw undertone of the song comes through, hot, heavy and with no apologies for the blatant capitalist exploitation of a broad. ‘Nuff said!Īfter the “Are you ready to rock and roll?” intro from the emcee, the band bursts into action with Smokey Robinson’s “First I Look at the Purse,” the sister song to Barrett Strong’s “Money” in the genre of naked greed music. Geils Band when they were in their prime. Personal tastes are what they are, but except for Roger Daltrey, I never considered The Who very sexy, and I could have fucked all the guys in the J. Yes, I like it even better than Live at Leeds, everyone’s model of a live album. Until Sonny Landreth came along with Grant Street, Live: Full House was my favorite live album. Same thing happened a couple of years later when I saw them with Loggins & Messina when those guys were at their peak. Then they showed up at The Fillmore right before it closed, on a bill with Eric Burdon & War. I bought that album, their first studio album way back when, played it once, and put it in my reject pile to trade it in for something better on my next trip to the record store. Some bands are studio bands, some bands are live bands, some do both. “Oh, my God, what happened to them? Were they sick? Are you sure these are the same guys?” Those same songs all sounded deader than a dysfunctional dick. Geils Band because I’d just heard six of the same songs performed live. “The lesson’s not over,” he said, and put on another record. “Wow! Thanks for the lesson, Dad,” I said, and started to leave the room. I could really feel their energy and the experience was definitely a revelation for me. The record was high-energy, crowd-whipping, shake-your-fanny fun. I’d always dismissed live recordings, because they never seemed to capture the energy I felt when I heard live music, and often the live versions of my favorite songs ruined them for me. I’d heard snippets before, but hadn’t paid much attention. Time for a little lesson in crowd-whipping.” My father smirked and asked, “You never saw J. It must have been a Saturday afternoon after a show, because I was bragging about some band I’d seen the night before with my fake ID and how they really whipped up the crowd. No, these were the facts of life about studio bands and live bands. By the time I was seventeen I’d already fucked both traditional genders and had started down the dark and delightful path to sexual domination. Not those facts, silly! My mother taught me the facts of life right after my first menstrual cycle. And they stuck him in cement.I was seventeen when my father taught me the facts of life. Has anybody here seen my friend Moe Howard? Can you tell me where he went? He threw a lot of pies and he poked them in the eyes. The book may (or may not) also offer these modified lyrics (to the tune of Dion's inspirational 1968 hit song, "Abraham, Martin & John"): ![]() No less memorable is the chapter entitled "Moe's Greatest Threats," which includes a timeless tidbit, guaranteed to enliven any party or social gathering: "Mingle or I'll mangle." One of our favorite lines in it is: "In all the world, perhaps only Lyndon Johnson could understand how lonely a place Shemp and Pope Paul VI occupied." ![]() ![]() Happily, we just happen to have a copy of the book. ![]() That "information" consists of more than 15 inches of blank space. The review of the pseudo-scholarly "Moe Haircuts" on the website for Publisher's Weekly reads: We don't currently have a review of this title, but here is all the information we do have about it. It examines the possible influence of the Stooges on, among others, Pablo Picasso, Sigmund Freud, The Beatles, former President Richard Nixon and (hey, why not?) poetry and Cubism. That was one of many theories posited by now-former Musician magazine editor Bill Flanagan in his sadly overlooked book, "Last of the Moe Haircuts: The Influence of The Three Stooges on 20th Century Culture" (Contemporary Books, 1986). Speaking of Moe, did the head Stooge later influence the famous mop-top hairstyle popularized by The Beatles in the early and mid 1960s? It includes a segment from the late 1930s short "Swingin' the Alphabet," which at one point features Moe "playing" a banana peel. More learned Stooges fans may recognize some, or all, of the footage Jennings uses.
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