First let me state in no uncertain terms, that I am no Deadhead. In fact, I find a significant portion of the band’s catalog entirely intolerable. Caveat aside, and in honor of the 50th Anniversary of the Grateful Dead’s debut LP on which the following song resides, I give you every version that, to my admittedly limited knowledge of Dead recordings, exists of the most rocking song that they ever put to wax; Cream Puff War, a song that even a certified Dead hater could love.
Because even when you’re Mick Jagger, sometimes you’re not the most interesting man in the room. Delon’s style makes Jagger’s mismatched socks, beat down shoes and scruffy coif look entirely adolescent. Hell, Delon even has that uncanny French knack for turning a cigarette into a desirable accessory, while Mick is dreaming of the advent of the cell phone. Either way, Marianne’s in the proverbial catbird seat. Taken in 1967, at a discussion with director Jack Cardiff on his film The Girl On A Motorcycle, starring Faithfull and Delon.
If anyone knows who Johnny Fever was (and no, not Howard Hesseman’s DJ character on WKRP In Cincinnati), I would be much obliged for the information. I stumbled on a copy of this RCA 45 six or seven years ago and have never found any background info on it, whatsoever.
There have to be some other recordings attached to the illusive Mr Fever, and I wanna hear them!
Zombie is a fuzzed out creepy rocker, which sounds more than a bit like Hoyt Axton circa Explodes. One to add to your monster mash playlist
Produced and arranged by veteran Detroit guitarist, Dennis Coffey, and Mike Theodore, who also shares a songwriting credit with Gary Harvey, all three of whom would later collaborate on Sixto Rodriguez’ classic debut LP, Cold Fact. Serious Psychedelic Soul Stew going on here.
If you haven’t seen Point Blank, I recommend you stop what you’re doing, tune in, and have your mind blown. If you have seen Point Blank, I assume you’ve already done so. Starring Lee Marvin and Angie Dickinson (who has one of the best freakouts in movie history here), Point Blank combines techniques from the Film Noir and French New Wave schools and creates one of the most stylish visions that I’ve ever had the pleasure of viewing. So many of the images were immediately burned in my memory, and have gone on to influence a legion of directors. It’s been a few years since I’ve seen it (why I don’t have a DVD copy is beyond me), and am totally excited about catching it on TCM with no commercials.
In lieu of posting a million videos of Otis’ phenomenal catalog, I’m just going to post his set from the Monterey Pop Festival. Otis was the final Saturday performance at Monterey, which meant that he went on in the wee hours of the AM, performing to a weary and acid spent audience. Clearly not an ideal spot on the schedule. So what does Otis do? He tells his band, a combination of The MG’s and The Mar-Keys, to double time it, and comes out firing on all cylinders, with his barnstorming version of Shake. Needless to say, it worked better than an eight ball of the finest Columbian on those sleepy hippies, and had them up and dancing in no time. The band pushed him to the limit and Otis OWNED the stage and audience. Just listen to how out of breath he is, between Shake and Respect, to know how hard he was hitting it. It was probably a good thing that the band was forced to cut the set short, due to the festival running late, because one wonders how they would have managed a full set at that pace, even with pace breaking ballads. One of the greatest voices in recorded history performing at the height of his abilities.