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serpentinesheldonserpentine · 5 months ago

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This is why 45’s were invented.

A Million Miles Away shoulda been a double A side single. Nothing else these guys did can compare. Heck few songs of that era can.

I remember Greg Shaw had the single on BOMP ! before who was it, Electra? signed them. In my memory the Shaw mix was hotter but who knows? Peter has been following his own muse for decades and makes some great music that bears no resemblance to the Plimsouls.

The Plimsouls - A Million Miles Away (1983) Joey Alkes / Peter Case / Chris Fradkin from: “A Million Miles Away” / “Play The Breaks” “Everywhere at Once“ LP

Personnel: Peter Case: Lead Vocals / Guitar Eddie Munoz Lead Guitar / Backing Vocals Jeff Eyrich: Guitar / Backing Vocals Dave Pahoa Bass Guitar / Backing Vocals Lou Ramirez: Drums

#peter case #Plimsouls

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flankingmanoeuvres · 3 months ago

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#hypnotized #the plimsouls #Children of nuggets

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power-chords · 9 months ago

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One of my favorite Plimsouls songs, platonically embodied by Phil Seymour, maybe the only recording artist capable of usurping the original. (Then again, The Plimsouls in the studio were always a shadow of The Plimsouls live.)

I'm riffing on either S. W. Lauden or Paul Myers when I propose that power pop's generic essence is the performance of membership to an inherited tradition, valuing the devotional over the subversive, an eager disavowal of "novelty" or "invention" in service of the eternal Friday night. (I love that Lauden and Myers have such dignified and collegiate names; they edited the two collections of power pop essays sitting on my bookshelf.)

Power pop's perceived gaucheness (e.g., "Knuke The Knack;" its general failure to thrive except among cultic antiquarians of the power chord) is, I think, not so much a function of its derivative quality per se as the unselfconscious celebration of being derivative, of ascribing to one's forebears an unassailable priority and mythic, almost transcendent significance. Sorry, I've been thinking about zig-zag pathways and converging threads all afternoon. What I'm saying is that Phil Seymour has what it takes to stand behind the figurative bimah and in front of the actual wall of amplifiers.

#phil seymour #the plimsouls #power pop

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rolandrockover · 28 days ago

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Soulburn

I can get a good idea of why the sinisterly stalking Burning Up With Fever (1978) (1) was not taken into consideration for Destroyer (1976) back in the day. If you take into account that the preferred God of Thunder, as the archetype of all so called Demon songs, forms an almost insurmountable benchmark and virtually its own closed dimension, you don't necessarily have to be Sherlock Holmes to find a reasonably meaningful answer (2).

But why it was also excluded from Rock and Roll Over (1976) is another question, because there is no other Demon song on this album.

I never noticed any positioning or questioning of this almost Kiss-atypical circumstance anywhere, but maybe it was simply because with Rock and Roll Over they wanted to let it go for once with the dark song and it was probably too peculiar for the spirit of the album, and not rock n' rolly enough, because they probably saw need to focus more on classic, light-hearted dick songs again. And then again, maybe Burning Up With Fever just wasn't lightweight enough (3).

But hey, maybe it's all just a funny coincidence, who knows, besides, this is only supposed to be the, ahem, introduction anyway, just to warm up to the subject matter a bit.

So where did this troublemaker of a Gene song, which finally found an adequate and comfortable home on Gene's '78 solo album, actually originate?

Well, somehow with Jeff Beck and his Rock My Plimsoul (1968), I would say. More or less, because this one has the classic blues in it and also moves rather quietly and smoothly, as if it could do so all night long. Gene brings the rough edges into this groove with his spindly, somewhat awkward monster walk, half gorilla, half Godzilla, coming towards you with equally slow, but in its grotesqueness almost comically irregular steps.

Gene basically puts Jeff Beck on as a costume over his Love Gun outfit, complete with red Dracula cape. You know those full body suits that are printed with something extraordinair and are so thin that you can basically always see exactly what the costumed person is wearing underneath? You know what I mean?

The Devil in Disguise.

Side Note:

(1) Originally first moved into the Kiss picture as a '75/76 pre-production demo for Destroyer, or something like that.

(2) It probably didn't quite fit into Bob Ezrin's musical concept/vision either.

(3) But as I said, almost Kiss-untypical. On Hotter Than Hell (1974) half the album was dark and gritty, Dressed to Kill (1975) at least had the gloomy-stoic She, Love Gun (1977) later had Almost Human, but what about the debut album? Yep, no Demon song at all. Rock and Roll Over and the self-titled debut are thus the only two Kiss albums of the klassik (and even not so klassik masked) period without a dark and brooding Gene song.

And, oh yes, I do indeed include Naked City from Unmasked (1980), albeit this track contains more Drama than Demon, but still has enough Demon in it to hold its own as such against all the Gene songs post-Lick It Up (1983). More on this, wrapped up in a sneaky love triangle between Love Gun, Dynasty (1979) and Unmasked, sometime in the future.

No highlighted inks, but Burning Up With Fever begins directly without that jangling intro:

Rock My Plimsoul (1968)