no reasön

Recorded in Escape Studios, Kent, 1977; produced by Speedy "Thunderclap" Keen(e).

Written by Ian Kilminster.

▼ MOTÖRHEAD: MOTÖRHEAD from "Motörhead" LP (Chiswick) 1977 (UK)

royal dub pretender, phase ii

One more dub from Kingston 11.

"His Majesty's Dub" - produced and arranged by Jah Woosh - was variously recorded at Channel 1, Joe Gibbs and Randy's with The Revolutionaries before the reels were taxied over to Tubby's for mixing. On the back of a motorcycle.

Dillinger was far from uptight. At Black Ark, it was business as usual.

Lloyd James and Tubby steal top bill on this release, although Errol Thompson in his role as engineer at Joe Gibbs Studio and Lancelot "Maxie" McKenzie for Channel 1 deserve joint credit. A huge fat blunt. Oiled and smoking.

This particular dub, with all its off kilter eccentricities is a particular highlight, I feel. "Throne of Judgement" is often cited as the riotous jewel in the crown, garnering accolades for its thunderous drum rolls and momentous foreboding, but this one is whacked out joyful. Or just plain daft.

Lloyd James first lit up a studio at the home of his in-laws in Waterhouse, Kingston 11 some time in the mid seventies. A sound system veteran, he learned his trade operating an electrical repair shop from his mother's house in the late 1960s. When an opening was peeled back from the kerb at Tubby's place in Dromilly Avenue, just around the corner, Jammy leapt at the chance.

The district of Waterhouse was alive with cable and valve; a solid state tower built from the ground up, straight off the grid.

By 1977, the prince graduated from mixing and engineering to full scale production on Black Uhuru's "Love Crisis". A major player in the evolution of dub from analogue to those entirely digital rhythms and effects adopted in the 80s, this dub illustrates to what outlandish degree the chicken predated the egg.

"His Majesty's Dub" was eventually reissued through Original Music, a label established by Jah Woosh in 1989 as a vehicle for his own back catalogue and various related productions.

Save me from the dancehall. I don't got the stamina nor stomach for it no more.


▼ PRINCE TUBBY V KING JAMMY: JAH WORKS from "His Majesty's Dub" LP (Sky Juice) 1976 (Jamaica)

attack of the rabbit hole

Produced by Bunny Lee. Written by Bunny Lee.

heh, heh, heh

▼ PRINCE JAZZBO: THE WORMER from "The Wormer b/w The Great Pablo" 45 (Attack) 1976 (Jamaica / UK)

never mind the replacements

shut up or we give u tav falco's panther burns.
 
Or carpet abrasions at the very least.

Enough has been written on Alex Chilton - here and elsewhere - to pad out a toilet roll of tissue thin observations. And a couple of refuse sacks worth left over. Weeping at the seams.

Alex Chilton did what he felt served him best at any given time, regardless of familal advice or power of attorney. Whatever impulse or gravitational pull guided him, the reluctant Memphis son was possessed of a mercurial tendency to dismiss every standing ovation; wandering out from the wings into foul smelling cul de sacs often blacklisted by the ticket buying public. Box Top or Westerberg referred Big Star obsessive alike.

If the sometimes damning reviews ever bothered him at all, he repented at leisure. Behind closed doors.

That he was felled by a heart attack while mowing his lawn is blackly appropriate. Alex Chilton thumbed his nose at every civic instruction from 'Keep Off The Grass' to 'Stay True To Your School'.

So. I was half listening to "Take It Off" from 1987's "High Priest" when I stumbled on the following on the ever informative Probe Is Turning On The People!, a nod to the less familiar EP released in the same year as Chilton's Fun Records sponsored Thai holiday. Produced by Connecticut born Jon Tiven, neither "All Of The Time" or this revisiting of Eddie Cochran's "Summertime Blues" - taking its cue from "Live At Leeds" as much as any hayseed Oklahoma prom hop - made the cut on the New Rose issued "Alex Chilton's Lost Decade" for some inexplicable reason.

Just remember. When the beautiful heartache of those Chris Bell collaborations collapsed in acrimony and recrimination, Chilton limped off to deconstruct before he partied. A refugee, almost, from the set of Peter Bogdanovich's "The Last Picture Show"; bruised and nursing misdirected hostility.

First out the blocks here is a Chilton and Aldridge number. Recorded in NYC.


Postscript: 
As Jonderneathica rightly observes, the Ork Records EP release was itself culled from those NYC sessions produced by Tiven between 1975-6; recorded immediately in the aftermath of Big Star's demise. Those same sessions were compiled in full for the LP release of "Bach's Bottom" in 1981, subsequently reissued on CD with both sides of his 1979 (Memphis recorded) 45, "Bangkock" featured as bonus tracks.

Additionally, the 'Obscurity' website notes that Memphis band Prix recorded "Everytime I Close My Eyes" and "Take Me Home and Make Me Like It" in sessions which bore a single and EP in 77/8. Both Chilton and Bell are credited as playing on the sessions, with the latter sitting in on production duties.

The band "centered around singer Tommy Hoehn, guitarist Jon Tiven and bassist Rick Clark", Hoehn himself providing back up vocals for Big Star's "Third".  Tiven went on to form both The Yankees and The Jon Tiven Group - releasing two albums worth of material in 1996 - while Tommy Hoehn flirted with succeess as a solo artist. The Prix recordings were retrospectively issued as "Historix" for those of you with an unswerving devotion to Big Star, The Scruffs and all things Power Pop.


▼ ALEX CHILTON: ALL OF THE TIME from "Singer Not The Song" EP (Ork Records) 1978 (US)
▼ ALEX CHILTON: SUMMERTIME BLUES from "Singer Not The Song" EP (Ork Records) 1978 (US)

ACME | i submit

Recorded July, 1976, Denmark Street, London.
Mixed & overdubbed at Riverside / Decibel Studios.

Produced by Dave Goodman.

▼ SEX PISTOLS: SUBMISSION (DENMARK ST. DEMO) from "Spunk" Bootleg LP (Blank) 1977 (UK)

bleeding out. between the covers

damned damned damned. in an orange peel plastic wig.

Well. A promise is a promise.

This time last week, a bunch of reprobates gathered at the drop in clinic which is sometimes the comments section on SibLINGSHOT ON THE BLEACHERS. And got to bandying words on the subject of definitives, counterfeits, and perennially indulged placebos. Cover versions of good standing, in short.

A karaoke chorus of the weary and/or addled; inexplicably resuscitated under a ragged flag.

Snowballing - literally - out the fists of an exuberant Warden, a few choice calls promptly escalated into a free-for-all. A gaggle of voices joining the fray. Only one of them still anonymous.

And so it was, finally, Nazz Nomad who hurled down the gauntlet: his proposal that the bretheren engage in a loose cooperative, a transatlantic puddling of resources to nominate some kind of "top ten". Now. I am not even nominally drawn to numbers. I have a deep aversion to all things arithmetical. And. I refuse to participate in the disordered spectacle of a beauty pageant. Anyway. What might be 'No. 1' in my personal hit parade today, will almost certainly slip down the charts by tomorrow.

Besides. Who would wish to loiter even close to 'No. 10' ? Gordon Brown, maybe. And that just proves my point.

The faintest trace of claret and everything knee deep in the red.

Still. I did sign consent. It was only on reading the small print that it occurred to me that I'd been 'duped'. All these f@ckin' rules.

And who's to say Nazz might not just be yankin' my chain ?

That's the thing about operating on European Time. The onus, by default, requires the 'old world' proceed first into battle. Caution to the wind. Arses to the Channel. The Americans turn up on the beaches only at the last.

Sergeant Bilko to our Corporal Clegg. Pulling on Cuban cigars. Parading in bespoke uniform just as the krauts are getting pummelled on the eastern front.

Taken by the tradesman's entrance.

Actually. All this 'Dud's Army' sniping is merely a stalling device. I have no idea in the slightest where to go from here. The weight of those decent covers already provided is stifling.

I'm bleedin' out.

I thought I'd already screamed for help. It must've fallen on shellshocked ears.

▼ THE DAMNED: HELP from "New Rose b/w Help!" 45 (Stiff) 1976 (UK)

meyers; quine; a latex mask

Ork 81796.

Stiff BUY 7.

Ha. So I scored an exact '32' on psychologist Simon Baron-Cohen's online Autism-Spectrum Quotient. Recently flagged through one of Jorn Barger's shared items here:

"In the first major trial using the test, the average score in the control group was 16.4. Eighty percent of those diagnosed with autism or a related disorder scored 32 or higher . The test is not a means for making a diagnosis..."

Hell mend me. I have long suspected I suffer an abnormal gene. Fortunately, as far as my mental health goes, I have also long suspected a good many of us - womsoever that may be - fall a good way into the autistic spectrum; knocking on the door of borderline psychosis and worse. This confirmation proves zip, but I felt I ought to share it nonetheless. 

Still. My best friend was diagnosed a psychopath in 1979. A diagnosis designed to keep him out of reform school. Borstal. By that time the die was cast. I barely nodded my head. And Hell's vaguely sinister resemblance to a candy distributing Gene Wilder never registered until now either.

The following is meyerly a re-up of a post on SibLINGSHOT ON THE BLEACHERS from August, 2008. Nobody commented then, so what the f@ck. For more personal and apposite recollections of Robert Quine, wedge a pencil between the slabbering jaws of The HoundBlog and pull up a[n] - electric - chair.

Previously:

"After his alliance with Tom Verlaine - first with The Neon Boys and then Television - had fallen afoul, Richard Meyers hatched a gunpowder plot with his new band, the Voidoids, and immediately set out to coin and otherwise capitalize on the CBGB scene in New York City.

"Blank Generation" first saw light of day not as an a-side but on the flip to "(I Could Live With You In) Another World", released stateside on Ork Records and on Stiff in the UK in 1976.

What Hell lost in Verlaine he made up for through the shrewd recruitment of exceptional guitarist, Robert Quine to his team, with Ivan Julien accompanying him on rhythm guitar and Marc Bell (Marky Ramone) on drums. A restless native of Akron, Ohio, Quine brought an eclectic jazz oriented sensibility to the table and a lawyer's sharp nose for sniffing out the bullshit. Older than his peers, Quine had aquired a degree in law from Washington University in the mid to late 60's and had specialized in Tax Law for several years before meeting up and working with both Hell and Verlaine in a movie memorabilia store in NYC. The antithesis of naive young street punk, what he also had in abundance was a raw enthusiasm for rock n' roll which stretched all the way back to his pre teens, coupled with an incisive encyclopaedic knowledge.

In short, he was a great fucking guitar player and his talent is etched deep into everything the Voidoids laid down on wax.

The energy of that New York borne scene through 1976-77 may be - fittingly - forever remembered as punk rock, but Hell's sloganeering "Blank Generation" just as perfectly sums it up. With a copywriter's intuitively deft touch for PR mileage, he labelled a generation as precisely as any expensively targeted NYC advertising campaign.


original photograph by roberta bayley; robert quine far right.

Robert Quine went on to record with Lydia Lunch, and - perhaps most memorably - Lou Reed on 1982's "Blue Mask". He also stood in on numerous sessions for artists including Tom Waits and Marianne Faithfull.

Severely depressed after the death of his wife, Alice in August 2003 from cancer, Quine was unable to recover sufficiently to move on from his loss. He committed suicide by heroin overdose in his New York home on May 31, 2004, although there was some doubt as to whether his overdose was intentional or not.

From Lester Bangs, with characteristic restraint:

"Someday Quine will be recognized for the pivotal figure that he is on his instrument — he is the first guitarist to take the breakthroughs of early Lou Reed and James Williamson and work through them to a new, individual vocabulary, driven into odd places by obsessive attention to On the Corner-era Miles Davis."

I don't think I would disagree."


▼ RICHARD HELL & THE VOIDOIDS: THE BLANK GENERATION from "(I Could Live With You In) Another World" 45 (Ork / Stiff) 1976 (US/UK)

two in the bush

"I'm a miracle man, things happen which I don't plan, I've never planned anything. Whatsoever I do, I want it to be an instant action object, instant reaction subject. Instant input, instant output."

One listen to these Chris Blackwell denounced superlatives is sufficient to inform you where Public Image Ltd. were coming from. The second here - from the sublime 2007 Trojan remixes - features the mighty U Roy voice in tip top form.

Oh, nø. I and I is converted.

▼ LEE 'SCRATCH' PERRY: BIRD IN HAND from "Return Of Super Ape" LP (Upsetter / Lion of Judah) 1976 (Jamaica) 
▼ LEE 'SCRATCH' PERRY: O.K. CORRAL from "Return Of Super Ape" LP (Upsetter / Lion of Judah) 1976 (Jamaica)

the mighty two ride alone with the voice of thunder

Thanks to Ramone666 for further inciting the riot.

The Prince's "Heavy Manners" appeared as a 45 in 1976 on the Heavy Duty label, in addition to its release on the Joe Gibbs issued classic, "Under Heavy Manners".

Errol Thompson, it might be argued, was a mixing innovator on a par with King Tubby; long before Home Town Hi-Fi was in business, Thompson was justly celebrated for his groundbreaking work out of Randy's Studio 17. Much of the Kingston Sound was recorded, mixed and overdubbed at Randy's before making its way onto vinyl.

Joel Arthur Gibson originally ran an electrical repair outlet in downtown Kingston.

While television repairs and sales provided a lucrative income, Gibbs was quick to tap into the burgeoning market for homegrown music. By 1967 he graduated from simply selling records in store to producing local talent directly on the premises. Establishing a fairly crude two-track recording facility in the back of his shop, Gibbs recruited Lee Perry into providing creative and technical support. Just one year later, he was sufficiently encouraged by the result to finance and launch the Amalgamated label in association with Bunny Lee. A commercial showcase for the rocksteady sound then much in demand.
Scoring a string top ten hits as far afield as the UK, Gibbs consolidated his position by launching three more labels. In terms of creating a monopoly, it was something akin to one entrepreneur owning majority shares in Parlophone; Decca; and PYE. A one man hit machine.

By 1972 Joe Gibbs opened a new studio in Retirement Crescent, Kingston 5, in partnership with Erol Thompson. The one man hit maker became the "The Mighty Two", between them responsible for producing over one hundred Jamaican No. 1 bestsellers. Backed by Kingston 5 session players, the Professionals - including original members of the Upsetters and the Aggrovators - the artists appearing on Joe Gibbs Records between 1972 and 1977 included Denis Brown; Big Youth; Black Uhuru; Junior Byles; Gregory Isaacs; and Culture. And many of the names already featured in this series.

Joe Gibbs suffered a fatal cardiac arrest February 21st, 2008.

Recorded at Joe Gibbs Recording Studio

24 Retirement Crescent, Kingston 5: 
"The Golden Sound of the West Indies"Re-mixed and engineered by Errol Thompson.
Manufactured and Distributed By
JOE GIBBS RECORDS
20 North Parade, Kingston, Jamaica. 

original Joe Gibbs Studio mastertape.
www.princefari.com

▼ PRINCE FAR I: HEAVY MANNERS from "Under Heavy Manners" LP (Joe Gibbs) 1976 (Jamaica)

a knife; a spoon; a fork...

yer arsenal.

Allegedly the twenty year old Lester Bullocks was toasting under the none too striking name of Dennis Alcapone Jr. in D.A.'s old haunt, when Lee Perry stepped up under the mike and whispered in his ear.

"You is not Alcapone, dread. You is Dillinger."

A frequent visitor to both Perry's Black Ark and King Tubby's Home Town Hi-Fi in Waterhouse, it was Scratch who got the jump; producing Dillinger - on "Dub Organiser" - as early as 1973. The big name producers Bullocks recorded for between then and the release of "CB 200" three years later reads like a mafia hit list: Augustus Pablo; Niney Holeness; Clement Dodd.

It was "CB 200" - coined after his prized Honda - which sealed his reputation. As sweetly as nine coats of varnish over a starburst flame job.

Produced at Channel One by Jo-Jo Hookim with the Mighty Diamonds providing backing, "Cocaine In My Brain" was seized upon quicker than a Customs international powder bust; shipping worldwide and firing up Bullocks' Scratchy nom de plume in halogen lights.

Courted by every young white punk in the glare of Big Youth's triumphant 1977 Rainbow bash, amphetamine sulphate was the ubiquitous poor boy's substitute. 

If You are still conscious, Anto, this one's for you.

Produced by Jo-Jo Hookim.
 Engineered by Ernest Hoo Kim and Ossie Hibbert.

▼ DILLINGER: COCAINE IN MY BRAIN from "CB 200" LP (Island) 1976 (Jamaica)

jah stitch in time, black lamb time

Ably backed by the Aggrovators, and recorded at King Tubby's Studio in Kingston, Jamaica; this diamond studded needlepoint from Melbourne James was recorded sometime between 1975 and 1977.

It neither appears on Stitch's 1976 Third World LP release, "No Dread Can't Dead" or 1977's,"Watch Your Step Youth Man" on the same label, but can be found on the 1999 CD retrospective on Culture Press - which began operating out of Buckinghamshire, England circa 1984, compiling a series of out of print releases; originally on vinyl - and more recently on the Don Letts' 2002 EMI compilation, "Dread Meets Punk Rockers Uptown".

Produced by Bunny Lee.
Engineered by King Tubby and Prince Jammy.

▼ JAH STITCH: BLACK HARMONY KILLER from "The Killer" CD (Culture Press) 1999 (Jamaica / UK)

sans cowbell

Written by Donald 'Buck Dharma' Roeser.

"Agents of Fortune" line-up:
Eric Bloom: vocals, guitar, keyboards, percussion, cowbell;
Albert Bouchard: drums, vocals, acoustic guitar, percussion, harmonica;
Donald Roeser: synthesizer, guitar, percussion, keyboards, vocals;
Joe Bouchard: bass, guitar, piano, vocals;
Allen Lanier: bass, guitar, keyboards.

Patti Smith: guest vocals ("Vera Gemini");
Randy Brecker & Michael Brecker: horns.

Produced by Sandy Pearlman.

▼ BLUE ÖYSTER CULT: (DON'T FEAR) THE REAPER [BUCK DHARMA ORIGINAL 4-TRACK HOME DEMO VERSION] from "Agents Of Fortune (Remastered + Bonus Tracks)" CD (Columbia/Sony) 1976/2001 (US)

road runner (thrice)

spirit of '76

In which Rotten, Jones and chums throw up - not without some revolutionary affection - on the spirit of 1956, if not Boston's JR or 1776. Stern and bow, like time travelling pirates from William S. Burroughs' "Cities of the Red Night". Rather aptly too, since it appears a couple of previous posts on the original '74 demo (once) and the definitive Modern Lovers version (twice) have mysteriously been erased... Ah, those witch trials and the puritan spectacle of the ducking stool.

A pox on you, sir.



Spooky. Thank you, John and Jonathan.

▼ SEX PISTOLS: ROAD RUNNER (WESSEX STUDIOS REHEARSAL SESSION, OCTOBER 1976) from "Box Set" 3 x CD (Virgin On The Ridiculous) 2002 (UK)

you dirty f@cker...

william grundy, the younger.



This is not the first time we have featured Dan Treacy's Television Personalities, nor is it likely to be the last.

Manchester born, Grundy - the scion of a factory owner - began broadcasting for Granada Television way back in 1956 just when Elvis began sticking it to one and all. The first brilliantined tv presenter to introduce the Fab 4 to a British audience, no less - some six years later - let it be clear from the start that Grundy was no Ed Sullivan.

A graduate in Geology, the one shared characteristic lay in personality. Like that of an upturned stone; seemingly chiseled on the outside but wet and uncommonly slimy underneath.

As host of Thames TV's 'Today' show, of course, he prompted a nationwide scandal in December, 1976 with his baiting of the Sex Pistols. It was Jones and not Rotten, fittingly, who infamously turned the on air blue.

Cue "the filth and the fury".

Grundy was suspended in the ensuing outrage. For a fortnight, on full pay, one presumes. The tabloid press fanned the flames and 'Today' ultimately bit the bullet, choking on its own bile. Hilariously, it became public knowledge that the Pistols found overnight notoriety only as the result of a last minute folly, when camp lovelies Queen pulled their scheduled appearance.

A royal fiasco: a silver jubilee Catherine Wheel of choreographed sparks more than chance encounter. In those original closing moments, as the studio lights dimmed and the captions slid into a commercial break, Grundy seemed genuinely stunned. Only just resigned, perhaps, to his role in the show's descent into chaos and the woeful looming specter of accountability.

An experienced presenter at the peak of his game, it must have infuriated him to have so visibly lost all semblance of control. Jones, on the contrary - while Rotten looked on bemused - was clearly delighted. Glen Matlock merely seemed baffled.



And God save one and all.

"Where's Bill Grundy Now ?" was a little piece of reverential genius, though not quite in the same league as the "O-Level" EP also name-checked.

The incident derailed Grundy's career. A broadcasting pariah, prime time turned its cheek and then its back as Grundy failed in his appeal for clemency. William Grundy died in Stockport, Greater Manchester in 1993 as the result of a post-traumatic cardiac arrest.

"Oh, shit...", he was seen to mutter.

Recorded at I.P.S. Studios, Shepherds Bush.

Total cost @ £22.50

Mastered at John Martin of Reading.
Total cost @ £34.00

▼ TELEVISION PERSONALITIES: WHERE'S BILL GRUNDY NOW ? from "Where's Bill Grundy Now ?" EP (Kings Road / White Label) 1978 (UK)

A DAY IN HEAVEN

blood and soldering wire

jean cocteau: "le sang d'un poete", 1930.

Recorded and mixed at Record Plant, Saualito, CA, February 4th, 1976 - April 9th 1976. Minus the overdubs, and oddly slight without the grounding weight of bass.

▼ FLEETWOOD MAC: DREAMS (DEMO) from "Rumours (Remastered + Expanded)" 2 x CD (Warner Bros.) 1977 / 2004 (UK / US)

stain removal therapy

▼ THE MODERN LOVERS: OLD WORLD from "The Modern Lovers" LP (Beserkley) 1976 (US)

PURCHASE THE MODERN LOVERS

asylum

"the inquistion tribunal", 1812-19 by francisco de la goya y lucientes.
▼ SERGE GAINSBOURG: LUNATIC ASYLUM from "L' Homme à Tête de Chou" LP (Philips) 1976 (France)

PURCHASE GAINSBOURG

pensioners in gas meter scam

"Can I please see your most recent bill, sir ?"

Door to door tea-leafs looking to inveigle their way into the homes of the elderly, beware. Alerted to a bogus meter reader, this fragile OAP reaches inside his cardigan pocket for a well-oiled 9mm Parabellum.

Recent statistics suggest that as many as four in ten pensioners are suspected intravenous users. Police advise waiting until they are on the nod - generally anytime between the Trisha Goddard Show and Countdown - before even considering catching one off guard.

According to PC James R. Sneake, a community liaison officer for the Glasgow South-Side Division, there is an alarming trend for the elderly to seek out narcotics in a salacious attempt to hibernate through the winter months.

"Too impoverished to adequately heat their homes, " PC Sneake informed us, "a lot of those old bastards will shoot up virtually anything just to blot out the cold."

The trend is expected to worsen in line with the current economic downturn.

"Who knows when the situation will stabilize," he continued. "Some of these f@ckers are even turning to prostitution in a bid to finance their habit. It would certainly appear they have no shame."

Visibly disgusted, he added:

"In my day, a bottle of Jamieson's and half a brick of shortbread was considered quite adequate. But not now. They seem determined to chase the illegitimate, non-taxable high. Who knows where it will end ? I never once imagined I might live to say this, but I consider myself fortunate that both my parents are dead."

Producerd by Craig Leon and Tommy Erdelyi.
Recorded at Plaza Sound, Radio City Music Hall, NYC.


With a tip of the trilby to Doc 40. And a pinch of salt.

▼ RAMONES: YOU SHOULD NEVER HAVE OPENED THAT DOOR (DEMO) from "Ramones" CD Remaster (Sire / Rhino 2 x CD) 1976 / 2001 (US)

PURCHASE RAMONES REMASTERED

el torro! avant la pique

"avant la pique" by pablo picasso. linocut, 1959.

Wouldn't it have been entertaining to witness the vastly overrated Ernest Hemmingway trotting through the sawdust in circles with a lance in his fat ass ? Considering the severely weighted odds, the spectacle of the 'noble' bullfight feels akin to watching emaciated gladiators defend themselves with wooden swords and one hand tied behind their backs.

Produced by John Cale.

▼ THE MODERN LOVERS: PABLO PICASSO from "The Modern Lovers" LP (Beserkley) 1976 (US)

PURCHASE THE MODERN LOVERS

with a little help from my friends

no go show. photograph by brad elterman, 1978.

Recorded at the Chateau d'Herouville and Hansa Studios, Berlin. Written by Iggy Pop. Mixed by Tony Visconti. Produced, arranged and recorded by David Bowie. And a bit of a debt to Mike Leander, I tend to suspect.

▼ IGGY POP: NIGHTCLUBBING from "The Idiot" LP (RCA) 1976 (US / UK)

PURCHASE THE IDIOT