Truth be told

I had nothing to write about this week, so I'm wingin' it

by John O'Neill

Summertime, and the writing is easy. Time to relax, feet dangling in the Turtle pool, and to enjoy the halfway point of 1999. And what a year it's been. Highs and lows, praise and rotten tomatoes, comings and

goings, they shouldas and how did theys? This week's a little mental Christmas in July full of insight, bullshit, gossip, and fact. At no point does the Worcester Phoenix stand behind this load of "writing."

After nearly 50 years combined dedicated to rockin' and rollin' local punk-torchbearers Cathy Peters and Jeff Crane finally hit paydirt. Following a showcase in New York where they backed up Rick Blaze, Peters and Crane were approached by Manhattan rocker David Peel (the infamous street performer/burnout discovered by John Lennon who signed him to Apple Records just to piss Paul off). Peel invited the two on a month-long concert tour of Europe; come October, the David Peel Band will hit England, France, the Czech Republic, and Italy. Much to Peters's surprise, all expenses are paid and an amp of choice provided! Talk about your rock-and-roll dream-come-true.

The current controversy at Berkeley's community radio KPFA is both remarkable (in its foolishness) and inspiring. The short of it is, general manager Nicole Sawaya's contract wasn't renewed by parent company Pacifica Radio, and a power struggle has since ensued between Pacifica and programmers. After one staffer was dragged out of the studio for using on-air time to air dirty laundry (there had been a ban on broadcasting the station's troubles), hundreds of agitated listeners rushed to the station to protest. While it's a classic case of both sides doing more harm than good (Pacifica is financially strapped with a signal valued -- if it were to go commercial -- at about $80 million; the "lefties" fear any change in format is a sell-out), it's interesting to see how far people will go to protect their radio station. Which makes the current state of WCUW so laughable. CUW's programmers are top-rate, and the management, though well-intentioned (and chiefly all-volunteer), is ineffectual and short-sighted, having essentially driven the station into the ground in an attempt to keep it running. A very sad local situation, especially when you see the passion exhibited at KPFA.

It was shocking how Huck and Stitch used their opening sets at the Lucky Dog last week to mop the floor with the John Entwistle Band. Stitch let it rip from the get-go; while, in one of the most inspired shows in recent memory, Huck slowly climbed to a low-grade frenzy. Great bands know how to pick their spots, and Huck owned the evening. It was a spirited, balls-out performance with, frankly, better songs. Why these guys aren't huge is baffling. JEB, meanwhile, were as flat as pancakes -- sounding very much like the tired old farts they physically resemble. The synthesizers, on which the band so heavily relied, were at times ridiculous (more like listening to Mike and the Mechanics), while the requisite Who covers were painful to witness. It was like watching a mediocre cover band whose best days are behind them. On the plus side, a mere sixty bucks would get you a set of John John's used bass strings, while fifteen bought a black-and-white press photo. What they lacked in energy, they sure made up for in entrepreneurial spirit.

Speaking of the Lucky Dog, after these two weeks there is little doubt that the place formerly known as That Dump the Cove is the premiere nightspot here in the Worm City. The Frank Black show was packed, the Fleshtones extravaganza was a full-fledged dance riot, and, while they were pretty lousy, the John Entwistle Band went over well with hardcore Who fans. The thing that's really promising is that all three shows featured different styles of music (not to mention that summer is the toughest season to draw folks out). Add to that, previously well-attended national shows from Grinspoon and Enemy Squad and strong nights from locals Garrison, Jujitsu, and Downchild, and you've proof that the weekend schedule need-not be ruled by cover/tribute acts. A testament to good attitude, vision, and quality entertainment. Boston may be limp, but Wormtown is coming on strong.

Could someone please explain how a band as horrid as Godsmack are as big as they are today? It would be one thing if we (or anyone we've asked) could identify even a molecule of originality or talent, but, alas, we remain in total darkness. Speaking of crappy, the new Powerman 5000 release is a big-budget fiasco. The drums have that nice cheese-laden '80s gated sound that nobody should want on purpose, while the rest is a direct rip-off of big brother Rob Zombie. Which means it should go platinum by Christmas.

From the buzz bin, it once again appears that Junk Sculpture are on the rocks, this time for keeps. Jim Bain (formerly of the Lee Totten Band) has joined the Pathetics as their second guitarist. Meanwhile, Lee Totten has left the cozy confines of North Brookfield and set up shop outside of Hartford. Jason James and the Bay State Houserockers are finished recording their impending disc, and Prize Fighter (formerly 9 Volt Superhero, Nobodys Hero, and once three-fifths of Halobox) are also out of the studio. Old-tyme scenester Spider Hansen was spotted running sound at the Plantation Club last week. Currently a resident of La La Land, and just off tour with Suzanne Vega, the freshly shorn Spider was twisting the knobs for Ronnie Dawson. Though the show was poorly attended, Dawson still put out at 100 percent. A consummate pro, a genuine cool cat, and one of the nicest people in the industry. Last week, Norton Records re-released the ultra-rare Real Kids single "All Kindsa Girls"/"Common at Noon." The Kids were a key ingredient in kick-starting the fledgling Wormtown movement some 20 years ago; and "Girls" is considered a classic among fans of both the punk and power-pop camps. Best of all, creepy "record collectors" can no longer hold you up, because you can get your own copy of this little masterpiece for only $3.50. Check out the Norton Web page at members.aol.com/nortonrec.

Another seek-and-find is a fab new book from the folks at Doc Martens. Essentially a promotional item, the untitled hardcover, which came to our office last week, traces the history of the world-famous footwear in relation to rock, and rebellion in general. Standard uniform for '70s punks, '80s skinheads, and football hooligans, Docs were all over the cultural map as the book's stunning photography reveals. There are Pete Townsend pin-wheeling in a pair and Joe Strummer doing his foot-drag shuffle step. The Specials, Madness, Slade, the Stranglers, the Damned, Depeche Mode, the Cure, Foo Fighters, Reverend Horton Heat, Mighty Mighty Bosstones, No Doubt, and Prodigy -- all caught in kicks from DM. But wait, Docs were donned by a protester as she swipes a club to the head of a bobby at the Poll Tax riots; they take a bullet in the sole in Bosnia and fly high on the feet of ravers. A great bathroom read.

Other new should-haves include: Catie Curtis's A Crash Course in Roses (Ryko). Due out in early August, the neo-folkie's third disc includes local ax man Duke Levine. Big Star have a new live disc, Nobody Can Dance (Norton), that culls tracks from '73; though not the highest sound quality, it's a fine period piece.

And if you aren't on "the world's biggest junk sale" you're missing a swell time. eBay's been the source of many a triumph and several heartbreaking defeats, bidding-wise. And it's good for inter-office, water-cooler bragging rights. Don't forget about the Crystal Palace's Bikini Car Wash. Not only are you keeping your ride clean, but also the proceeds go to charity. Plus, if you're clever, you can "accidentally" keep the window rolled down for the first pass-by.

Finally, adios and rest easy to Rod Libby, soundman deluxe; Cathy Olson, longtime Wormtown scene-queen; and Ginger Peterson, rock-and-roll kitty and a regular feature in Phoenix illustrator Lennie Peterson's cartoon. Catch you on the other side.