Just wrote a “song” (more of a sprechgesang) – working title: You, Me & the Algorithm (trying to figure out nuclear fission) for the album called “Poste Restante” (or maybe “General Delivery” so dont hafta explain.)
As usual, its Dylan-esque– not in its quality per se but rather because it has like 14 verses, 3 bridges and maybe a chorus, or maybe 13 of those. I’m not sure but either way, I’ve got to figure out how these chord progressions work :) ive got a G C E Am kinda F & D & Gdm (or is it 7th?).
Then i can perform on this lovely “stage” (which is where the now-deprecated pool oasis was before typhoon) for audience of the wild boar living in the bamboo forest and possibly Ichiro, and you if i can track down the tripod. Bring your own lawnchair. Hot water provided for tea.
Then again, might just get lost in the notebook or maybe transcribed and posted in the “old man punk” category of my web archive waiting on someone who knows all the chords to make all song-ish. Who’s to say?
I just write the lines about “Columbus BJ Honeycutt hams” plus something about Plato & Leonard laying it down &/or Zeus & Buddha on a Pan Am flight sharing pack of Salema. Isnt that enough? Whew.
Bad Wougar is/was a hard rocking band in Vancouver BC with four fine gentleman who practised diligently in a room called the “the Den” which I’ve visited several times – occasionally playing some drums, especially extended jams to “Cortez the killer”. The name “Bad Wougar” came from a campfire myth about a dangerous animal which was a mix of a wolf and a cougar.
On a trail walk one day, I recorded a myth about the creature for the bands use and amusement. They then invited me into the glorious brand-new Monarch Studio (which has an origin story to share another time) to record a few snippets from the riff for the songs. In all, my voice/words appear in two tracks on this final release which was distributed on CD with a paper gatefold cover (i have 2, Mac Kobayashi has 1).
For the record, released: February 28, 2014 (noting this was a high point in an otherwise tough tough year). As mentioned, the four members of the band (including a non-related Olson) were each fantastically kind, interesting fellas as well as quality musicians and it’s a privilege to know them.
So it goes, folks have other commitments and adventures in life so they don’t play anymore but I hope this CD/album is more widely distributed in future / Kind of band that would be big in Europe.
… every time I sling this album on the stereo I can’t but feel like I’ve been transported to a wood-panelled backwoods bar where the band are plying their gnarled rock ‘n’ roll trade in such a fashion that the venue’s customers are worried that the whole place will go up in flames, the sounds so incendiary….
There’s a grubby charm to this band and its self-described brand of hard charging rock ‘n’ roll. It’s garage rock by way of the forest and you can’t really ask for anything dirtier, earthier than that.
As the stoner-like riff of final track, ‘Spoke Too Soon’, rattles the fillings out of my teeth I’m left wondering if maybe what I just listened to was part of a crazed fever dream. Then I look up and see the album cover, the eyes of the Bad Wougar appearing to follow my every move…..
This spoken kick off made me realize I was in for a fun ride, just as if I was watching a movie–and I was not disappointed. …
The album itself has a delightfully punk element to it, often mixing with elements of classic and progressive rock. It could have been released in 1984, 1994, 2004, or 2014 and reflected the music of its time period.
A few sundry/spontaneous remarks about London Calling, The Clash’s remarkable album, turning 40 as well as a few miscellaneous annotations about The Clash’s canon:
London Calling had the element of surprise as the world (or the record company) had no idea that this eclectic mix of americana, ska, rockabilly, mushy songs, political songs, fun songs, songs recorded in 1 take, a rock drummer playing like Ginger Baker without the prog and the almost alien guitar playing of Mick Jones. No one knew what to expect and it exploded as a secret, delivered mere hours before the EOY deadline.
The double LP was packed in one sleeve (to save label and fans money) and Train in Vain was Mick’s last minute addition (that’s why the mix sounds so different too) with Topper, no Joe or Paul on that track.