Welcome to 2013 (and a quick look back at 2012)


Howdy. And top of the new year to you and yours. I seriously low-keyed the end of our recently departed twelve-month cycle, a purposeful attempt to stay away from social media type interaction and a mixed-success attempt to relate to what was happening around me in real life. Yeah, not my comfort zone. But it was, unexpectedly, comforting. And I’m gonna ride that as far in to 2013 as I can.

Robyn Hitchcock recently uttered a sequence of words that sums up a cursory glance at my fave records of the past year – “Rock and Roll is an old man’s game now, so I’m staying in it.” Indeed. I mean, not that all these guys are “old” (sorry, Ian), but they sure as hell ain’t kids. All released some great music in 2012. Once again, while I did feel I put a modicum of  effort into keeping up with the current, I still don’t feel like I listened to anywhere near the amount of new music that I sometimes feel I should. Nor did I feel I gave certain records the attention that they may have deserved (note to self: go back and spend some time with that new Bob Mould record).

The list is littered with artists I have long admired, and somewhat amazingly (at least to me), still hold in the highest regard. The fact that Ian Hunter has spent the last decade riding one helluva late career arc is inspiring. On the other hand, I am saddened that one of my all-time favorites groups, The Soundtrack Of Our Lives, have called it a day after 15(ish) years. Can’t tell you how much I love that band. My crush on Chuck Prophet (okay, his music) extends further back than that, from the very first Green On Red EP. His newest – Temple Beautiful –  may be his bestest. And his shows in 2012 (think I saw five, yes?) were stellar. Yes, every one.

I rarely take the time these years to even make the attempt to cobble together a list. Total laziness on my part. And when I do take the time, it’s very unusual for me to single out one record during the course of any given year as the “best” thing I heard. But it’s not every year Michael Rank releases a record. And man, did the former Snatches Of Pink mainman quietly unleash a corker of a self-released two-disc set early in 2012. Remember when artists would work through all their physical, emotional and spiritual baggage by channeling all that pain into a bunch of songs that eventually reveal themselves to cohese into an epic body of work? Barely, right? This is totally that. It will leave a mark. Or two. But it is so, so, so good. Sorry, I meant great. Musically and lyrically raw. And real. And intense. And cathartic. And beautiful.

It’s hard for me to verbally quantify my adoration for this record. It’s basically a twangier version of Snatches, with elements that, back in the day, you may have never expected to appear on a Rank record. Some high and lonesome mandolin here, some soulful pedal steel over there. And then there’s the elements you do look forward to – pounding drums over yonder and, down that dirt road, a blast of roaring guitar. The playing is on point, the production is minimal and the album is the best of Rank’s career. Believe it. And feel free to (almost) freely find out for yourself over at his Bandcamp page, where you can download the record for the always-popular “name your price” or buy the beautifully packaged two disc set for $7. There’s also links to youtube videos for “Kin” and “On The Bleed”, both taken from the full-length. Oh, and there are also free downloads available for ALL of the early Snatches titles, including the previously promo-only EP “Deader Than You’ll Ever Be,” recorded all the way back in 1990 at CBGB’s.


Okay, below are thirteen records. I liked ’em. I played all of them a lot. I think I liked them more than the other thirteen records I heard this year. Inevitably, next week I’ll remember something that isn’t mentioned here. And if I can remember, I’ll pass it along. Oh yeah, Rank has a new record in the can. And I can’t wait to hear it. We may just be doing this all over again this time next year.


  • Michael Rank & Stag – Kin
  • Chuck Prophet – Temple Beautiful
  • Ian Hunter – When I’m President
  • Brendan Benson – What Kind Of World
  • Matthew E.White – Big Inner
  • Soundtrack Of Our Lives – Throw It To The Universe
  • King Tuff – King Tuff
  • Red Kross – Researching The Blues
  • Neil Young & Crazy Horse – Psychedelic Pill
  • Mmoss- Only Children
  • Spanish Moss – Kelp
  • Shoes – Ignition
  • Donnie & Joe Emerson- Dreamin’ Wild

Bruce Springsteen, King Tuff, Rock And Roll


Howdy. How was your weekend? Mine was filled with rain and rock & roll. Wet and wooly. The rock provided a pretty sweet book-end to a soggy few days in NorCal, with a show on Friday night and another on Sunday, two gigs that could have not been more different from each other in many respects.

First up…Bruce. Ummm, Springsteen. Man, it had been a while. I’ve never been a huge Bruce guy. Not sure why, really. I was admittedly a little late to that party, as “Born To Run” was my entry  point. And, based on my love for the true epicness of that album, I remember going back to the earlier stuff and, well, just not quite getting it on the same scale. But man, did I LOVE “Darkness On The Edge Of Town.” A lot. But oddly, it didn’t really change my perspective on the earlier catalog.

And then drops “Born In The USA.” Massive. Admittedly, and likely wrongly, just couldn’t get on board. I just think the cumulative bombast of it all – it was simply hard to get away from that record for a while – just turned me off. It wasn’t him. It was me. I semi-recoiled at the ridiculous largeness of that record’s success. Didn’t say it was right, but it was what it was. And that’s pretty much how it remained. Never loving anything, never disliking anything. But always reserving respect for the man and his music.

And that is why I went to see him in 1988 at the Dean Dome in Chapel Hill, NC. I had never seen Bruce. I heard – repeatedly – every record he released during those ten years, but had never seen the guy live. I’m sorry, that was very un-rock & roll of me. I felt the need for redemption. But ya know what, I can’t say that it converted me to believer status. I enjoyed it. I may have even marveled. In fact, I’m sure I did. But it never took hold over me. Never settled in.

Forward another fifteen years in which I had listened to less Bruce than I did in the previous ten. Again, always cognizant of what he’s doing, but never generating enough self-interest to carve out the time for more than the cursory listen. But I still felt the pull to go see him one more time. Because, well, and seriously trying to not to sound precious here, but…I thought I owed it to myself. And to Bruce.

While the music hasn’t had the emotional pull on me that it obviously has on millions of others, I love the man. I love his passion. I love his love for his fans. And his band. And rock and roll. And, damn, his country. And, as a result of that last part, I admire the balls it takes to potentially risk alienating large numbers of fans to stand up for what one truly believes in. What’s not fucking awesome about that? (I suppose it helps to be in agreement with his politics. Check.)

So, upon hearing all the great reviews from this past tour, especially the crazy marathon gigs he was doing in Europe over the summer, I told my friend Steven that if he was going to the next Springsteen show, I was in. Of course he was going to the next Springsteen show. And, well, so was I.

Last Friday night. Oakland Arena. God, I hate arenas. I mean, mostly. There are a bunch of constants – the sound is always gonna suck. However, people watching rules. And I’m (mostly) sincere about that – yeah, there’s always a person or three to goof on, but I never tire of seeing people just lost in his/her/their respective vibe. That moment where you look over and see someone deeply invested in the now, the music. That’s cool. Really cool. And that’s a lot of what you see at a Springsteen show. (I mean, except for that woman in front of us who I swear spent 4/5 of the show messing with her phone. I’ll never get that.)

I once again enjoyed the show. Even got a little misty-eyed a couple of times. Yeah, the power of rock and roll will occasionally catch me off guard. Sincerity kicks my ass every time. And the bond that Bruce has with his audience is a truly beautiful thing. Kinda stunning, honestly, in these times. I don’t feel part of that. But I really love that.

As for the music, where do you start with a Bruce show? It was relatively “short”, a touch over three hours. Having previously declared my love for the album, I was thrilled to get four songs “Darkness…”, as well as “Because The Night.” “Thunder Road” is always sweet to hear. And hey, it’s the holidays, so time to bust out “Santa Claus Is Coming To Town.” Certainly okey-dokey by me. And a bunch of more recent stuff that I may or may not have known. As a casual fan, I found it to be an eclectic and generally enjoyable show.

This Sacramento to Oakland jaunt, which included a stop at Zachary’s Pizza and  an interlude with Bart from El Cerrito to the venue (and back), clocked in at eleven hours. Okay, rounding up by maybe 15 minutes. And yes, we were leisurely.

This past Sunday night was a totally different vibe – King Tuff was playing Bows & Arrows in Sacramento, which maybe could accommodate 200 people. If they were all skinny indie kids. (Which, of course, they were).

Bows is about ten minutes from my house. I left at 8:40, arrived around 8:50, gotta beer (I can now personally endorse Napa Smith’s Bonfire Imperial Porter…at least on tap) and carved out a space for myself somewhat behind the tallish girl wearing a backpack (ugh) and next to the goofy guy who felt the need to both wear his hoodie up for the entire show and rudely push his way is front of other, and more polite, rock & roll attendees.

Anyway. Band hits the stage at 9pm, jams a 45 minute set of glammy power-pop and I’m out the door and home by 10. Nice. Would have been even nicer if the sound for King Tuff was, umm, tough. Or even tight. I think Bruce sounded better in a basketball area that Tuff did in a tiny art collective. Such is the nature of music venues in Sacramento. You can only go to where the show is being played. That is, if you want to see the show.

And if you can leave your house, drive to a venue, have a beer, get rocked, and return home within 90 minutes, that’s a good evening. And something that would never happen on the night of a Springsteen show.

The Return Of Akron, Ohio’s Clone Records

I receive email updates from a slew of retailers, all based on either personal interest or sussing out potential “opportunities.” Earlier this year, those two avenues intersected when an email rolled in from the folks at Permanent Records (stores in Chicago & LA). It was an alert touting original new old stock was once again available from Clone Records, a tiny late 70’s/early 80’s indie label based in Akron, Ohio. Mostly 7″ singles. Couple LP’s. Not reissues, not boots. OG pressings.

Yes, I understand there are already questions. What is “new old” stock? What the f@#k is Clone Records? Where is Akron, Ohio? All legitimate inquiries, I suppose. I mean, I assume by now everyone in the states knows where Ohio is located, if not individual cities inside of that state. In regards to new old stock, you will occasionally trip across that reference is various selling listings and generally refers to an original pressing that’s been idly sitting in a store or warehouse somewhere, likely for years, before being uncovered and retailed (I personally enjoy the slight surreality of flipping across a record in a store that you just know has been sitting there since, say, 1986).

As for Clone Records, there is probably no real reason you would be aware of the label unless you were either living in the midwest at that time, or were you were simply dialed into what was a very exciting time musically in America, with great regional scenes popping up all over the states. And one of those scenes, believe it or not, was Akron. Home to Chrissie Hynde. And Devo. And not far at all from Cleveland, where Pere Ubu and the Dead Boys were doing their respective things during the same time. So yeah, a pretty fertile and fairly out-there bubble of genre-pushing artists.

Also part of that scene were the Bizarros. One of those bands that had the dubious distinction of being extremely influential to the scene and the sounds, but not the recipient of more tangible touchstones like, for instance, sales. In fact, the Bizarros were the first Akron band in that scene signed to a major. Well, a subsidiary imprint of Mercury, Blank Records. Blank was initially created by Cliff Burnstein (who later went on to be a principal in the might management firm, Q Prime) to sign Pere Ubu. If I’m not mistaken, also issued some Yello Records as well, no? So yeah, lots of cool shit that never sold.

Anyhoo, Bizarros sadly got sucked into one of those label cock-ups that are never favorable to the artist, and a couple of years went by between the time the band finished recording what was to be their Blank debut and the actual release of the album, which eventually came out on Mercury. Two years later, Bizzaros and Clone mainman Nick Nicholis shut it all down. The Bizarros broke up and Clone Records, which had only released a dozen or so records by that time, folded. That was 1981.

More than 30 years later, Permanent Records owner Lance Barresi hears from a former customer that Square Records in Akron is selling original copies of old Clone stock. Nicholis, still living in Akron, was selling off old stock that had been living in his mom’s basement for three decades – copy by copy. Baressi tracks down Nicholis, a deal is struck and suddenly Permanent becomes the almost-exclusive seller of Clone ‘s back catalog.

Much of it is gone, though there are still titles to be found on the store’s website, and I’ll link to that in a minute. The Bizzaros singles are indeed history, as are a couple of other titles I purchased from Permanent at the time. And as of right now, those 7″ singles are now available via my Musicstack and Gemm stores, as well as Discogs, and are detailed below…

Ground zero for Clone Records. Literally, as the catalog number is CL 000. Actually a 1978 re-release of the band’s four-track debut 7″, previously issued two years earlier on the even smaller Gorilla Records. Side one – “Lady Doubonette”, “I Bizzaro”; Side two – “Without Reason” and “Nova.” Spins at 33 & 1/3 revolutions. Generic white sleeve. Semi-angular rock, Gang Of Four and early Alice Cooper come to mind. $20.

CL 002. Three tracks – “Laser Boys” and “It Hurts, Janey” on the A-side and “New Order” on the flip. 45rpm in a picture sleeve, big center hole. $30.

CL 008. Pretty dang rare slice of power pop, though likely not as rare as the red wax, red-sleeved version that was limited to 200. More or (likely) less. While these are reportedly all new old stock, this looks to be lightly played. Or just a not great pressing. Either would be unsurprising. 45rpm in a picture sleeve, big center hole. $30.

CL 009. Methinks this must be the rarest of all the Clone stuff. And probably my favorite. Wimpy lo-fi bedroom pop (in a good way!), musically backed by the Bizarros. A seriously tough one to find out there, especially in this kinda condition. Beautiful. 45rpm in a picture sleeve, big center hole. $30.

CL 012. Another Akron band that was swept up by a major and released one record, “Contents Dislodged During Shipment”, that now lives on in perpetuity in $1 bins across this land. Not a bad record at all. Tin Huey also featured the horn-blowing of one Ralph Carney, who went on to release a number of solo albums and carved out a nice little life as a regular sideman to Tom Waits. This 1980 single was released after that major label debacle and is way poppy. And way good. 45rpm in a picture sleeve (corner bumps and light ring-wear), big center hole. $10.

Okay, kids, that’s it for Clone. But if you care to know more, here’s some links to help you in your quest for arcane knowledge…

Here is an April piece in the Chicago Reader regarding the Permanent/Clone story, including an interview with Baressi…http://bit.ly/RDjdmE

If you you would like to listen to an interview Baressi conducted with Clone owner Nicholis, head here…http://bit.ly/U0ahKc

And if you would like to peep which Clone titles Permanent still has in stock, here you go…http://bit.ly/UDKHNm

George Harrison – Electronic Sound LP (Zapple Records ST-3358)

Yep, George Harrison beat Paul McCartney to the shadowy world of EDM by decades. Who woulda thunk? Okay, so not so much EDM as simply “electronic.” Back when that word alone was sufficient in describing such a release as “electronic” in any form at that time was going to be a fairly primitive affair. It’s far less Skrillex and more AFX Twin. Uh, kinda.

Basically, it’s Harrison twiddling knobs on two side-long compositions, with “No Time Or Space” (recorded in California with another electronic pioneer, Bernie Krause) being the less musical of the two. For me, it’s the better of the two pieces, but I have a high tolerance for lo-fi moog doodles. Oh, and btw, just so you know, “No Time Or Space” is credited on both the inner and label as being on side two. It is actually on side one, while “Under The Mersey Wall” is actually the side two cut. For what that’s worth. Also maybe worth knowing? Harrison also did the artwork.

Just posted up on the eBay for a reasonable $40. Jacket is VG+, with a touch of ringwear; original inner is in killer shape, and the vinyl is VG++. In excellent shape, but not quite near mint. Play-graded.


The Collectors – “The Collectors” + “Grass And Wild Stawberries” Original Pressings on W7

Okay, the first very brief pass at this recently referenced rock collection yielded a couple of obscurities – the lone two releases from Canadian psych-pompers, The Collectors. Both issued via Warner’s W7 imprint, both US green label first pressings.

The band’s self-titled debut (WS 1746) is just good straight-up psych-pop, with occasional touches of ornate silliness. Hey, it’s a fine line. And then in somewhat of an odd turn, the band hooks up with this poet/playwright – George Ryga – to create a piece that was intended for the stage, and then extended into the band’s sophomore release, “Grass And Wild Strawberries” (WS 1774), with Ryga handling lyrics, the band writing music. Not the disaster that it certainly could have been. But not considered a breakthrough by any stretch.

And really, at the end of the day, that’s probably as much as you need to know about The Collectors. Well, there is this one thing – following the second album, the singer bailed, the band promoted from within, regrouped and rechristened themselves Chilliwack. Ahhh, Chilliwack. I did love that name. I assume much like The Collectors, the band was much bigger in Canada, tho they did lay claim to their fifteen minutes here in the states with that “My Girl (Gone Gone Gone)” track. Fun fact – I at one time owned the record that song was on. Have NO idea what the album title was, though. (Yeah, I’ll cop to just about anything when it comes to music. It was the 80’s. I think. Whatever.)

Collectors – Collectors is here…http://bit.ly/SmpzYO

Collectors – Grass And Wild Strawberries is here…http://bit.ly/NRT1Fu

New Stuff – Classic Gems From Pretty Things, Yardbirds, Hollies, The Move…And A Bunch More

It’s been several months now since I picked up this very cool assortment of 60’s and 70’s rock, and I’m finally at a place where I’m ready to tackle it. I will preface this tease by saying that I don’t think any of the titles included are of the stone cold mint designation. That said, all very clean, extremely listenable and play with a minimum of surface noise. The vast majority run from VG+ to VG++, with some occasional NM’s in there. And again, much of it runs to the “hipper” side of the classic rock spectrum. A handful of nice mono stuff mixed in as well. Uploading will commence today and I will occasionally post updates here with some of the highlights as I run across ’em. Oh, and while this pictured  stereo first issue of the Pretty Things’ “S.F. Sorrow” is probably the pinnacle of the collection, I’m still working out how I’m going to address that one.

graypunk can now be found @graypunk.com

Yes, I have been neglecting this space. For most of the year. I have found it’s way easier to keep up with everything when you simply ignore certain segments of what you think are necessary to maintain a business that wants to communicate with its audience. Leaves more time for *everything* else.

One thing that actually has changed since the last update is the address at which this blog now resides, as I have finally secured the graypunk.com domain. Someone had been squatting on that one for the past several years and apparently finally realized that it wasn’t a domain that was going to, ummm, enrich his or her life. Or bank account. It was offered to me for the obvious reason and I grabbed it. Thank you. Now, what to do with it. Until I wrap my head around what it takes to structure a decent retail site, it will serve as home for the blog and I’ll build it out from there (why, sure I will).

I will also continue to struggle with what content should be posted here and what stuff is more appropriate for Facebook. There will obviously be some overlaps. Of course, that would only be a danger if I actually do take the time to curate content in both places. So, there’s that.

The Searchers – Take Me For What I’m Worth LP Very Rare Stereo Issue (Kapp; KS-3477)



See, I told you it wouldn’t be seven weeks. So, I have this Searchers record. Which, normally, isn’t the biggest deal in the world. Or, barely, a deal. But this particular copy of the band’s 1965 release is in stereo. And while stereo wasn’t exactly revelatory in 1965, finding a copy of “Take Me For What I’m Worth” in stereo in 1965 was indeed a find. Very few copies were made available in stereo, and Goldmine doesn’t even reference a listing for anything but mono. A copy recently closed on eBay for just north of $200 (based on the description, in admittedly better condition than my copy), and a Canadian copy in VG+ condition closed for $125 late last year on eBay (probably not as nice as my copy and, with all due respect, not a lot of folks clamoring for Canadian pressings).

This US copy is in really nice shape, considering it’s in it’s mid-to-late 40’s. The jacket is completely intact, with no splits or, really, anything in the way of a deal-breaker. There is a faint stain on the bottom left front corner that is barely there on the corresponding back corner. And there is some foxing down the left hand side of the paste-on portion of the back jacket. There is a small bottom right corner dent and accompanying rubbing on that same corner tip and some very light bottom seam wear.


The vinyl is VG++. A truly strong VG+, super clean with only slight visible signs of play (and that’s under a very bright light). No scratches or other issues that will interrupt your listening experience; both sides play-graded. And all of my sales are guaranteed. If this copy is not up to snuff, I have a 14-day return window on any sale. And if you want/need any additional scans of this item, please let me know and I will be more than happy to forward. Oh, there is a small tear at the top of the Kapp label inner. So there is that.

This is an eBay no-reserve auction-style sale, which I rarely engage in. I’m more of a buy-it-now kinda guy. This one is up for grabs, for, well, whatever it closes at (and yes, I know I shouldn’t end a sentence with a preposition, but that’s how I lazily roll).

And…I’m Back.

So, didn’t really feel like seven weeks, did it? Yeah, sorry about that. One day turns into three and two weeks into two months. The constant struggle to break down my days into  how much time to dedicate to the actual retail side of the business (buying, posting, packing, shipping) and how much to allocate for, ahem, “marketing” (ie – blogging, Facebooking and a host of other thing I haven’t even touched upon yet). It’s a twee easier keeping up Facebook appearances because, well, FB makes it pretty easy to do so. The platform is conducive to short, sharp blasts of culture. As is my brain.

Here I feel I need to be a little more expansive. Which has probably been part of the barrier in keeping this particular corner of my internet a little fresher. Well, that and an obsession with college basketball that consumed a bunch of March. So you see, the “excuses” that I can provide are more or less lame.

Since last we spoke I have caved yet again to a knowing & unspoken truth (damn you real world!) – I need to have more Graypunk inventory on eBay. Yes, I hate eBay. And yes, I love eBay. The plight of most sellers. More sales. More headaches. Typically, sales triumph in this squabble. As they do here. I will never have the breadth of inventory on eBay that I do on, say, Musicstack or Gemm. That said, if you ever see something on those latter two sites that you would rather purchase on eBay as, well, that’s where you’re comfortable buying stuff, just lemme know and I’ll work with you to make that happen.

Oh, happy belated Record Store Day. I don’t know what happened where you live, but from literally where I stood, it felt like RSD took a large leap forward this go-round. Way more people queing up for store openings that I remember in past years. And every store I was in (maybe eight) were all doing what looked like killer business. In light of an article I peeped recently that noted turntables sales in Jan 2012 were up 50% over those in Jan 2011, it makes sense. And it sure doesn’t feel like this recently building wave of analog nostalgia is going anywhere for a while, morphing from what many perceived as simply a fad to potentially becoming a meaningful musical mainstay.

Okay, think that’s it for now. I won’t be another seven weeks. But that may have very well been exactly what I said last time. Because I’m a liar. Except when it comes to vinyl grading. Then, of course, I’m just occasionally mistaken.

Cheers, kevin


Chuck Prophet – Temple Beautiful Record Release Party In San Francisco 2/7/2012

(Okay, so…I intended to write and publish this the day after the event, which I was incredibly fortunate to attend. That was three weeks ago. Ack. I actually did get something on paper, er, computer, a week *after* the event. And, until now, there it sat in my “All Posts” WordPress folder. Unloved. Unpublished. Only for me to read and re-read. And that didn’t even happen. Until, that is, the fabulous folks at Blurt published their own piece on the evening. Okay, I said to myself, it’s not too late to do this. It’s just sitting there. Waiting to be released. And likely waiting to be embellished before release. But, umm, that’s not gonna happen. So here ya go, a brief overview of one helluva fun night, capped by the briefest, and maybe the bestest set, I’m seen Prophet knock out. Killer stuff)

I’ve been wanting to write about Chuck Prophet for a few days now. He’s got a new album out (as of Tuesday) and Prophet, in tandem with his his label, Yep Roc Records, cobbled together an unusual record release party to celebrate. Record release party? Labels and artists still do that? Apparently they do. However, on a much more minimal scale than they used to. (I will never, ever forget this party that Hollywood Records threw back in the day when the label signed Queen – rented the Queen Mary, which is docked in Long Beach, and threw a supremely sick party. Not sure the label ever made their money back on that extravaganza.) No, instead of boarding a giant luxury liner, about 50 people piled onto a tour(ist) bus and subsequently spent a couple of hours tooling around San Francisco, taking in various landmarks that were either lyrical touch points for various songs found on Prophet’s new record or…just some place that Chuck wanted us to check out. You see, the album is loosely constructed with the city of San Francisco as the primary backdrop for what might very well be Prophet’s strongest set of songs to date. However, I can’t emphasize the word “loosely” strongly enough. This is certainly not an example of conceptualism trumping art. And it’s hard for me to even call it “art”. It’s rock and roll.

But seeing how Prophet has lived in SF for most of is adult life, it only makes sense that the city would inform his work. Loosely. But we did wind up in some places I had never been. For instance, never stopped to see Treasure Island, an old Navy base that is now undergoing a lengthy transformation into a residential community. In my mind, the only reason to go there was for the annual Treasure Island music festival. Way too indie for my tastes. But man, the setting is gorgeous, and the view of the city skyline, especially in the evening, is amazing. Also never been up to Twin Peaks, set somewhat in the middle of SF, from which you are witness to a spectacular view of the city and San Francisco Bay. And, on certain nights, Chuck Prophet (along with Stephanie Finch and James DePrato) busking.  It was quirky. It was fun. But it was just the prelude.

We ended where we began, which was in the Mission. Makes sense. Prophet’s hood. The “after-party” took place in a warehouse space called the Catacombs. Very cool vibe. Not long after arriving , Prophet and band hit the stage and knock out a half-dozen (?) songs from the new record. The sound was out-standing. Seriously, I’d go see bands there every night. Well, if I didn’t have to drive 90 minutes each way to attend. But yeah, the band, with a brand new drummer, killed it. Final song of that set was the title track, Temple Beautiful”, and like the record, featured former Flamin’ Groovie frontman Roy Loney on background chorus vocals. And hey, as long as he was there, how about a three-song Groovies mini-set? Word. Super rocking covers of “People”, “Teenage Head” and, yes, “Slow Death” ensued. Damn. After that, there were a couple of Two-For-Tuesday even-minier sets from Kelly Stoltz and Stephanie Finch before Prophet and band came back to close out the night with some Iggy, a cover of “I’m Bored”. Good night! No, great night.

By the way, if you would like to check of the Blurt piece, with lots of fancy pictures (in color!) and written by something who can actually write, check it out here…