Lee G. came to check out SCAD, or at least to visit. I was thrilled to see him, as if reuniting with my long lost conjoined twin. How that separation may have occurred is a bit of a mystery — maybe a gigantic baloney slicer accident.
I think that this is the first Jane’s bootleg I purchased, most likely from my buddies at Green Hell Records on Hollywood Boulevard. It’s a double album set comprised of two 1988 era shows, which for me will always be the Jane’s sweet spot.
The Neighbourhood is one of those bands that reminds me that pop music doesn’t have to suck. Debut album I Love You dropped last month, following an EP released last August. Both include the track “Sweater Weather,” which is infectious as they come.
This one is for the memoir readers, and it’s also a sneak peek at Revenge of the Daisy, this year’s chapbook. “Daisy” is coming along slowly but surely. I’m targeting August to be complete, so I need to get on it.
He’s a funny, no bullshit kind of guy who would never let me get away with disingenuous lines, and I appreciate that. And his Twitter feed (@MiloKilledPunk) is the business.
A punk from the old school, Milo would’ve been a best pal to Lee G. and me back in the old days, but we didn’t know that. Just goes to show you that we have best friends all over this huge planet, waiting to be discovered.
Anyway, here’s Milo’s deep cuts:
The following story has nothing to do with Why It Matters, but it needs a home. It had one once, many years ago in a literary magazine that is long out of print. In fact, this is the first story I ever published.
You are looking at the cover of a number one record. Miss Jeanne took the title song of her sophmore album, Satin Sheets, to number one on the US country charts and number 28 on the pop charts back in 1973. It’s not a bad song. The harmonies are nice, and its better than any of the dreck marketed as country today.
Another classic Stones album cover, this one designed by Andy Warhol’s Factory. Sticky Fingers was the Stones’ first album of the seventies, the first album cover to feature a working zipper, and a blind alley for those who wanted to believe that was Mick’s enormous hog in those jeans.
The long version: