For an extended lysergic blink in the late 1960s, Top 40 radio turned day-glo, suffused by the sounds of psychedelic pop, which achieved its apocalyptic apogee in November 1967 when the Strawberry Alarm Clock’s “Incense and Peppermints” ascended to #1 on the Billboard singles chart. A psych-pop masterpiece — all buzzing guitar, churchy organ, an aggressively earnest lead vocal, and delightfully tongue-twisting trippy lyrics (“Good sense, innocence, cripplin’ mankind/Dead kings, many things I can’t define/Occasions, persuasions, clutter your mind/Incense and peppermints, the color of time”) — the song crystallizes the moment when pure counterculture psychedelia transmuted into mainstream masses’ manna.
As ephemeral as any pop music genre, psychedelic pop quickly morphed, fractured, and, by 1970, disappeared entirely from the public consciousness. Ditto the Los Angeles-based Strawberry Alarm Clock — guitarists Ed King and Lee Freeman, keyboardist Mark Weitz, bassists George Bunnell and Gary Lovetro, drummer Randy Seol – although the band cranked out some memorable material in the immediate aftermath of “Incense and Peppermints,” notably the breezy “Tomorrow,” the hallucinogenic “Rainy Day Mushroom Pillow,” and, incongruously for an L.A. band, the jaunty “Barefoot in Baltimore.”
Released as the first single from the group’s third album, 1968’s The World in a Sea Shell, “Barefoot in Baltimore” saunters along agreeably, its soft-rock melody buoyed by Association-style vocals, chirpy xylophone, and chattering percussion. However, the song suffers from excruciatingly anemic lyrics, imagery seemingly gleaned from a cheery Chamber of Commerce brochure: “Laugh at sizzling sidewalks/Don’t step on the cracks/Old folks try to catch their breath/As children catch their jacks” and “Melted tar in crosswalks/Crab shells in the park/Pavement frying our poor toes/Until long after dark.”
“[The] soundtrack was great — the lyrics were horrible,” Mark Weitz, who wrote the song’s music with Ed King, explains in the liner notes to the re-released CD version of The World in a Sea Shell. “They were ‘sissy’ lyrics to us — ‘heel and toe with you’? We were pretty embarrassed to play that song on stage.”
Blame those tepid lyrics on non-band member Roy Freeman. George Bunnell, who, along with Weitz and Randy Seol, remains active in a recombinant Strawberry Alarm Clock, reports via e-mail that Freeman “was a comedy writer for [comedian/actor] Joey Bishop. No relation to Lee Freeman. He also penned the lyrics to [SAC’s] ‘Sit with the Guru’ and ‘Eulogy.’ Lee Freeman and Ed King wrote a song called ‘They Saw the Fat One Coming,’ which was in reference to Roy. He was actually a nice guy, but was forced upon us by the powers that be” (aka, the band’s record company).
“Barefoot in Baltimore” briefly dented the Billboard Top 100 in 1968, eventually stalling at #67 before evaporating altogether, although the song, not surprisingly, enjoyed considerable airplay in this area at the time. These days, it seldom, if ever, surfaces on radio – conventional, satellite, or Internet — but, via the miracle of YouTube, you can still experience the goofy charm of “Barefoot in Baltimore.”
Deranged protestor Dylan Spoelstra, a 20-something from Canada, donned his Baltimore Orioles #32 Matt Wieters jersey, joined the New York City Occupy Wall Street protest, peed on a wall (allegedly), received a summons (allegedly), then climbed a sculpture in Zucotti Park in protest. A giant moon bounce was placed under him, and after some hugging, friendly head-butting and other drama Dylan was carted off to the loony bin at Bellevue Hospital for psychiatric evaluation.
Our new hero.
Orioles catcher Matt Wieters. He’s cool because he has a cat. And he wears a badass outfit!
Mark di Suvero's Joie de Vivre sculpture. Photo by WTM by official-ly cool, wikipedia.org
Visualize this sculpture as a man reaching his arms out to the sky. Dylan basically made it to this man’s crotch.
In better economic times this would have run as a wacky “goof on the roof” news story.
“I’ve been with you such a long time
You’re my sunshine
And I want you to know That my feelings are true I really love you… You’re my best friend”
Although the news was technically accurate in reporting that Dylan scaled the 70 foot structure, he actually only made it about 25 feet before losing interest and asking for cigarettes and a cellphone, representing the attention deficit disorder of his generation.
Dylan should have visited Baltimore, where being mental is normal behavior. He could have scaled one of Charm City’s fabulous sculptures without notice:
"Man/Woman" sculpture at Baltimore's Penn Station. Photo by tracktwentynine, flickr.com
Dylan could have suckled at Woman’s very round and nipple-less teat.
But Man provided no chubby for him to gain a foothold.
Brooks Robinson Statue (Brooks Robinson Statue in Baltimore Facebook Page)
Dylan could have cuddled in the arms of former Baltimore Orioles third baseman and fan favorite Brooks Robinson, resting his head on Brooks’ golden glove.
The father of our country was a shower AND a grower.
Dylan would have had quite a lovely perch had he scaled Baltimore’s Washington Monument. When viewed at the proper angle and distance Washington appears to sport a horse-sized erection that would put Long Dong Silver to shame.
Edgar Allan Poe Statue at the University of Baltimore School of Law. Photo by Scott Wallace Brown
Dylan would have been in for a bumpy ride had he nestled in the lap of the Edgar Allan Poe Statue. Edgar stuffed a tube sock down his wool pants before posing for sculptor Sir Moses Jacob Ezekiel. The Zucotti Park sculpture is known as the “red thing” in New York, Poe’s “moose knuckle” will now be known as the “bronze thing” in Baltimore. Cue the Tone Loc:
Related Links:
ABC News: Occupy Wall Street Protester Scales 70-foot Statue New York Times: Man Climbs ‘Joie de Vivre’ Sculpture in Zuccotti Park
Cutting Edge J-Poppers Finally Take a Stab at Charm City
by Tom Warner (Baltimore or Less, 10-25-2011)
Believe it or not, Shonen Knife had never visited or played in Baltimore in the course of their 30-year career. Like most big name J-pop bands touring the U.S.(Pizzicato Five, Puffy, even Kahimi Karie), they made the obligatory stop in the nation’s capital, typically at the 9:30 Club, before bypassing Charm City to traipse up the East Coast to Philadelphia, New York, and other major ports of call. In fact, the last time I saw them was back in 1997, when they performed at the 9:30 Club in support of their album Brand New Knife (Baltimore’s powerpop trio Splitsville opened for them).
That all changed October 24, 2011 when founding guitarist Naoko Yamano and the “new” Shonen Knife girls – drummer Emi Morimoto (2010-present) and bassist Ritsuko Taneda (2006-present) – visited Atomic Books in Hampden to sell their new all-Ramones-covers CD Osaka Ramones (Good Charamel Records, 2011), sign memorabilia, and hang out with fans, before jumping in their tour bus to motor down the street and rock out later that night at the Ottobar as part of their 30th Anniversary North American Tour. And so, “Baltimore, the city that reads” officially became “Baltimore, the city that bleeds” – for Shonen Knife!
As an added bonus, Naoko’s sis Atsuko (Shonen Knife’s original drummer) was also on hand to roadie for the band; though Atsuko left the band in 2006 when she got married and then moved to Los Angeles, she filled in during band’s 2007 tour and, being Naoko’s sister, continues to be involved with the musical family she created with Naoko and Michie Nakatani in Osako back in 1981. (Original bass player Michie Nakatani left the band in 1999, with Atsuko moving from behind the drumkit to replace her on bass guitar.)
Dave Cawley, Ichiban: “The early bird catches the worm,” Dave smirks as he informs latecomers that the line forms BEHIND him. “Watch me and learn, minions – and please, DO envy me!”
Dave Cawley was the very first fan to arrive at Atomic Books (all the better to genuflect before his idols), which is somewhat fitting, as Dave used to correspond with Atsuko Yamano dating back when he was in Baltimore’s pop-punk band Berserk. (Dave poses with Atsuko Yamano in pic at right.) Amy and I were the second to arrive and Atomic Books owners Benn Ray and Rachel Whang were greatly amused to see that Dave and I were both wearing the same 1997 Shonen Knife Tour shirts, the ones we got when last we saw the band at the 9:30 Club and interviewed them for Atomic TV (as seen on ATV’s “Turning Japanese, Part 1” – check ’em out at the 54-minute mark of this episode). Rachel Whang captured the “Misfits-in-Matching-Outfits” photo op, below:
Tom: “Dave, this is kinda gay!” Dave: “Ya think?”
Dave and I loved Shonen Knife from the moment we discovered them – he first, of course, via his Pan-Asian Pop Cultural Studies (an ongoing obsession), me rather late in game thanks to Sassy magazine’s championing of “Twist Barbie.” We both agreed that they were the nicest band we’d ever met, and regretted that we hadn’t seen or listened to Shonen Knife in a long time; in fact, 1998’s Happy Hour album (my personal favorite and the last to feature original bass player Michie Nakatani) was the last CD either one of us had purchased. We decided it was time to make amends for that criminal oversight, and we looked forward to meeting the new “Brand New Knife.” We learned that the first cut may be the deepest, but the new Knife cuts a pretty sharp figure as well!
Meet and greet the Brand New Knife!
First-in-line Dave Cawley strikes a Kamen Rider pose with Shonen Knife
Dave Cawley gives Shonen Knife his personal seal of approval
The fans behind Dave “I was first!” Cawley wait their turn at Atomic Books
Tom Warner makes peace with Shonen Knife
Amy had never heard Shonen Knife, but bought their “Fun! Fun! Fun!” LP as an introduction to the fun, fun, fun
Our Facebook pal Gary Razorpop poses with The Knife
Shonen Knife really seemed to enjoy looking through the shelves at Atomic Books – where Naoko’s book Shonen Knife Land was also available for purchase; they also explored the vinyls bins at Celebrated Summer Records next door (who splurged for donuts and other edibles).
Emi lets the cat out of the bag at Atomic Books
Just as fitting as Dave Cawley being first in line at Atomic Books was Shonen Knife’s decision to release an all-Ramones song album, for Shonen Knife is basically an all-girl Japanese version of the Ramones. Both work from a foundation of simplistic punk rock buzzsaw guitar and lyrics celebrating everything that’s good dumb fun in life – whether it be sniffing glue, getting kicks and scoring chicks for the Ramones or eating all that food (“Cookie Day,” “Banana Chips,” “Hot Chocolate,” “Brown Mushrooms,” “Froot Loop Dreams,” “Ice Cream City,” “Gyoza”) that Naoko sings about in countless Knife songs. Osaka Ramones contains all the classic Ramones songs you’d expect to hear championed (“Blitzkrieg Bop,” “Rock ‘n’ Roll High School,” “Sheena Is a Punk Rocker”) as well as an inspired surprise cover of “Scattergun,” a rockin’ tune written by Dee Dee’s replacement C.J. Ramone (Christopher Ward) and taken from their last studio album ¡Adios Amigos! (1995). And it’s not just Naoko handling all the vocal duties: Ritsuko lends her voice to “Sheena,” while Emi gets to sing “The KKK Took My Baby Away.” The album was recorded in Osaka and Buffalo, NY, with Goo Goo dolls bassist Robby Takac producing five tracks at his GCR studio in Buffalo and mixing the final album. (Attention collectors: The US album features a Road To Ruin-style drawing by Miyoka Hayakawa, while the Japanese release features a black-and-white photo of the band that mimics the first Ramones album.)
I enjoyed meeting the new (to me) Shonen Knife rhythm section. I quickly learned that sexy long-haired bassist Ritsuko Taneda used to sing and play guitar in the J-Pop bands Keihan Girl and Denki Candy (where her nom de stage was “Marilyn”). And I discovered that super-kawaii drummer Emi Morimoto (whose Louis Brooks-style haircut reminded me of Scott Pilgrim’s girlfriend “Knifes Chau” from Scott Pilgrim Vs. the World), used to bang the skins for Ni Hao!, Ultra Jr, mamastudio, and NASCA CAR.
But I really enjoyed chatting briefly with Atsuko Yamano, Naoka’s sister who helped set up the merchandise table and assisted with other tour details as needed.
Atsuko helps set up the merchandise table
“Excuse me, aren’t you Big Dave Cawley?” Atsuko (far left) asks a bespectacled fanboy
Atsuko now resides in Los Angeles, where she has plenty of time (and sunny weather) to indulge in her latest passion of tennis. Both of us are Federer fans, and I told her I was equally impressed with Kei Nishikori who, at age 21, is currently the highest-ever ranked Japanese player (#30) on the ATP Tour. Alas, like Kei, Atsuko also favors a two-handed backhand, though I tried to convince her of the benefits of the one-handed slice. (Maybe next tour?)
Tom Warner bonds with Atsuko over tennis and their shared adulation of Roger Federer and Japan’s own Kei Nishikori
I can’t say enough about how sweet and friendly these gals are. They even indulged me when I went back for yet more merchandise for them to sign – and they signed everything, for everybody. Benn Ray joked that I had forgotten to get my ’97 tour shirt signed, but I’m too much of an anal-neatnik (as far as fashion, at least, if not housekeeping!) to go that far.
Tom’s Shonen Knife cache: Sign here, please!
“OK Mr. Warner, last one – our hands are cramping now!”
Alas, Amy and I did not join Dave Cawley later that night at the Ottobar show, as the prospect of having to wait through three opening bands on a Monday night (doesn’t anybody in this town work?) didn’t gibe either with our schedules or our aging bones. (Yes, we’re old!) I’m sure somebody will post some video of the Ottobar show shortly, but in the meantime, here’s what the girls looked like live when they brought the “Blitzkrieg Bop” to London’s Windmill club back in August:
Shonen Knife’s first-ever trip to Charm City, coming less than a week before Halloween, was definitely a treat for all Baltimorons!
***
Postscript (10-26-2011):
As anticipated, videos of Shonen Knife’s show at the Ottobar turned up a day later. Herein is what went down as recorded by serenab4 and motionrotarytoad.
For an extended lysergic blink in the late 1960s, Top 40 radio turned day-glo, suffused by the sounds of psychedelic pop, which achieved its apocalyptic apogee in November 1967 when the Strawberry Alarm Clock’s “Incense and Peppermints” ascended to #1 on the Billboard singles chart. A psych-pop masterpiece — all buzzing guitar, churchy organ, an aggressively earnest lead vocal, and delightfully tongue-twisting trippy lyrics (“Good sense, innocence, cripplin’ mankind/Dead kings, many things I can’t define/Occasions, persuasions, clutter your mind/Incense and peppermints, the color of time”) — the song crystallizes the moment when pure counterculture psychedelia transmuted into mainstream masses’ manna.
