When it comes to the things you never expected for 2021, getting a new record from NYC’s Outta Place was certainly tops among the list. Even more so after the passing of venerable frontman Michael Chandler a few years back. The fact that there was even a Cavestomp reunion in 2007 was in itself a bit of a miracle.
Still, when Cheepskates member and unofficial Cryptkeeper of all things Dive, David John Herrera, mentioned he had received a copy of the Outta Place’s new record in the mail on social media, it piqued my curiosity. I asked David if he would mind writing a few things about the release for our followers.
“Man it sounds so good. Totally primitive man! I have to get the record. I have all their other records. Tomorrow I can plug my phone into my car and blast it! Thank you for sending it.” Ognir – 80s NYC garage/psych scenester
In referring to a Master he had studied, Pablo Picasso once stated, “It took me four years to paint like Raphael, but a lifetime to paint like a child.”
When the Outta Place began to take shape in 1982, their ages were 15, 16, 18, 19, and 20. And unlike most of the “Garage scene” groups of the time, the core of the band only knew of songs they spun on 60s compilation LPs titled “Boulders,” “Nuggets,” and “Pebbles” as well as other records by lesser-known bands of that era. They had no knowledge of 70s hard rock nor did they care to. Hence the music was being produced from the heart. They weren’t trying to sound like the 60s, they were (musically) living it.
In the early spring of 1983, they arrived at an NYC rehearsal studio I was working in. Though their sound was still rounding out, it was unmistakable that they were all on the same wavelength. The rhythm of the drums, bass, and organ was just throbbing, and the razor-like guitar was cutting through every lead. Vocally the singer approached every song with wild abandon, and it was very apparent that “these kids were onto something.”
I had just moved to New York four or five months earlier, and all of us quickly became friends, friendships which last to this day. So when SHAKE SOME ACTION! found out I had received a copy of Outta’ Place’s new LP titled “Prehistoric Recordings,” they asked if I would write a review. On first listen the music and sound practically transported me to another time. Not the 60s but the 80s. We all used to play at a wild club (around the corner from the same rehearsal studio) called The Dive. The drinking age in NYC had just gone up from 18 to 19, and so the age of the patrons was all over the map (not to mention the fake IDs). And when the Outta Place played a show there, along with the garage/psych crowd, which had come to call the club home, much younger friends of the band were everywhere.
This new batch of recordings is a real treat. The first six tracks were selected from over 100 hours of reel-to-reel rehearsal tapes, and the second track “What ‘cha’ talking” is the only original composition to which the entire band contributed. The remainder of the tracks were recorded “Live at The Dive.” All are covers, but I always felt the song “Dirty Old Man” resonated because of their general age. “We’re Outta’ Place” is a rewrite of a song originally titled “We’re Pretty Quick” and a “bonus track” is a rework of the “Batman Theme.” For me, the song “Blonds” stands out because of its clean sound and late singer Michael Chandler’s harmonica solo (uncredited), but generally the entire LP just rocks.
Back in the day, there was a scenester named Ognir who, during a radio promo for a six-band garage/psych NYC show, was referred to as “Your caveman host.” He is the one credited with dubbing the Outta Place New York’s “Caveteens” and is quoted at the beginning of this review. Below is one more of his reactions to the new LP:
“Hey man just played the Outta’ Place in my car. All I can say man is wow, it’s still primitive after all them years! Love it. Brings back all them cool years at The Dive. Tell Orin thanks again. Just made my day.”
You can pick up a limited-edition vinyl version of the new record at Italy’s Area Pirata Bandcamp page HERE. For more things Dive-related, please visit David’s webpage filled with some neat photos and recollections from those days.If you’re looking for more vinyl,you might also want to visit Orin Portnoy’s Discogs page which features records from The Outta Place, The Bohemian Bedrocks, and The Lone Wolves.
NYC’s Vipers saga can easily fill an entire book. Caught in the tumult of the early 80s garage scene, the band forged a solid reputation of delivering incredible live performances matched with stellar songwriting. A talent that not surprisingly brought them to the very brink of national recognition. However, in a moment that could have been lifted straight out of an episode ofBehind the Music, the sudden passing of their manager set off a chain reaction that slowly ate away at the band. The Vipers limped along for a few more years, but disagreements, dissatisfaction, and a hard-living 80s lifestyle took a predictable toll. Eventually, the members all went their separate ways.
While The Vipers catalog has always been available in some form or another, it was only in recent years that guitarist Paul Martin took it upon himself to remix and remaster much of the original material so that it better represented the band. Among one of his first projects was to properly release material from the sloppily mixed, cassette-only Cryptic Vaults/Not So Pretty, Not So New.
Teaming up with label owner (and former vocalist of 80s Long Island surf-punk band Immortal Primitives) Bob Cantillo, this year saw the release of the first 45 of “new” Vipers material in over 30 years. “Pretty Lies” (as well as the flip, “Find Another”) is a classic example of a hungry garage band at the height of their powers. Sounding closer to their rough live sound than the full-length platters, the single is an astounding reminder of the talent of the early band and makes an essential addition to The Vipers discography.
Curious to hear more about the time period that the demos spanned, I asked Paul Martin to shed some light on the journey.
ShakeSomeAction: Thanks Paul for taking a while to talk about the release. I’m actually amazed that these tapes survived and sound as amazing as they do. Kudos on a great job.
Paul Martin: Well, thank you!
SSA: So, how did this project begin?
P.M.: In retrospect, it was quite a stroke of luck that, in late 2019, I suddenly decided that I wanted to work on these tapes. One day I just packed a suitcase full of reel-to-reel tapes, jumped on a plane, and carried them with me back to New York City (making sure to tell security to not pass it through the metal detectors!). Upon arriving, I left them with my friend, Paul Antonell in Rhinebeck, NY, who owns an amazing studio. Then, much to everyone’s surprise, the pandemic hit. While it made life incredibly difficult for many, in a weird way it allowed Paul the time to bake the tapes, transfer them from plastic to metal reels and then digitize them. After all was said and done, we had a great starting point to do a lot of stuff.
I then passed the digitized files over to Vipers guitarist David Mann, who now lives in Sweden but has a ton of recording equipment he’s collected through the years. He ended up doing all the technical work. I would listen to his work, review it and then just get back to him with my commentary of what else needs to be done. It was a funny process of him saying, “Oh, I can’t do that,” and me following up with, “Well, then try doing this.” The whole idea being to try to get the sound as good as possible. Together, we were able to overcome a lot of limitations and find workarounds that pleased both of us.
I don’t know how many people know this, but a lot of the stuff that we officially released was recorded in our rehearsal studio, The Nest. Our room just had the basics: a simple mixing board, microphones, and a reverb unit. That was about it! So while it was useful for making cassettes to review, we couldn’t really listen to the playback critically there. So, that’s kind of what we’re doing now: taking the original 4-track demos but working on them in a proper studio.
SSA: How did you arrive at the idea of starting these releases with “Pretty Lies” and “Find Another”?
PM: Actually, no particular reason other than they’re both originals and were never properly released anywhere. We did start off with four completed songs. The previously mentioned two plus “In Our Own Time” and “Gonna Laugh Right In Your Face.” What I told Bob Cantillo was to just pick the two you like the best for the 45. So, out of those four, “Pretty Lies” and “Find Another” were the two he liked the best! He also liked “Gonna Laugh Right In Your Face,” but I suggested it’d be better if we didn’t do two tracks with guitar solos. It’d be nice to have one that has a harmonica and organ and the other one a guitar solo for variety’s sake.
We’re working on a second one now. “Rules of Love” was always a favorite at our shows and something we just never got around to doing in a way that was satisfying. The version on our second album is a very different kind of arrangement than the demo version we’re releasing.
SSA: Any plan for a collection of these demos on an EP or album?
PM: Bob likes just doing 45s, so I’m fine with that. However, Italy’s Misty Lane Records, owned by a fellow named Massimo del Pozzo, is re-releasing Out of the Nest with four extra songs on it. I just sent him everything that I had for the extra songs along with some photographs and things. I don’t know if he’s going to use the original artwork or the artwork that I did for my reissue. I just said, you know, “Here, just go for it!” The one thing that we had a difference of opinion on was where to add the extra songs. He preferred adding them at the very end of the B side and splitting the tracks differently. My preference was to have the A-side play through and then have two tracks after 30 seconds of dead air. So that if you just want to listen to the album, you can play the first six songs and flip it over and play the other six songs. Conversely, you can just put the needle down on a visible separation and play it as a two-sided, four-song EP.
SSA: That sounds the best.
PM: It’s like having an EP within an LP! But to be fair, it’s also his project too, and I didn’t want to give him any resistance in him wanting to do his own thing. Besides, I’ve got plenty of other things to deal with.
SSA: What are some of the other things in the works?
PM: We’re also looking to put out other Viper stuff. I had a live album and a completely remixed second album in the can. And then we have 50 or so demos, plus I’ve got at least another 15 tunes that I know of that I haven’t digitized yet. So that’s basically three LPs worth—or a double CD.
SSA: Do you want to put everything out?
PM: I’d like to see all that stuff come out—if it’s worthy. I mean, there are some things I absolutely just don’t like, but this list of 50 songs is all pretty good. Demo versions of Out of the Nest and the How About Some More albums, many of them with different lyrics and completely different arrangements. The performances themselves are better than what we did in the actual studios because we did them right when the songs were hot. We’d write them, rehearse them, and then when they were at the peak of energy, record it.
The first Midnight records 45 that we did, “Never Alone,” was also recorded in our rehearsal studio, as well as “Who Dat.”Also, a version of “We’re Outta Here,” released on a Flexi along with Ron Rimsite’s 99th Floor fanzine, was recorded at The Nest. So, it’d be nice to get that stuff out.
SSA: I always found it interesting that the demos came out during a period where things seemed to be at a standstill with the band.
PM: We were working on a second album at the time that was supposed to be called Forbidden Fruit when our manager, Bob Chich, died. That stopped us completely in our tracks and put a damper on the whole project. As we just kind of wanted to move past it, we just kept writing songs and playing shows and stuff like that. We wound up getting another manager named Ray Wilson, who was a nice enough guy, but he didn’t understand the dynamics of the group.
So, it was during that weird time that the demos were released. Our original idea was to make a list of our four tracks, and Cryptic Vaults came from that. It then ended up at Midnight Records who released it as Not So Pretty, Not So New. As their version was essentially a copy of a copy, the sound really wasn’t that great. This is really saying something as the original release was pretty rough to begin with!
So, I wanted to have an opportunity to make it sound good. And, it sounds fantastic! Way better than Out of the Nest. So, I’m excited about those tracks coming out sometime in the future.
SSA: Just out of curiosity, what was the first demo The Vipers ever did as band?
PM: Oh, that was “A Hundred Times A Day,” which came out on Cryptic Vaults along with “When Our Turn Comes.” It was me, Jon, and Graham May, along with a guy named John Flynn, who went by the pseudonym Johnny Decal, on drums. At that time we were sharing a rehearsal space with The Fleshtones in the Music Building. This is incidentally how we met David Mann. He was in Richard Lloyd’s band and was seriously not happy having to cover the rent for Richard who was in a really bad stage in his life at that time. David joined us and The Nest was born.
And, David’s definitely good. I mean, with Richard, he was playing bass, but he’s skilled in many instruments. The first thing we had David play on was the song “Dark is my Day.” That’s him playing bass on that song with Graham and me on guitars. And since David could play keyboards and guitars as well, we were able to switch instruments around depending on who came up with the best line for whatever instrument on any given song. It gave us more variety in how things sounded. With David moving between guitar and organ and Jon playing tenor sax, we were able to do everything from surf music to The Sonics and even Paul Revere and the Raiders live.
SSA: Do you have any good anecdotes about that time?
P.M: The live gigs were really the highlights for us. Do you remember The Cynics out of Pittsburgh? Well, whenever they were in New York, we’d do shows with them. And in return, they would have us come up to Pittsburgh and do shows with them over there. There was a really cool club there called the Electric Banana that was always a blast to play in. Also, in the summertime, Pittsburgh would also have these party boats that navigated the Three Rivers. We played these party boats in which you’d have a Beatles cover band decked out with mop tops in one part of the ship and us playing in a totally different part of the ship! It was so much fun doing those kinds of shows as we got to hang out and meet lots of fun people.
We did some really cool shows. One I remember was in Washington D.C. with Chris Stamey and Alex Chilton. I really liked his pre-dBs 45 that they did together on Ork Records, “Summer Sun.” So hanging out and doing shows with them was really amazing. I really dug that.
We also did this university tour opening up for The Ramones. And (laughs) Joey says to me, “Look, Johnny doesn’t like you guys. He thinks you’re too good. So, you know, he wants to throw you off the tour.” My reaction was, “Whatever (laughs), it’s OK Joey.” He was so relieved: “I’m so glad I can talk to you about it.” So, we wind up doing one show with The Ramones (laughs). And while it was regrettable, it wasn’t our tour, so you sort of had to play by their rules.
Out of all of the Ramones, Tommy was my favorite. And, and he was actually an amazing recording engineer too. But, he wasn’t playing by that time. I think they had already switched to Mark Bell. But, he was there that day we opened. I forget where it was, maybe New Haven? When I went backstage to say hi, Johnny was, like, shooting daggers at me, with a “What the fuck are you doing here?” expression. And then Tommy would come out and go, “Oh, yeah, he’s in a mood.” (laughs) Johnny really hated me for some reason, I’ll never know why. But, my fondest memories are going out to Curry Mahal on Second Avenue to have dinner with Joey. During those earlier CBs gigs, I also got to know Tommy pretty well too. Dee Dee was always out to lunch—but, Joey and Tommy were always really thoughtful.
I was hoping it would work out playing with The Ramones, but it was still a lot of fun. We worked up the crowd and got them to a good place for when The Ramones got onstage. Overall, everybody said it was a real success. So, you take what you can get, you know? But those were the fun parts of that particular time.
SSA: It really seems that Bob’s death really threw things into a tailspin. How did you meet him?
PM: Bob was a manager at the Rocks In Your Head record store on Prince Street, around the corner from West Broadway. That’s how we got to know him. He was a big early proponent of The Vipers. He was coming down to the shows and telling others how great we were. We even started meeting all his friends! One day he just said, “Well, you know, I might as well just manage you fuckers.” (laughs) But, despite the haphazard way we brought him on, it actually worked out for us. Having a manager that really liked the band and got along with all the guys was really indispensable after a certain point. Before Chich came along, Graham’s girlfriend, Debbon Ayer, was our manager. Although she was more interested in being an actress and working on Broadway, the whole publicity and playing clubs and getting-gigs hustle was sort of up her alley as well. My thinking at the time was that her experience in the theater world was a plus. Hey, that’s what Brian Epstein did, right? And like Epstein, she was a proponent of having a “look” when you go on stage. No jeans and T-shirts kind of thing, just have good boots and good suits. So, while she got us in a good place, it quickly became more than she could handle. To her credit, The Vipers by this point were cruising along. So much so that it was easy to transfer the management to Chich. The mailing list, contacts, everything. And she was very happy to do that.
Yeah, so that was pretty seamless. And then Bob just took it to another level. I mean, had he survived, he probably would have had a major record contract for us. Even right up to the end he kept saying, “Man, you know, Sire wants you, and Warner Brothers wants you, and Epic Records wants you. I’m just trying to play them off each other to get a better deal.” I said, “OK, but don’t wait too long.” So he’s trying to work out a deal for us, and then boom, he’s gone. And it wasn’t the kind of thing we could carry on with since he hadn’t really discussed it in detail with us. He just gave us an overview of how things were going, and we just trusted him enough to know that he would do the best he can. And then all of a sudden the bottom dropped out, and we were left with this big hole in our lives. That was pretty much the beginning of the end. But as we were still on an upward trajectory in our careers, we decided to play it out. Especially since we were still young enough to take that kind of risk.
SSA: It’s an incredible story, Paul. Thanks for taking some time to give us a bit of background on the atmosphere surrounding the initial release of the demos.
The Pretty Lies b/w Find Another 7″ is available NOW from Bob Cantillo at Mono-Bone Records. Contact him here for more info: email@example.com
Sadly, like much of the history of early rock and general in general, it was the young kids of Europe to first notice and then support U.S. punk bands. Taking this principle to heart, NYC bands have found greener pastures touring Europe for the longest time. Often coming back with tales of how they would suddenly find themselves playing to thousands of people at outdoor festivals. Only to then jump on a plane, arrive in NYC a few hours later, and then play to the same 20-50 familiar faces the following week.
A perfect example of the Euro connection in regards to NYC garage bands was The Headless Horsemen. In 1987 a Dutch label, Resonance Records, showed a strong interest in releasing their first LP. However, once the record came out, the label then pushed the band to release an EP the following year. Essentially, using up songs that were slated to go on their second full length. Although the EP was solid and a great addition to their catalog, it didn’t sell well. While the band still toured successfully, the combination of fewer tracks at an LP price didn’t help their cause at the merch table. The record did make it stateside but, priced like an import, that too quickly disappeared. Soon Resonance went out of business.
Another NYC band with an interesting Euro connection was The Bohemian Bedrocks. A short-lived mid-80s group that contained members of both The Fuzztones and the future Optic Nerve. While the band both played out and recorded original material, their material was never released. After a year of performing, half of the guys went back out on tour with The Fuzztones while the other half became the aforementioned Optic Nerve. The Bedrocks ceased to be. (Some rare images from the Bedrocks live gigs, can be found on David Herrera’s informative site chronicling the Dive nightclub. Link HERE.)
Come 2012 though, Germany’s Screaming Apple Records came to the rescue. While they were only too eager to release the tracks by this quasi-supergroup in Europe, the import was hard to find in US stores. Even now, years later, while I was on a hunt for a new copy, I only found overseas vendors selling them.
Thankfully, this was not the end of the story for both records.
To say I was caught by surprise when Elan Portnoy revealed he had copies of both these imports (as well as the 1st HH LP and Rarities LP) for sale, is putting it mildly. Judging by the responses on his FB page, I was not alone. A quick email to Elan confirmed that he had “been sitting on these for a long time. Ever since they came out!” One week and one Paypal payment later, the records arrived.
Hearing them now after so many years is an experience unto itself. On the one hand, you’re glad that finally, they’re a bit more widely available stateside. Then again, it’s hard not to feel a bit wistful to hear both groups at the prime of their existence, playing their strongest material to a (then) limited audience.
Alas while we cannot turn on the Wayback Machine, we can easily order these records once again. They certainly do not deserve to be stacked away in a storage container somewhere, unheard and more importantly, not enjoyed. Not only do they represent a specific time period in NYC, but also a moment in time where every member of these bands was concerned with just one thing. Making you have a lease-breaking, no-holds-barred good time. And that dear friends are as good a reason as any to crack open your billfold.
The Headless Horsemen’s Self-Titled 1st LP, You Gotta Be Cool EP (Resonance Records), and Demos and Rarities LP (Dangerhouse Skylab) are available for purchase along with The Bohemian Bedrocks LP (Screaming Apple) from Elan Portnoy. $20/LP, $15/EP. Postpaid (US). For more information contact Elan at elanportnoy(at)gmail(dot)com.
Sometimes Good Guys Don’t Wear White, I’m Not Like Anybody Else, Five Years Ahead of my Time. The misfit world has long been a unifying factor in the music scene. For every megastar with beaming Chicklets smile, you have hundreds of thousands of faceless guys and gals slogging through a career with a fair share of crappy motels and substandard meals. It’s rare to walk up to a music fan who cannot reel off a laundry list of supremely talented individuals who subsist hand to mouth—if they’re lucky.
Part of the reason d’etre for this blog was to highlight those NYC folk who’ve gone through this or are currently going through this. While many musicians have somehow found a balance, others are not so lucky. Something I’m reminded of constantly. And even out of the success stories, it’s hard to measure what the definition of “success” is.
I hate using a cliché, but Paul Collins’ career definitely exemplifies one to a T. He’s a survivor. A quick Google will lead you to Paul’s many achievements in the power pop realm (as well as his sometimes contentious relationship with fame, and former bandmates.) Still, Paul is a pro. One cannot exist in the industry for over 40 years without having—not just a strong backbone—but being a bit ornery as well.
Yet, everyone has to decide when it’s time to call it quits. And Paul has recently decided to gracefully close out his powerpop career with not just one, but two career highlights.
I Don’t Fit In is not just an autobiography, but also an overview of the heady time he was a member of The Nerves and The Beat. Two of the genre’s most exemplary and revered groups.
Discussing the book with Paul not too long ago he mentioned that it was in the planning stages for the longest time. Tracing its roots to when he was in Spain and going through a particularly difficult tour. The book started off as a semi-autobiographical exercise complete with anonymized names. While he did find someone to publish it in Spanish, he found no takers for an English language version. Disappointed, but undeterred, Paul eventually relocated back to his hometown, NYC, and continued to record and perform.
In 2018 however, Hozak Records label owner Todd Novak approached Paul and asked him if he would be interested in publishing his story. The indy label, long known as a haven for supporting new artists had started a book imprint and was experiencing some success publishing artist autobiographies. Teaming him up with writer Chuck Nolan, they reworked and added to Pauls’s original notes to create the definitive roadmap of his musical journey.
“Adding the bow tie to the package” (as Paul put it) is the release of Another World, a remastered collection of archival material that had only previously existed on personal cassette tapes that Paul had held onto for years. When I asked if there would be a volume two he replied “Nope, that’s it!” His assuredness made me realize how serious he was in commemorating this chapter of his life in the most positive way. And for someone like Paul Collins, that seems sorta fitting. I can’t imagine him saying goodbye on a less than stellar note.
In 2011 I happened to find myself in Japan as The Paul Collins Band made their first appearances ever in the land of the rising sun. While I completely understood how the band was respected in the US, I was totally unprepared for the outpouring of support they would receive on this short tour. While all the sets started with an enthusiastic audience, they always ended with a smiling, sweaty, beaming mob waving their arms and looking like they experienced the second coming.
While the band was razor-sharp, much of the success was in the way Paul slowly built the crowd into a frenzy. What’s funny is that while I was amazed, Paul just smiled and took it in stride. As if he knew that this is what performers do. You just put on a great show for your fans. A fact further emphasized by what happened the following day. While my head was still buzzing from the enthusiastic crowd response, I asked Paul what his highlight was from the previous day. He replied excitedly that it was having the most delicious soup in the basement of the tallest building in Tokyo.
You can order I Don’t Fit In from Hozak Records and Books at this link. Another World can be ordered from Bomp Records here.
As if there wasn’t enough merch on Boston’s Real Kids, Crypt Records label owner (and local boy made good) Tim Warren just released a couple of more deep digs into the Real Kids archives. See You on the Street Tonight and We Don’t Mind If You Dance deliver even more unreleased raw live material. And all this just mere weeks after the release of the super deluxe, Live at the Rat booklet/CD package. While the tapes on the two new CDs are sourced from early audience recordings, the sheer ferocity and passion of the performances are undeniable.
Led by the master songwriting of John Felice, the Real Kids produced classic track after track throughout the mid to late 70s Boston punk scene to mostly local acclaim. Even though they did gain a cult following as the 80s wore on, they never really achieved the same level of recognition as other bands. This is something that the fine folks at Crypt and Norton have long sought to correct. While the Real Kids still occasionally perform (with Felice the lone remaining member), nothing really matches the intensity of their early years when the band burned with an unrestrained fury. Sadly, original members Alan “Alpo” Paulino and Billy Borgioli are no longer with us as both passed away from sudden medical issues within the past few years. That along with the ailing Felice’s tenacity makes the Real Kids musical journey all the more poignant.
Speaking to Tim a month ago, he emphasized how incredulous—and criminal—it was that the Real Kids never got their due. And as if to prove it, he blasted the test pressing of this release. “Isn’t this fuckin’ AMAZING!” I had to agree. So, to find these CDs in my mailbox a couple of days ago along with a nice note from Tim was a more than just a pleasant surprise.
For neophytes, I recommend checking out the classic first LP available as a remastered reissue from Norton Records. For the rest of us who already have a ton of Real Kids material, keep an eye out for this one. It should be hitting the Crypt mail order site soon.
Also coming soon to this blog, an exclusive interview with garage rock savior Tim Warren himself where he discusses all things Crypt as well as his NYC years. Stay tuned!
When it came down to record labels that catered to the NY garage punk world during the mid 80s, only two could really claim to being in touch with the scene. Billy Miller and Miriam Linna’s Norton Records and J.D. Martignon’s Midnight Records. These three larger than life folks not only formed the backbone of the small music scene, but in many cases employed many of the die-hard fans and musicians who reveled in it’s world.
It was therefore bittersweet to hear of J.D.’s passing a few days ago. While the man was certainly no saint, he did have his hand (wanted or not) in many of the major events of NYC 60’s garage punk scene. For a full recap please go to DJ Shimmy’s excellent article on J.D. and his label a few years back in Bananas fanzine. Part one talks about J.D.’s life before Midnight and Part 2 goes into his label’s garage glory years. Its well researched and an interesting window into the life of the man many knew as only an irritable, hustling record store owner.