Skip navigation

Category Archives: DANCE

Back in the mid 70’s, when the progressive rock scene was slowly disappearing up it’s own drug-addled arse, and the fledgling punk scene had still to fully take flight, a truly strange hybrid of prog & punk appeared on the Glasgow music scene in the form of the mighty Chou Pahrot ( pronounced Chow Parrot), a four-piece hailing from the small town of Paisley, just outside Glasgow.

At that time, Chou Pahrot were nothing less than an amazing burst of vitality, musicality, and deafening vibrancy. Their humour, originality and bizarre antics were a welcome change from the po-faced seriousness of their hip contemporaries


.

MONICA ZARB – (Bob Donaldson)

Everything about them was unique

The band, Monica Zarb (bass & vocals), Fish Feathers McTeeth ( drums & hitting things), Mama Voot ( guitar, vocals and saxophone), and Eggy Beard (violin), and,  eventually, The Amphibian,  were a Zappaesque conglomerate of Beefhartian elements &  influenced by the US band The Residents, whose stage-presence was truly shocking to the uninitiated at that time. Uncompromising, deafeningly loud, agressive, and whimsical in equal measures, with Mama Voots trademark appearance in wedding dress and aged crone face-mask leering through the smoke and flashing lights.

I was a FAN … big style

I helped promote their gigs, here in Cumbernauld, and the band I played with, Flat Out, filled various support slots with them

I also designed posters, badges, their record sleeve … and even made the odd apearance with the band, playing the doppelganger clone of Mama Voot, in dress & mask, at a couple of their more memorable gigs … even resulting in me being hit with a bottle at their final Kelvingrove Bandstand appearance!

.
FISH FEATHERS McTEETH (Dave Lewis) / EGGY BEARD (Martin McKenna) / MAMA VOOT (Tony O’Neill )

.

Their impact at that time is indescribable, as they truly were a LIVE phenomenon, and that experience was never even remotely captured on tape.

The recordings of Chou Pahrot, good as they might be, come nowhere even close to the monsterous tsunami of cacophonic noise and the sheer tornado of sound they could create … a sound which could change, in a heartbeat, to the most melodic of riffs … the contrast and relief creating a dynamic tension of beauty that few musicians have ever achieved, in my experience

Chou Pahrot were a child of their time, and a bratty, self-indulgent, nursery-rhyme screaming wee demon he was … but oh how I loved him, and remember fondly those blisteringly sublime moments his tantrums could create!!

Here’s some of the stuff I helped produce, including unseen artwork from the time

This poster was for a gig at the Glasgow Film Theatre – an unlikely double-bill – The Pahrots & The Beatles film, “Yellow Submarine” …. Oh there were a lotta stoners present THAT night, as I remember!! … and as Monica’s demonic form loomed through the dark, and  jumped from the stage in his manic splendour, I sprang from behind him, identically dressed & scared the crap outta the stoned front row!
.

.

Here’s a design for a Chou Pahrot badge that never actually materialised … badges were very popular at this time, as badge-making machines were on the go, and soon became standard memorabilia for every fan of every band

.

This is THE MAN … pure fukkin awesome!!!

Back in those heady days of the hippy, dope-smolking, 1970’s, I would head up to Bob Cairns hoose, where he and his younger brother Jimmy would be sitting in the sweet-smelling fug of hash bliss, playing their guitars and introducing me to a whole new world of music

There were no cassette recorders available on which to get a copy of stuff I might hear, and many of the albums were termed “underground” and not readily available, unless you went into Bruce’s Records in Glasgow and ordered these strange esoteric offerings

It was in these situations that I first heard the likes of Yes, Murray Roman’s Backtrack 13, Spirit’s 12 Dreams Of Dr Sardonicus, Roy Harper, John Martyn, Frank Zappa, Can, Pink Floyd, and a myriad of other bizarre and unusual influences

Much of this stuff disappeared in the mists of times and the clouds of stoned oblivion, but every now and then someone will post a track on Facebook which I absolutely adored some 30 years ago, and as I didn’t own the album, I’ve never heard since

This, in particular, falls into that category

Kenny Aird posted it on FB, and when I heard it there was such shock of nostalgia and a rememberance of forgotten moments

Bloody Hell!!

Part 1 of an expose of Rupert Murdoch and News International

by Colin Edwards and Innes Smith.

Recorded and mixed at Savalas Studios

 

.

One of my absolute favourite trax of the year …

great guys, from Limerick, taking the piss big style!

.

.

Khris Sparrahawk

sent me a copy of a fine new version

of  the band’s song,

OPIUM & OIL

and so,

whilst ensconced with my feet up,

due to

exceptional

arsebastardness,

for the past few days,

I produced this wee vid for the track


I rather like this

Hope you do too




An Itai Itai song from the 80’s

This was, I reckon, the first track that was totally a “band composition”, which came from messing about with percussion on upturned paint tins and a couple of acoustic geetars

We were never looking to do pop music, and still sound like no-one else but ourselves 

I like that


ITAI ITAI was:

Stu Who? – Vocals & Guitar
Aln McNiven – Vocals & Guitar
Rab Morrison – Guitar
Craig Stronach – Drums
Kowboy – Drums

Jim Dorman & Peter Litster, our crew, were also major contrubutors to the band, and its performance


Follow

Get every new post delivered to your Inbox.

Join 2,076 other followers