Shockabilly "Vietnam" recorded 1984 re mastered 2008
Shockabilly was a band which couldn’t be “genre-fied” and which included guitarist/vocalist Eugene Chadbourne, and Shimmy Disc founder Mark Kramer(known more commonly as simply Kramer) on vocals and bass, “cheap organ” and other instruments. Shimmy alum David Licht handled percussions. Licht played on many Shimmy projects during the 80’s and early 90s when the label folded due to the breakup of Kramer’s band Bongwater and the subsequent lawsuit over royalty disputes with former partner Ann Magnuson. Kramer and Chadbourne also split for for royalty dispute and creative differences. Kramer once called Chadbourne “the second best guitar player in rock history behind Jimi Hendrix…”
Signed D.C.
An old ballad from Arthur Lee’s repertoire, reconfigured by Chadbourne into a wrestling acoustic guitar, plucked within the fringes of tonality. Hand drums and wooden tapping on guitar body reverberate. The production of this escapist, spacious folk pastiche is superb. Were it not for the rather predictable chord progression, the echoes of worn-out squawk and guitar strings would presage some of Keiji Haino’s acoustic experiments in the following decade.
Shockabilly was a band which couldn’t be “genre-fied” and which included guitarist/vocalist Eugene Chadbourne, and Shimmy Disc founder Mark Kramer(known more commonly as simply Kramer) on vocals and bass, “cheap organ” and other instruments. Shimmy alum David Licht handled percussions. Licht played on many Shimmy projects during the 80’s and early 90s when the label folded due to the breakup of Kramer’s band Bongwater and the subsequent lawsuit over royalty disputes with former partner Ann Magnuson. Kramer and Chadbourne also split for for royalty dispute and creative differences. Kramer once called Chadbourne “the second best guitar player in rock history behind Jimi Hendrix…”
Signed D.C.
An old ballad from Arthur Lee’s repertoire, reconfigured by Chadbourne into a wrestling acoustic guitar, plucked within the fringes of tonality. Hand drums and wooden tapping on guitar body reverberate. The production of this escapist, spacious folk pastiche is superb. Were it not for the rather predictable chord progression, the echoes of worn-out squawk and guitar strings would presage some of Keiji Haino’s acoustic experiments in the following decade.
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