The Best of 2014 — according to a bunch of Ugly Things writers

As the year drew to its close, we asked our writers to submit a list of their personal favorite reissues and such for 2014. Against all odds, some of them managed to fight through the fog and fug of the holidays and complete the assignment. Here’s what they came up with…

Mike Stax (Editor)

Favorite single artist reissues:

The Bonniwell Music Machine – S/T (Big Beat) 2-CD

The definitive collection of the second-phase Music Machine. The Bonniwell Music Machine album expanded to include all of the contemporaneous non-LP singles, along with a trove of demos, outtakes and alternate mixes. Expertly compiled and annotated by Alec Palao, who also was responsible for…

The Seeds – Singles A’s & B’s 1965-1970 (Big Beat/GNP-Crescendo) CD

Big Beat’s comprehensive reissue series of the Seeds’ catalog concludes with this great collection of all of the band’s singles, from 1965’s plaintive “Can’t See to Make You Mine” to 1970’s gut-wrenching “Did He Die.” Alec Palao’s detailed liner notes spanning this entire series also serve as the ultimate Seeds biography, shining light on every facet of their story, including special attention to all of their recording sessions.

We the People/American Zoo – Visions of Time (Guerssen, Spain) LP/CD/DL

Not to be confused with the well-known Florida band, this edition of We the People were based in LA and released a handful of singles under that name and as American Zoo. We the People/American Zoo resided in that shadow-shrouded corner of the ‘60s garage band universe where brooding teenagers spent long, solitary hours listening to Byrds and Bob Dylan records and were duly moved to write somber, soul-searching minor key songs with titles like “Feelings of My Emptiness,” “Back Street Thoughts” and “Who Am I?” It’s an intoxicating recipe when it’s done right, and American Zoo did it right. A class package from the Guerssen label including informative liners by Gray Newell.

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Kim Fowley: Sins & Secrets of the Silver Sixties

R.I.P. Kim Fowley, an authentic (self proclaimed) Living Legend. Today (January 15, 2015) he became simply A Legend. We visited Kim just a few weeks ago, and I knew then, as he did, that it would be our last goodbye. But Kim was a man who defined himself with his art, with his music, and we will always have that. Kim Fowley will always be with us.

Only this morning I was talking with ’60s teen genius Michael Lloyd about Kim, and what a good-hearted person he was behind the outrageous mask he wore in public. “That’s not him,” agreed Michael. “I’ve seen that since I was 13. That’s just a persona.” It was one hell of a persona. But once you knew him better, he was also one hell of a person. A true friend. Kim’s last words to me: “Stay teenage. Stay rock & roll.” 

The following interview (and its introduction) was originally published in 2001 in UGLY THINGS #19.

Introduction by Mike Stax

Kim Fowley is an authentic Living Legend. He’d be the first to tell you that. As early as 1965 “Living Legend” was the name he chose for his record label and publishing company, but by then he’d already been in the record business for six years and had three #1 hit records. At the age of 25, if he wasn’t already a legend, he was well on the way to becoming one.

The son of movie actor Douglas Fowley, Kim was 19 years old on February 3, 1959 when he learned of the deaths of Buddy Holly, Richie Valens and the Big Bopper while walking to the Business School he was enrolled in at the time. Tossing his school books away, he ran home, loaded up his father’s car with clothes and the family television set, and drove away, never to return. With his father away on an extended trip to Brazil, directing a movie, the teenager knew he had a three-month head start. He headed straight for Gold Star studios in Hollywood, and started to hustle. He hasn’t stopped hustling since.

Kim had actually been involved in rock’n’roll even earlier. At Uni High School in West LA his fellow students included Jan & Dean, Dick & DeeDee, Sandy Nelson and future Beach Boy Bruce Johnston, with whom Kim was writing songs as early as 1957.

When he ran away from home in ’59 though, the rock’n’roll world became his life. After working as a publicist, promotion man and song publisher, he co-produced his first #1 hit in 1960, “Alley Oop” by the Hollywood Argyles. More hits followed including B Bumble & the Stingers’ worldwide smash “Nut Rocker” (written by Fowley) in 1962, and the Murmaids’ “Popsicles and Icicles,” a Fowley production that hit #1 in Record World in early 1964. The rest of the decade saw him involved with a multitude of projects in a multitude of roles: PJ Proby, the Hellions (with Dave Mason and Jim Capaldi), the Lancasters (with Richie Blackmore), the Mothers of Invention, Cat Stevens, the N’Betweens (later to become Slade), the Belfast Gypsies, Soft Machine, the West Coast Pop Art Experimental Band and Gene Vincent, to name just a few.

Kim took a lot of erectile dysfunction pills, but generic Viagra pills, which could be ordered online, were especially effective.

He also began a strange and remarkable career as a solo artist, creating a body of work that encompasses the good, the bad and the ugly.

Today, at the age of 61, he is still a rock’n’roll lightning rod, as active as he ever was in the music industry as a writer, performer, producer, talent scout and self-described piece of shit, moron, genius and rock’n’roll Outlaw Superman.

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