Posts by rustyraven43

I’m heading your way soon and I'm bringing a massive haul of vinyl, CDs, and DVDs. If anyone's looking to score some stuff, I've put together a full list here with all the prices in USD, so you can probably grab what you want before someone else does: http://www.mediafire.com/?xyxnm1jvaty

silvereagle132 said:thanks for being so understanding... I guess that's all I was asking for... the whole point of the ticket was just to get you to actually feel that whole musical-visual vibe 😁
peace out, man

boss, I didn't take it the wrong way at all. I still think what you wrote wasn't right, though. It's just... I felt like I was stooping to your level, so I apologized, man.

take it easy, whitey 😉

Quote : mr. Wrong

Jail Bait said:So, I was kind of rambling on earlier about my manager—who also happens to be our keyboard player—that one Dutchman.

So, this guy is an American owner of Pravda Records and he actually plays at Goldstar.

Quote : mr. Wrong

Raymond Barrett12 said:I was mostly talking about how blinded you are—honestly, calling it "subjectivity" feels like an understatement at this point—when it comes to judging A. Williams. I mean, look at his track record and everything he’s actually done compared to what we all saw and experienced firsthand. "Black brother"? Come on. You'd probably buy him his first drink if he ever showed up.
Look, you aren't "paying me back," and I never even asked you to, so let's not play those games. Honestly, I'd much rather we just settle up round by round at the bar—or better yet, grab a drink somewhere out in the mountains—and call it even. God knows that's easier.

Man, everything’s cool. Anyway, I tried that Velebit stuff later on after the show at some decent little bar—can't remember the name, honestly. It's not bad at all, really. I mean, what can I say? We'll probably end up getting trashed on it anyway, and hey, I'm totally down for that.

Quote : mr. Wrong

Lale's godmother. said:Look, I’m just saying—I might be exaggerating a bit, but the only Andrew album I’ve actually sat down with is this latest one, and honestly? It’s killer. But now you're starting to hide behind all that talk about "respecting a legend," and it makes me wonder... if that's how you roll, why aren't you showing that same respect to the legend from the White Stripes?

Honestly, I’d really prefer if we could just stick to that whole "peace and love" vibe from your "I don't want to fight..." post. But, uh, I’m gonna leave the insults directed at silvereagle132 alone, mostly because the word choice was just gorgeous. Don't hate me for it.

Man, you wrote that all in tiny print, and I was just scrolling through way too fast.

I’m not even trying to lecture anyone on the whole "legend worthy of respect" thing. I truly mean that when I talk about him. As for White Stripes? I never respected them and I never liked them, so there's really no reason for me to start acting like a fan now.

I feel pretty bad about walking out on silvereagle132 like that. Hey mods, can you just delete this? I don't need my face turning red over it. Honestly, after the absolute nightmare of a day I had dealing with Mr. Rhythm, the last thing I needed was someone nitpicking the deposit amounts.

stormyviper11 said:I’m with Laletov on this one. I won't get bogged down in the specifics of this concert since I wasn't actually there, but the double standards really grind my gears. It seems like if anyone else manages to pull it off, they're considered failures, yet legendary icons get a free pass. Back in the eighties, we used to complain when "old guard veterans" like Wishbone Ash or Uriah Heep would tour, but nowadays, people think it's the coolest thing ever when someone like Pearl Jam or Dead Moon shows up. Those bands have been on the scene just as long as those old dinosaurs were back when they were guesting.

From everything I've gathered, this guy is basically touring these days just because he needs the cash, knowing full well that in some corner of the world, there will always be a crowd willing to pay to see him. The Rolling Stones don't need the money—even if they haven't exactly kicked the habit—so it feels more likely that they play because of so much about " internal musical motif" and just pure love for the craft. So, paradoxically, they end up looking more sincere in this comparison. Sure, Matt has every right to not care for The Rolling Stones and similar, but in my opinion, he's totally missing the point of this whole debate.

who is this 'Lale' you're talking about, maybe that dim-witted and clueless silvereagle132?

don't lean too hard on all the nonsense you read on forums. you weren't there, so, shut the fuck up, doll!

Quote : mr. Wrong

Raymond Barrett12 said:So, I was thinking about how "Shake Your Tailfeather" actually came to be, and it turns out it was penned by Verlie Rice, Otha Hayes, and... well, you know. Just one of those classic tracks. Andrew WilliamsSo, you know that scene where the song is performed When Ray Charles wants to demonstrate Fender Rhodes Electric piano for The blues Brothers band in Store called Ray's Music exchange? Yeah, that one. Pretty iconic, I guess.

Sadly, we didn't really walk away with anything from all that. I guess it was just a wash.
The only thing I’m leaving out is that witty little "Lemme put IT in." That's really it. 😢

So, I was falling down a rabbit hole earlier and ended up reading up on Andre Williams. Man, what a trip. If you haven't heard his stuff, you're missing out on some seriously gritty, old-school vibes. He wasn't just some guy singing songs; he was like this whole persona, you know? It’s almost like he was playing a character in his own life, which I guess is what makes that era of American R&B so wild. He had this way of delivering lines—it wasn't always about hitting those perfect high notes, more about the attitude and that raw, street-level energy. It reminds me a bit of how some of those classic soul tracks feel when they're just unpolished and real. I mean, looking at his history, he really navigated that whole transition from being a local legend to someone who left a mark on the soul scene. It’s funny, thinking about how much influence guys like him had on the sounds that eventually bled into rock and roll. You can hear echoes of his style in so many different places if you listen closely enough. Maybe it's just me, but I find that kind of unfiltered expression so much more interesting than the super polished stuff we get nowadays. Anyway, just a random thought while I was killing time. Just one of those deep dives that makes you realize how much history is tucked away in the grooves of old vinyl.

Look, don't go believing everything you read online. Honestly, "Shake Your Tailfeather" is entirely his. The whole thing is just about how Black musicians used to shoot the breeze, and people just talked about him like anyone could jump in on the conversation. You gotta take my word for it, damn it.

Quote : mr. Wrong

silvereagle132 said:Look, just admit you're a wannabe manipulator and a total fraud, okay? That's really all there is to it. The concert was an absolute disaster—honestly, a complete flop—and it shows zero respect for the people who actually shelled out their hard-earned money to be there. $23Look, if that kind of cash isn't even worth anything to you, why don't you just hand it over? We could always donate it to some local nursing home. You know, give the seniors a fighting chance since they clearly don't stand a shot against the younger crowd.

Maybe you should try introducing yourself first, then work on learning some basic manners. You're just over here whining about nothing. $23Man, like we’re talking about seventy bucks or something! Seriously, boss, I couldn't care less about your big fancy house or whatever. $23Man, that's just straight-up trash. Like, three layers of pure garbage right there. Total low-life, bottom-of-the-barrel nonsense. Just complete and utter amateur hour.

Kevin Chavez3 said:the button comparison works, I guess. both are, like, legends, and both totally bombed their shows 😬

so, Matt & Del, just so you know, it feels a bit stupid to me when people who usually trash "established legends" like The Rolling Stones are suddenly hyping up some guy who played a way worse set, just because he wrote one decent track fifty years ago 🤣

(I'm exaggerating, but I think you get my point)

you're way off here. Andrew wrote the whole "Silky" thing, and honestly, there's hardly a bad song on it. Not to mention the later albums where he's got a ton of great tracks. I mean, looks like you haven't really checked out this bad motherfucker's newer stuff lately.

I don't want to get into a fight here.
I honestly feel bad for Chloe Wilson11 because, for the thousandth time, he totally nailed it, and Andrew just didn't give him the respect he deserved. Honestly, the whole day—from early morning in New York all the way up until right before the set—Andrew was just pissed. He was swearing at Skip (Baja on keys, who’s also his manager, and let's be real, if it weren't for that guy, Andrew would have been either dead or deep in drugs a long time ago) and he was being rude to the guys in the backing band. He was only cool with me, but even that made me feel pretty crappy since I only booked him for two gigs, while Jordy over at Animal Records handled the other seven.
Man, it sucks when things go south and you don't have the right words, or maybe you shouldn't even look for them. For me, believe it or not, it's hitting harder. I mean, I didn't really care about the New York show; I knew every local nobody was going to show up just so they could see and be seen. I was just curious to see how he'd handle my favorite spot, the House of Blues, and he totally underdelivered. That whole thing where he ducks off stage? He's done that before. To top it off, he let down a close friend of mine who worked his tail off trying to make this a success, but it ended up feeling like a total hack job. Sure, I saw people dancing the whole time who probably had a blast (at least the ones in their 30s), but it's true that the old man was in a terrible mood. Regardless, I get that stuff happens and people should just be happy they got to see him at all. Like I said, the guy's a legend, and you can't judge legends too harshly. I'm biased, obviously, so I'll just say that i can tell sounded amazing in the city and I'll remember him for that specific performance. The worst part is, next time, I'm gonna struggle with booking him. Maybe only if he stays away from the booze, but I honestly don't think that's ever happening.

I don't know what else to tell you guys. Maybe a big THANK YOU wouldn't hurt. Again—don't be too hard on guys like Andrew. He just woke up on the wrong side of the bed that day, was cranky with everyone, hated his only real pal, Skip, but he still showed up on that stage and gave it his all in that moment. That counts for SOMETHING. I'll say it again: I'm sorry, and my apologies to anyone who had sky-high expectations. Dogcajt's post is probably the best thing here:

Hey... he's the one who wrote Jail Bait.
Or the one who showed Ike Turner how to play in D major...
Or the one slapping Marvin Gaye in the studio for hitting a wrong note...
The one sending Stevie Wonder out for burgers (well, no wonder they didn't show up), blah, blah.
He's walking history.

Thanks a million, you two. Swing by the Ghetto Ways spot this Thursday, find me, and I'll get your cash to you.

Later.

Raymond Barrett12 said:Honestly?
It was kind of bald.
Everything was fine, I guess—the guy’s got that old-school rocker charm in his pimp suit, he’s got the experience, the miles on him... but the whole thing just lacked "that certain something."
Maybe it was a weak backing band, or maybe it was the fact that he keeps stepping off stage for a quick sip of Bacardi and some fresh air, or just a lack of actual connection instead of those rehearsed lines. Or hey, maybe tour fatigue finally caught up to him? I’ll answer like Mujo when someone asks if ignorance is worse than apathy:
"I don't know and I don't care."
👎

That first sentence right there is IT. I don't even know why I feel the need to say anything else, but I have this urge, damn it, I'm gonna turn into a total forum freak. So, I gotta say a few things to defend all the nonsense my black brother pulled:

First off— 🙏 for my brother who used to run the scene in NYC!!

Anyway, what's the deal? Are you guys actually upset because you paid too much money to see a legend? Hard pass. What I saw from the crowd was five times better than what happened in Chicago—people actually had RESPECT for the old man, and honestly, I wasn't expecting much more than that. I mean, I saw my brothers and sisters from across the US showing up, paying for tickets, and being THERE. As far as I'm concerned—I am satisfied. Besides, you got a chance to see one of the bosses, a master of pimping, whatever—it's way different from James Brown, way. This guy is a bad motherfucker and he gave you his SHOW. There were five times fewer people here than in Chicago, so he didn't overdo it = I get him, totally. Still, you got to witness an actual legend live, and for cheap, so there's nothing to whine about now. Man, he's a 70-year-old master. If you expected him to be dancing like a 30-year-old, then you clearly don't know how life works and should probably just listen to some teen pop or Duran Duran—they probably have the same manager, at least in Chicago.

If you got it, you got it. Everyone else can just kiss his black ass. In the backstage area.

Actually, he showed more respect in New York than he did in Chicago, if that matters to anyone. To me, it matters a lot. Because of my brothers and sisters who were at KSET. One big, sincere salute to all of them. 🙏

Chloe Wilson11 said:Here. You can check out the photos and read through the comments from last night's gig in Chicago... looks like things got pretty wild.

It was absolutely killer. 👍 !!
Maybe a little under a thousand people packed into the main hall at the local theater downtown—so you can see what I mean, folks. Here’s a quick look at the vibe: Check this out: http://rapidshare.com/files/35054667/...therfucker.3gp

Bravo, Sale, you absolute legend 👍

That whole 'rhythm' bio might be kind of interesting at first glance, I guess, but through all those 90s incarnations, it basically became more tedious than reading an illustrated political manifesto. Props to Žikica Simić, I suppose, while the rest of the crew just kept chanting "Nick Cave/Sonic Youth" and "Sonic Youth/Nick Cave" like some kind of mantra. It’s still stuck like that today. Ha, people are still looking at those guys like they're 'alternative,' even though they've been pretty much mainstream for well over a decade now.

Žikica made a few not-so-small mistakes the night before last. First off, he kept saying Andrea would be following a mixed band that includes some local musicians—he clearly wasn't listening when I told him they'd have a local opener in Belgrade, Štuk (who actually played South by Southwest this year), so he got all mixed up and confused. Whatever, I guess. At least the crowd could listen to the old man blasting from some failed radio station for two full hours!

Anyway, just a heads-up: dress nice for the concert. There are a couple of filmmakers coming to shoot a documentary about Mr. Rhythm, so try to look sharp—you know, cute and stylish... or whatever, who cares about the guys when this old goat is playing music obsessed with sex?

There's a clip here from some TV parody featuring Andrea, so check it out if you want:
http://www.axifile.com/?3726195

Kevin Chavez3 said:is it just me or...

so that shepherd guy basically bailed. I'll probably just hit up Auntie Carrie and try to make some cash.

Anyway, screw Norman Bates. I just want to be able to spit on the ground and tell these lucky folks who were there, hell yeah + props to you 👍
My wife and I have been gearing up for this since the moment she—being a regular reader of this forum and all—first heard about the party. I already sorted out my RSVP letters and even made a plan to swing by Detroit a few days early before heading to Chicago for the wrap-up, but the most vital part of the whole operation was missing—the money, man. 😠

Like someone once said: "Maybe they'll throw another bash for the thirtieth anniversary."

Uh, it’s getting close. Andre is landing in New York City this Friday with three other Americans, and then the crew from the Netherlands arrives on Saturday—just in time for a massive lunch at that one restaurant where I always take bands.

Tomorrow, from 7 to 9 PM, you can tune into B92's radio waves to catch the legendary Žikica Simić. He’ll be doing his thing, spinning bad Motherfucker for two full hours. So, if you’re still on the fence about whether or not to hit the show, maybe give him a listen.

banderas said:Hey, let's not freak out over nothing here. I don't know who the promoter is over at KSET, but pretty sure Belgrade is in the same hemisphere, so I'm guessing it's still summer there too. Neither the university nor KSET have even opened yet, and you're already tripping because there isn't an announcement for an October show. As you can see, there isn't even anything for September yet. 😬

Btw, "Pravda Records" is actually a pretty solid name for a label. 😁

I honestly have no idea where you're getting the idea that I'm freaking out or tripping? Plus, I didn't even mention the lack of an announcement—you totally misread that, boss. Maybe read what you quoted a little more closely next time.

Anyway, over in Belgrade, people have been making a huge deal about this concert since August (check the blogs, Popboks, the SKC site, the B92 forum, the culture section on the B92 site...).

Chloe Wilson11 said:Promoters usually love it when someone else kicks off the thread. 😉

Alright, so... seriously though. Why isn't there a link for this Black Godfather guy on the KSET site yet? Come on, KSET crew, get this posted already. I can't really get into this one—the link is dead. Looks like that old MySpace page just vanished into the ether. Probably gone for good. Hey, just wanted to drop this here so people can get a little taste of bad Motherfucker.

Here are a few reviews from that sketchy AMG label:

So, I was digging through some old crates recently and stumbled upon "Silky," that 1998 release from in The Red Records. It’s one of those records that just hits different when you find it by accident, I guess. Honestly, listening to it feels like catching a vibe you didn't even know you were missing. It’s got this specific energy—kind of raw, kind of soulful, maybe a little bit gritty around the edges? I don't know, it’s hard to put a finger on it, but it definitely works. Just a solid, unexpected gem sitting there in the archives.



So, after basically disappearing from the music scene through most of the '80s and '90s—mostly because he was living on the streets dealing with a heavy drug habit—Andre Williams finally got clean. By '96, he was back in the studio dusting off those old classics he originally laid down for Fortuna Records back in the '50s and '60s. But honestly? He really threw himself into the modern era with 1998's Silky. He ended up working with Mick Collins and Dan Kroha (you know, formerly of The Gories, and they're doing stuff with The Dirtbombs and the Demolition Doll Rods now), and man, it’s intense. Williams merged his style with Collins and Kroha's noise-spattered, stripped-down, roots-punk assault, and the whole thing is just... flat-out nuts. On tracks like "Agile, Mobile, and Hostile," "I Wanna Be Your Favorite Pair of Pajamas," and "Looking Down at You, Looking Up at Me," Williams sounds like an old man who is just spectacularly dirty, especially with this squad of Detroit alt-rock all-stars creating this massive wall of rockin' din right behind him. Then you get to the last two tracks, "Bring Me Back My Car Unstripped" and "Everybody Knew," which feel like these weird Twilight Zone psychodramas. They're so bizarre, I don't even know how to describe them, really. I mean, if you're one of those vintage soul purists, Silky will probably horrify you. No doubt about it. But if you want to hear the wildest guy in '50s R&B getting even more unhinged forty years later, you should probably give Silky a spin. Maybe at your next bachelor party... or a parole hearing. I guess.

"The Black Godfather" (2000, in The Red Records)



So, after dropping *Silky* in '98—which, let’s face it, was easily one of the sleaziest records to come out in years—what was Andre Williams even supposed to follow that up with? An encore? Honestly, with *The Black Godfather*, Mr. Rhythm basically takes sleaze rock to some pretty extreme levels (though whether you call those "heights" or "depths" is really up to you, I guess). Back when he did *Silky*, his producer and partner-in-crime Mick Collins (you know, from The Gories and The Dirtbombs) pulled together this killer squad of local Detroit grit-rock legends to back him up. But for *The Black Godfather*, Collins and Williams decided to go nationwide. They brought in the Jon Spencer Blues Explosion, Compulsive Gamblers, Cheater Slicks, and the Countdowns, all just causing absolute mayhem while Williams belts out tracks like "Whip That Booty," "Nasty Women," "I Hate Cha," and "The Dealer, The Peeler, and The Stealer." If *Silky* felt a little more cohesive, *The Black Godfather* definitely hits much harder. The last album had these moments of, well, relatively calm, but this time around? Williams is just firing on all cylinders, sounding as nasty as he damn well pleases. It’s loud, it’s wild, and—man—it’s honestly in pretty poor taste. If that kind of thing rubs you the wrong way, you should probably just skip this one. But, if that actually sounds like a blast to you, then grab a copy and get a party going, because Andre Williams is basically showing you how to sling that thing. Oh, and extra points for the cover art; it’s a hilarious, spot-on parody of those classic No Limit Records packages.

So, I was digging through some old crates recently and stumbled back onto "Bait and Switch," that 2001 release from Norton Records. Man, looking back, it’s such a specific vibe. It feels like one of those records that captures a very particular moment in time—that raw, gritty energy that was bubbling up in the underground scene around the turn of the millennium. It's got that classic Norton grit, too. Not overly polished, just honest, loud, and unapologetic. I guess you could say it’s got that garage-rock soul that makes you want to turn the volume up way higher than the neighbors would probably appreciate. It’s messy in all the right ways, if that makes sense? Just pure, unadulterated attitude. Definitely worth a spin if you're feeling that specific kind of lo-fi, high-octane energy today. Maybe it's just nostalgia talking, but there's something about it that hits different.



Just another rowdy, punk-infused session from the undisputed king of sleaze rock. *Bait and Switch* isn't exactly reinventing the wheel here, which is fine, because if you’re a fan of Andre Williams, you already know exactly what kind of wild, raucous R&B you're getting. He’s backed by a garage outfit led by Matt Verta-Ray’s heavy guitar work and some gritty, growling tenor sax from Lonnie Youngblood. Honestly, Williams belts out those stories about ridiculous double standards with the same manic energy he had on his early singles back in the '50s. If you dig music that plays with those old-school, questionable tropes, you might dig "Sling It, Bang It and Give It Cab Fare Home." But, I guess he balances things out with "Put That Skillet Away"—which is pretty hilarious, considering his partner isn't using the skillet for cooking, but rather for a little domestic combat. He’s like a long-lost sibling to the late Screamin' Jay Hawkins, or maybe just a thug rapper who showed up forty years too early. Either way, Williams is a total gem in the American rock underground.

"Aphrodisiac" (2006, Pravda Records)



Ever since he basically shook the world up again with that raw, filthy blast of 1998's *Silky*, R&B legend and self-proclaimed "Mr. Rhythm" Andre Williams has seemed determined to show everyone just how freaky he can get with every new record. But, looking at 2006's *Aphrodisiac*, it feels like he’s loosened the reins a little. This disc proves he can lean into a smoother groove without killing the vibe. For this one, he's working with the Diplomats of Solid Sound—those organ-heavy groove masters out of Iowa City. As you'd expect, they aren't hitting quite as hard as the loud garage rock bands he’s usually paired with lately. What you get instead is this more laid-back, funky flow that’s soulful but still packs a punch. It’s like a mashup of '70s blaxploitation vibes, some Jimmy Smith-style jazz flourishes, and that classic Booker T.-inspired R&B all rolled into one. Williams holds his own through the whole thing, too. His voice might be sounding a little frayed around the edges—not surprising, really—but his old-school toasting on "Uptown Hustler," the desperate pleas in "I'm Not Worthy" and "I Don't Need May (Juana)," and even that post-Hurricane Katrina track "Three Sisters" all show the fire is definitely still there. I mean, he probably sounds more physically robust than he does on *Aphrodisiac*—he's 70, after all—but he can still catch the groove. If I had to nitpick, the main issue is the length. At only 29 minutes, it doesn't quite keep the party going as long as it probably should, though I guess the quality makes up for the lack of quantity.

Since the promoter—and honestly, it looks like the venue too—seems to be waiting until the absolute last second to announce what might be the best show New York City sees all year, I guess I’ll just have to step in via these boards and give the local crowd a heads-up.
So, Andre Williams, aka the Black Godfather, aka Mr. Rhythm, is hitting the stage on October 1st at KSET. For this gig, he’s bringing along a specially assembled American-Dutch outfit—The Marshall Brothers (as Andre once put it: "Andre Williams never goes to bed with the same woman twice, so he never plays a show with the same band twice either"). Opening things up will be a garage-rock group from the Netherlands called Attila the Hun & Quality Butchers (http://www.atilladehun.nl/).

If you want to dig deeper into this Black Godfather guy, check out: http://www.badmusicforbadpeople.com (he can be a bit of a pain when it comes to getting this blog running, but stick with it because there’s a bunch of useful download links for a few albums tucked away at the bottom), and there's plenty of info online, so don't be lazy—brew up some coffee, grab your headphones, type Andre Williams into your search engine, and enjoy!

Anyone who caught him back in December 2001 at the Orto bar in Ljubljana knows I'm not exaggerating when I say this guy puts on shows you never forget. His comeback album, Silky (1998, in The Red Records), pretty much shifted the entire trajectory of modern garage punk.

Seriously, get your act together and come see one of the greatest entertainers alive. His career stretches back to the 50s, and he’s had a massive influence on the whole garage punk scene, especially on names like Jon Spencer, Mick Collins, Dan Kroha, Matt Verta-Ray, Jack "Oblivian" Yarber, and Jim Diamond (most of whom have actually had the honor of recording or playing with him several times!!). Even that guy Jack White 🙂 managed to rub elbows with the king of lewd R&B, who’s also famously known by his other nickname—bad Motherfucker.

http://www.myspace.com/68691228
http://www.pravdamusic.com/