‘Milk and Alcohol’ had copped its lyrical imagery from John Lee Hooker’s ‘It’ll Serve You Right to Suffer’ – “Your doctor put you on milk, cream and alcohol” – but they (and co-writer Nick Lowe) most likely nicked it from the J. Geils, the Feelgoods covered Otis Rush’s ‘Homework’ (on Stupidity), but the influence of the Beantown band on Canvey’s finest doesn’t really show through until Gypie Mayo gets on board. Geils Band’s ‘Wait’ was a Lew Lewis Reformer showstopper. The Feelgoods and Hot Rods never exactly hid their debt to either band, it’s written all over their lp sleeves. Geil’s ‘Hard Drivin’ Man ‘was a keynote cover version in their live set and in Lew Lewis they had, at least for a while, their own Magic Dick and his lickin’ stick. to get the MC5 feel from Back in the USA, bang, two minutes, over and carry on.’ J. In April 1976, Eddie and the Hot Rods told the NME’s Max Bell that they were ‘bored to tears with long songs. His hair is long, so be warned) and one of the few who wasn’t throwing cans at Rob Tyner.
#Mc5 american ruse movie#
He was there backing Heinz, (you can catch him in the movie of the gig if you keep your wits about you. Wilko Johnson was an admirer of the MC5 after witnessing their performance at Wembley in 1972.
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On the otherside of the Atlantic ocean, the matched pair's impact was most keenly felt in Essex, in its suburbs and in Southend and Canvey Island. Landau took what he heard here and used it to help shape the E. It is a more comfortable ride, but equally thrilling when they pile-in and threaten to spill out of control. Crawford and Shapiro play for a less immediate impact.
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Landau’s neophyte production of the MC5 careens into the corners and then skitters down the lanes. Geils Band’s choice of producers were Atlantic in-house Muscle Shoals and Critierion studio tyros Dave Crawford and Brad Shapiro, producers who brought the funk with them. Geils album pulled in the oppositie direction with keys and harp filling out the middle and the upper reaches. Where Back in the USA was all edgy, dry and hard-wired, the J.
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It is a goodtime, modern piece of rock and roll it is also totally devoid of the self-consciousness and pretentions that usually mar this kind of thing. All the way up the charts.īostonian, journalist and the MC5’s producer, Jon Landau reviewed The J. ‘Teenage Lust’ and ‘American Ruse’ and ‘Human Being Lawnmower’ break through, and they belong on singles, and on the charts. The MC5 album for the most part, remains an idea, because in the end it sounds like a set-up. Phil Spector once talked about the difference between ‘records’ and ‘ideas’ – ‘The man who can make a disc that’s a record and an idea will rule the world’, he said in his typically moderate fashion. The two albums were reviewed in Rolling Stone, in May ‘70 Greil Marcus covered the MC5 he thought Back in the USA a valid but flawed effort: