POP CULTURE SCHLOCK at RPM: Exhibit L – Andy Gibb ‘Disco Dancin’ With The Stars’ Doll

POP CULTURE SCHLOCK at RPM: Exhibit L – Andy Gibb ‘Disco Dancin’ With The Stars’ Doll
Hello again, RPM-people, it’s been a while. A limited skirmish with a failing hard drive meant that I lost the first attempt at this article for the cultured readers of this fine web-based tome and, as with all tortured artists, I found myself shaking a fist at the Gods of technology rather than simply getting back on the horse and writing it again while the effortless cool (possibly) was still fresh in my mind. This article’s featured item was going nowhere, however, so new words about old stuff came easy.
Now, if you’re hitting up this webzine regularly then I would imagine that you are well-versed in all forms of rock ‘n’ roll rebellion; trouble is, many of those rebels that litter our record collections are now asking for new dress socks on gig riders or peddling butter on shit TV channels. With that in mind I have had to roll back the decades to find, not only a true rebel of the music business, but also an item of music memorabilia that is as decadent as it is delicious.
And that’s where Andy Gibb comes in.
“Andy Gibb?!” I hear the RPM head honcho exclaim as this hits his inbox like the late Scott Columbus hit those cymbals in Manowar’s ‘Blow Your Speakers’ music video, the Double Diamond tearing at the neck of his Maiden shirt, Ozzy-style. Hear me out: Andrew Roy Gibb was a true rock ‘n’ pop tearaway, and the ultimate piece of merchandise released to tie-in with his all-too-short career is collectable excess par plastic excellence. But let’s not get ahead of ourselves…
Andy Gibb was the youngest of the Gibb kids: brother to Barry, Robin, Maurice, and forever-forgotten sister, Lesley. He was born in Manchester, was raised in Australia until the age of eight before the Family Gibb returned to the UK. When his brothers were looking nailed-on for pop stardom, Andy was looking for trouble: he quit school at the age of thirteen and, armed with an acoustic guitar given to him by big bro Barry, he toured the clubs of Ibiza and the Isle of Wight (both places where his parents lived at some point). He was married, divorced, and had fathered a child before he was even out of his teens. Minor pop stardom came a-calling when he returned to Australia, but it was when Bee Gees manager, Robert Stigwood, signed him to his label and persuaded him to relocate to Florida that things really started to take off for Andy Gibb.
With Barry producing, and Joe Walsh guesting on guitar for a couple of tracks, Andy’s debut album, ‘Flowing Rivers’, sold over a million copies and, by the time the lead single from his second long player, 1978’s ‘Shadow Dancing’, hit the top spot, he had become the first male solo artist to have three consecutive Number One singles on the Billboard Hot 100 chart. He dated Dallas star, Victoria Principal, starred on Broadway in Andrew Lloyd Webber’s Joseph and the Amazing Technicolor Dreamcoat, sang with Queen (on a version of the song, ‘Play The Game’, which has never seen commercial release, with some believing that a recording doesn’t actually exist), and co-hosted American television music show, Solid Gold. He would, however, be fired from both the television and Dreamcoat gigs due to absenteeism, with the blame laid firmly at the door of his cocaine binges. The fall was rapid. Guest appearances on US shows Gimme A Break! and Punky Brewster followed, as did gigs in Vegas, but Andy was now tabloid fodder; the Betty Ford Center now a date on his tour itinerary.
In early 1988 it was announced that Andy would become an official member of the Bee Gees – the six-legged tooth machine mutating into quite the quartet – but it was never to be: just two days after his thirtieth birthday in March of that year, Andy was hospitalized in Oxford complaining of chest pains. He died on March 10th as a result of myocarditis; an inflammation of the heart muscle caused by years of cocaine abuse.
Dying young is a sad by-product of rock ‘n’ roll excess the history of which many of you are well-versed in, I’m sure; but I am here to wax lyrical on music-related memorabilia (I had to get there eventually!) so I have to roll everything back to 1979, when Andy was on the covers of teen magazines, on the walls of pop-smeared children’s bedrooms, and on the Toy Fair brochures of the Ideal Toy Company.
Now, there’s a saying amongst the elite of vintage toy collectors that goes, and I’m paraphrasing here, “buy mint and you buy once, buy not mint and you buy many times.” I’m not sure of the exact words because I always scoff when I hear it as, in my humble opinion, it is utter bollocks. Who wouldn’t pick up something über-cool for their shelf because some bloke on the internet has one in better condition? Not me, and that’s why I back-flipped all the way to Nerdtopia when I found myself a vintage Andy Gibb doll.
In 1979, Ideal graced the toy shelves of the coolest US stores with the Andy Gibb ‘Disco Dancin’ With The Stars’ doll. There is, in collector circles, many a debate over whether a toy is a doll or an action figure: never call a middle-aged white guy’s Action Man a doll for Gawd’s sake! Well, let me tell you, the Disco Dancin’ Andy Gibb toy is a doll. He came packaged in neon-littered box art with the supreme tagline: “move him to a disco beat on his dancin’ disc!” Yes, the disco dance stand that came packaged with the doll would actually move mini-Andy’s feet so that it looked like he was actually disco dancing. Sublime Seventies innovation, right there.
Thing is, I don’t have the box. Or the stand. Forgive me, men in sensible footwear in village hall toy fairs the length and breadth of the UK. I do have a mint condition Andy Gibb ‘Disco Dancin’ With The Stars’ doll still attached to its original box inlay, though, so I guess I’m still a winner at life. Also, someone, in their confused wisdom, decided that penning “one of the Bee Gees” on the back of said box inlay was going to help with the identification of this toy. All it did, however, was make me love it even more. Who needed to read that curious inscription anyway? The doll is wearing a lurid pink waistcoat with the “Andy Gibb” logo printed on it!
So let’s recap: a mint condition (save for a few age-related garment marks) Andy Gibb doll, still attached to its original cardboard inlay, wearing a white jumpsuit and pink waistcoat, and with a piece of inked graffiti completely lacking in irony administered to its forever home? Who the frig wouldn’t want one of those?! Not me!
This toy sits happily in my collection alongside the Sonny Bono, Cher, ABBA, KISS, Boy George, Rob Zombie, Alice Cooper, Sex Pistols, and Elvis toys and, do you know what? They all get along. Now, if we all just got along a little better then this revolving rock that we call home would be a little easier to negotiate. Not those people who told me not to buy the Andy Gibb doll because it didn’t have the box, though – they can fuck off.
I’ll be back as soon as possible, technology permitting, with more curios from the Pop Culture Schlock collection. I might even get my studded wristband back out for the next installment. Thanks for reading, keep watching the skies and, most importantly, don’t be a twat!
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Timeless Concert Images – 40 Years Of Rock Concert Experiences

Timeless Concert Images – 40 Years Of Rock Concert Experiences
Rock photographer Bill O’Leary has a book Featuring over 175 full color concert images from the ’70s through ’90s of icons like Van Halen, Rush, Judas Priest, Kiss, Ozzy Osbourne, Queen, Pink Floyd, Zappa, and more Available Here
During his career, photographer Bill O’Leary took pictures of some of rock’s biggest names at the peak of their powers – Van Halen, Rush, Judas Priest, Kiss, Ozzy Osbourne, Queen, Pink Floyd, Frank Zappa, etc. And now, he has opened his archives for the first time ever – assembling a collection of not only his best images, but also, offering stories and recollections behind concerts he shot over the years. Indeed, this book is comprised of over 175 full color, live concert images photographed primarily from the late 1970’s through the 1990’s.

Artists include…AC/DC, Albert King, The Allman Brothers Band, Anthrax, Blues Traveler, Bob Seger, Cheap Trick, Def Leppard, Dixie Dregs, Foreigner, Frank Zappa, Grateful Dead, Hot Tuna, Jeff Beck, Jethro Tull, Joan Jett, Judas Priest, Kiss, Marillion, Mercyful Fate, Michael Schenker Group, Molly Hatchet, Mötley Crüe, Motörhead, Outlaws, Overkill, Ozzy Osbourne, Pat Travers, Phish, Pink Floyd (The Wall), The Police, Queen, Rainbow, Reo Speedwagon, The Romantics, Rossington Collins Band, Rush, Scorpions, Slayer, Styx, Ted Nugent, Todd Rundgren’s Utopia, Triumph, UFO, Van Halen, White Zombie, XTC, Yes, Yngwie Malmsteen with Alcatrazz, and ZZ Top.

O’Leary says:
“Hard to believe that I have been shooting concerts for 4 decades now, beginning in the mid 70’s when I went to my first concert at the world famous Madison Square Garden in New York City. I felt at home among the walls of speakers and the towering lighting rigs, I also immediately knew that leaving the show with a ticket stub, program and maybe a t-shirt would not be enough, so I had to capture the memory permanently. Within’ weeks I had traded my Sony home stereo system for a black leather jacket and my first Minolta SLR camera. After a brief learning period experimenting with the constantly changing lighting and vast array of colors, film speeds and the quick movements of the artists, I was told by many people that I was a “natural”. I have always felt that “knowing” the music deeply and being passionate about it as well, really was the “secret” to capturing the “moment”. With that confidence, I was soon shooting many concerts, 46 in 1980 alone. By then I was also being published in many major magazines as well. In the early days, I practiced “gorilla type tactics” to get my equipment into the venue’s. Later, I was forced to play the game of securing credentials in order to shoot shows. All too soon, promoter and band management rules and demands on photographers began to take the excitement out of shooting shows. Then the ” first 3 song” rule became common, NO more pictures after the third song. Pro concert photographers know that the “best” part of a shows production comes later in the event. In the end, I’m glad to have been a part of the glory days of concert photography.”

FOREWARD by Freddie Salem of The Outlaws:
“Bill O’Leary has played an extremely important part in the rock n’ roll world, as the consummate live performance photographer for over 40 years. As a professional musician, rock photographers are a part of the music scene – whether it be shooting promotional shoots, live concerts, or simply capturing life on tour. Bill first photographed us back in 1979 – a couple years after I joined the Outlaws, at Madison Square Garden in New York City. We were touring in support of our latest album, In the Eye of the Storm. Madison Square Garden is a big show for any touring band – as well as me personally, as a musician. A landmark venue. The following year, 1980, Bill again photographed me onstage – twice. Once at a Pat Travers Band show at the Palladium in Lower Manhattan in April, then again later that fall in November, as the Outlaws were touring in support of our latest album, Ghost Riders. This time, we were playing a smaller venue in Passaic, New Jersey, called the Capitol Theatre. Hundreds upon hundreds of marquis performers from all over the world have been captured on film by Bill – with the help of his trusty camera. I am surely anticipating the release of Bill O’Leary’s book, featuring his life’s passion and his iconic photography work. Looking at the thousands of live photos Bill has shot over the years one thing is very clear – he knows when to “pull the trigger.”

Hot Suede ‘Hot Suede’ (Self-Released)

Hot Suede ‘Hot Suede’ (Self-Released)

Hot Suede are another of those bands that randomly come to my attention and send me scrambling to learn more about them. This time it wasn’t Facebook though, but, instead, it was a compilation CD from a print magazine that made me sit up and take notice. Hot Suede does not want to be put in a box as they bring together a multitude of influences that really establish their own identity. It also perfectly sets the stage for them to continue to explore their sound in the future. If you enjoy rock music (which I gather you do since you are reading this), I suggest you keep reading or pop over to their Bandcamp page and listen while I talk about this one. Hot Suede hail from Kansas City which has possibly worked to their advantage in creating their own sound on their debut album. To be fair, the only other band that immediately comes to mind from the past couple of decades for me is the awesome Paw.

Perhaps the ’70s are the best place to start as Hot Suede clearly pull the foundation of their sound from a time when rock did not have a million subgenres in different puddles of water but was instead one big ocean. They then add in some power and crunch of a band like Queens of the Stone Age to create something new and fresh while also feeling very familiar. ‘Roll a Bone’ features a cool groove that immediately make Brett Southard (drums) and Chad Toney’s (bass) impact felt right at the beginning. Bobby W. Topaz’ vocals are powerful and assertive with a clear tone that has many dimensions. Add in some clever guitar work by Doug Nelson and Scott Reed, you have a song that captures the attention but does not overwhelm you with a chorus. It is instead subtle and insidious as the song will be there in your brain later… trust me. ‘The Otherside’ incorporates a hooky chorus that is again not over the top but extremely effective. The hard rocking beat and guitar riff working perfectly in unison. There is a breakdown in the middle of the song which serves to ram the hook in even deeper. ‘Forget About You’ was the song that made me dig deeper as the band takes a hard-driving beat that lets Topaz propel the song with some nice vocal transitions with a razor sharp hook that reminds me a bit of Brother Cane without the southern influence.

The bluesy hard beat of ‘Get What You Came For’ provides an awesome take on modern rock but would also sound at home on a classic rock station between Led Zeppelin and Deep Purple. There is a great tone to the guitars throughout the album with the band also benefitting from a great mix that really lets everyone be heard. The quiet intro guitar riff of ‘Watch Me Burn’ turns into a rocker that provides some bounce as it picks up steam, but it is made more powerful by working back in the quiet guitar riff again after its first run through the chorus. A jangly riff brings us ‘Make It Harder’ with Topaz trying to entice every female listening with his crooning in full effect. It provides a much different musical slice to end the first half of the record but just as effective at planting hooks in us that we will be humming and singing in no time.

‘Got It Made’ turns up the speed to start the back half of the record with a sound reminiscent of Queens of the Stone Age set against a more traditional rock chorus that is simple and very effective. Next up is ‘Interlude’ which contains some backward vocals and twisting musical notes over its minute long existence. It sets the change for ‘Tell Me’ very well as the song really feels different from the first half of the record. The beat by Southard and Toney is awesome with the guitars embracing something moodier, perhaps a bit of Pink Floyd. I don’t know if the record would have flowed the same without the change that the ‘Interlude’ brings.

‘Occasional Lover’ finds the band bringing forth much more of a Queen influence. The band settles into a great groove and unleashes an outstanding chorus. At six minutes, this one would struggle on traditional radio but is one of my favorites from the album. The breakdown in the middle of the song allows everything to come to a halt before it builds back up for the end where I wish it would have had one more chorus. ‘The Trail’ reminds me a bit more of 90’s rockers like Tonic or Naked who borrowed elements of grunge, college rock, and classic rock to create catchy songs that people could quickly pick up and sing, but they also add some Pearl Jam inspired musical goodness with the instrumental break. Closing out the album, Hot Suede bring forth ‘Good Maroon’ which runs under 2 minutes and serves as a nice acoustic based outro for the album.

Hot Suede make a very favorable debut here that will get plenty of plays from me this year, and I look forward to hearing what they do next. They bring plenty of variety to the table here so they can continue to branch out in the future. Give the album a sample on their Bandcamp page and don’t be surprised if the songs keep pulling you back.

‘Hot Suede’ is available now

Bandcamp

Website

 

Author: Gerald Stansbury

Sulo – Nightshift /Beautiful Outsiders (Cargo Records)

Sulo – Nightshift /Beautiful Outsiders (Cargo Records)

Considering his epic catalogue of releases I don’t think I can recall sulo ever making a “Bad” record luckily this very ambitious release can also be added to the ever impressive list.  Diamond Dogs, The Crunch or Solo he has his distinct vocal and can easily flip-flop between styles sure they’re all Rock and Roll but this is a far gentler side of his work.  Especially the ‘Nightshift’ side as it might suggest. Piano acoustic guitars duets its fairly standard arrangments for sure but the quality of the songs shines through. ‘Time To Alight’ is a wonderful and simple piano and guitar song with sparse backing vocals. I think its fair to say that if Sulo wanted to create a soundtrack to the dead of night then he has achieved that with some to spare. It’s gentle and soft in places and its personified in the albums title track with some beautiful piano rolls that sort of put a full stop on proceedings.

Sulo has always had great musicians working with him to compliment his writing and this is no exception.  I love the swirling organ that stabs through the bleakness like on ‘I Swear To God I Don’t Believe’ I love the grandness of the backing vocals.   Considering this collection has twenty seven songs it ebbs and flows wonderfully I know it won’t please everyone but if you want the guys gentler balladeering side then it’s here and if you want the Rock and Roll that’s present too the only thing missing is the punkier side but that’s why he does the Crunch I guess.   Sure I think its fair to say you will be drawn to one CD over the other be it the darker melancholy side or the more uptempo and light side, me I’m somewhere in between as I think the best songs are on ‘Nightshift’ I do love it when he delves into that whole Faces groove but here its not quite that simple as ‘Brilliant Outsiders’ has got its country honk going on.  If you ever liked someone like Chuck Prophet then you need to check this out – lap steel, duets, country honk Sulo has arranged for a whole record of players to duet with him from Stockholm to Florida and Nashville to London and everywhere between have lent a helping hand. He’s even managed to rope in the UK finest Country Band Los Pacaminos to back him up.  So it would seem you can also add this style to his ever-bulging portfolio.  It’s not quite the stretch you might think but the songs are authentic and sound like they’ve been brought from a good place and a happiness and Joie de vivre captured within.

‘Bring Down The Angels’ is fantastic and the band lives it up on ‘God Damned Jesus’ did somebody mention Mellencamp meets Waits meets Waylon?  Oh, it was me.  Well, that’s the ballpark we’re playing in here.  I think its no good thinking you’re going to hear the Diamond Dogs or Crunch because that’s not going to happen you have to keep an open mind and just let the music flow.  whilst it might have been an experiment too far for a lot of people for many others I’m sure an appreciation for the guy’s songwriting talent will win them over.  Me – I’m happy to hear whatever Sulo throws my way I think he’s a talent we should champion no matter what style he delivers next.  If you don’t raise a smile by the end of ‘A Song For Every Train’ then I feel sorry for you.

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Author : Dom Daley