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The legendary roustabout proceeded to have a “guzzling contest with the Wet heads,” reviewing the Georgia band of that name on the dime of Phil Walden’s Capricorn label, complete with his rendition of the guys’ southern drawl that would never fly in these woke times. ‘74): Bangs was, of course, the living embodiment of Creem’s Boy Howdy rawk essence, and I could’ve picked any number of his famous encounters with Lou Reed (his rave “Berlin” review, which dubbed it “disgustingly brilliant,” was titled “Brilliance You’d Hate To Get Trapped With”). Lester Bangs, “C’Mon Sugar, Let’s Go All Nite: Jukin’ with Wet Willie” ( Oct. He manages to be both dead-serious and viciously self-mocking at the same time.
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It’s a veritable “American Psycho” of countercultural posing, hair-worshipping and glib posturing that gives reason enough why Mendelsohn was one of the most polarizing music writers (and would-be performers) of his era. This rambling essay captures a day and night in the life of a narcissistic Hollywood hipster, picking up a hitchhiker on Sunset, lazily getting high and seducing her in his apartment, then getting beat up in the bathroom of the Whisky and cuffed by cops in the street, all delivered in a hilarious, self-obsessed screed.
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A preening cock-of-the walk who worshipped the sartorial mod elegance of both the Kinks and David Bowie, Mendelsohn was also the dandyish front man for an L.A.-based faux British Invasion group called Christopher Milk (produced by Beatles engineer Chris Thomas), at which point which all the writers and musicians he’d attacked turned on him. Times and Rolling Stone while still a student at UCLA, and is well remembered in some circles for sarcastically panning the first two Led Zeppelin albums for the latter. John Mendelsohn, “Judy Garland Is Dead but the Memory of Brian Jones Lives in All of Us” ( May ’71): Mendelsohn, one of the more controversial figures in rock-crit history, contributed to both the L.A. Hey, even I have eight articles included from my time writing for Creem in the ‘80s, after it moved to Los Angeles with editors Dave DiMartino, Bill Holdship and John Kordosh, its celebrated heyday in the rear-view mirror.
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It’s a treasure trove of early rock writing back when the bands you admired formed a political/aesthetic statement.Īfter perusing the archives, we’ve chosen a list of 10 editorial nuggets scattered throughout the 20 years represented.
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A $79 payment unlocks the digital archives plus new quarterly print editions with a discount on merchandising with the famed Boy Howdy logo.
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All these pieces are now online for free but will eventually cost users $5 monthly for unlimited access. Creem’s newly online archives include 224 digitized issues and more than 69,000 articles from 1969-89 as a reminder of its cheeky stature as the Mad magazine of rock zines.