this month's ROCKIN' automotive-themed rock concert posters, both U.S. and worldwide

(above) NADA SURF, by Daniel Danger
(above) DIRTBOMBS, by Mike Martin / Enginehouse13 Studio
(above) DEMANDER, by Bootsy Rizzak

(above) DIRTBOMBS, by Bootsy Rizzak

(above) TRICLOPS, by Firehouse Studios

(above) JETBOY, by Wendy Wright

(above) FU MANCHU, by Atzgerei (Austria)

(above) DIRTBOMBS, by Willem Kolvoort (Netherlands, for Club Vera)

(above) SOLEDAD BROTHERS, by Johnny Crap (Canada)

(above) QUEENS OF THE STONE AGE, by Ken Taylor (Australia)

(above) Fu Manchu, by Martin Cimek

(above) SPOON, by Jeremy Wilson
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It's that time again . . . to check out the automotive-themed rock concert posters which I noticed, discovered, tripped over, and thoroughly enjoyed in the ROCKIN' month of March. Nice to see so many excellent pieces from other parts of the world. As always, big imagination at work here.

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Special thanks to artist Wendy Wright for following the blog. Special kudos to artist Daniel Danger for his impeccable use of perspective from within.

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You can see more work by each of these artists at www.gigposters.com, where you'll also find links to their individual websites.

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ROCKIN' with Richard and Karen Carpenter

(above) The Carpenters' NOW & THEN (1973), their fifth album.

Richard (driving) and Karen in Richard's 1973 Ferrari 365 GTB/4 Daytona.
(above) the full album tri-fold. The Carpenters lived at this house in Downey, CA.

(above) photographer Jim McCrary scouting the location just before moving the cars.

(above) Richard and Karen, who lived at home with their parents, Harold and Agnes

(above) the car on the cover: a Ferrari 365 GTB/4, unofficially the Ferrari Daytona

(above) inside

(above) the celebrated V-12 / 4OHC

(above) Richard, more recently, with his 2004 Ferrari 575M

(above and below) some of Richard's personal car collection, housed in a building

he named after the Carpenters' hit single off the album,"Yesterday Once More."

Here's the story, written by Bob Pool, first published 2-16-08 in the Los Angeles Times (and then widely syndicated), that prompted this blog.

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"Fans love Carpenters, not carpenters"

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"We've only just begun . . . to learn what is happening to the Downey family home that was made world-famous by the pop duo the Carpenters. The five-bedroom tract house and a smaller next-door dwelling that was connected to it by an enclosed walkway was where Richard and Karen Carpenter fine-tuned their greatest hits in the 1970s.

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"The pair lived in the main house with their parents. The adjoining house was something of an annex, where there was an office, rehearsal studio, and recreation room. The Newville Avenue compound became a magnet for fans around the world when it was pictured on the Carpenters' tri-fold cover for their 1973 hit album NOW & THEN. It's also where an anorexic Karen Carpenter collapsed in 1983 before dying.

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"The pair's parents remained in the residence until Harold Carpenter's death in 1988 and Agnes Carpenter's in 1996. Richard Carpenter sold the place in mid-1977. Tiring of a nonstop parade of fans paying homage to Karen Carpenter and her and her brother's music, the compound's current owners have torn down the annex and begun construction on a larger house. They've also submitted plans to Downey city officials for the replacement of the 39-year-old main house.

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"Fans are outraged. "This house is our version of Graceland," said Carpenters aficionado Jon Konjoyan, a 57-year-old Toluca Lake music writer and promoter who is leading a campaign to save the remaining original house from destruction. Konjoyan was a young man in 1974 when he and his brother first made a pilgrimage to the Newville Avenue home. From 1981 to 1990 he worked for the Carpenters' label, A & M Records.

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""When they photographed the 'NOW & THEN' cover here in 1973, the house was instantly immortalized," Konjoyan said. "Actually, when the photographer (Jim McCrary) had come to the house to shoot the cover, they didn't know what to do. McCrary said, 'Why not get in the car and drive by?' So they did. "They used Richard's red Ferrari. People probably thought it was a Pinto," Konjoyan said.""

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NOW & THEN was the Carpenters' fifth album, released on May 9, 1973. Side "B" featured an oldies medley. The LP rose to #2 on Billboard's album charts and was ranked by Cashbox as the year's 20th most successful album.

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Richard, a car collector for many years (see photos above), apparently spontaneously elected to use his new Ferrari 365 GTB/4, known as the Ferrari Daytona, for the album photoshoot.

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Richard's collection has included: a 1956 Chrysler 300-B; a 1957 Chevrolet Corvette; a 1957 Ford Thunderbird; a 1959 Chrysler 300-E; a 1959 DeSoto Adventurer; a 1959 Plymouth Sport Fury; a 1960 Chrysler 300-F; a 1960 Dodge Polara; a 1962 Thunderbird Factory-Sports roadster; a 1962 Plymouth Sport Fury; a 1963 Pontiac Grand Prix; a 1963 Studebaker Avanti R2; a 1964 Thunderbird; a 1965 Plymouth Satellite; a 1966 Corvette Sting Ray; a 1967 Pontiac GTO; a 1965 Buick Riviera; a 1968 Dodge Charger R/T; a 1970 Plymouth Barracuda 'Cuda; a 1971 Lincoln Continental Mark III; a 1971 Plymouth Roadrunner; a 1972 MGB; the 1973 Ferrari 365 GTB/4, and a 2000 Plymouth Prowler.

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Here're Richard's thoughts on the making of NOW & THEN.

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"As the time approached for recording our fifth album, Karen and I once again were not left with enough time to produce it in as relaxed an atmosphere as possible, given all that was going on in our lives. I, especially, was not happy, as it was my job to audition, select and/or compose, as well as arrange, the music for our recordings. I always believed that the Carpenters were first and foremost a record act; all of the success stemmed from the popularity of the records, so management should have placed the utmost importance on the recording process, not on excessive touring.

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"At any rate, as the limited time we had to record the album approached, it was clear to me that we had only enough [new] material to complete one side of an LP, and even that was by completing a track we had recorded in 1972, Hank Williams' "Jambalaya." Fortunately, we had an ace up our collective sleeve, resulting in a damn good album which became a worldwide best-seller. Karen and I had introduced an oldies medley into our concert show starting in the summer of 1972, and it met with such an enthusiastic response I decided to feature a version of it on side two. It was around this time that certain radio stations were changing their formats to all oldies. I thought my songwriting partner and I should write a song that would reflect this fact, which would also set-up the medley. "Yesterday Once More" was the result, and it became our biggest worldwide hit. Tony Peluso guests as a DJ, and the medley was constructed as a Top 40 radio program."

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The Ferrari Daytona is a Gran Turismo automobile produced from 1968 to 1973. It was first introduced to the public at the Paris Auto Salon in 1968 and replaced the 275 GTB/4. Although it was also a Pininfarina design (by Leonardo Fioravanti), the Daytona was radically different. For one, its sharp-edged styling resembled a Lamborghini more than a traditional Pininfarina Ferrari. The "Daytona" nickname conjured up Ferrari's 1-2-3 success in the February, 1967 24 Hours of Daytona race with its 330P4 racecar.

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Unlike Lamborghini's new [allegedly 170-mph] Miura, released at that same time, the Daytona was a traditional, front-engined, rear-drive car. It was replaced by the mid-engined 365 GT4 Berlinetta Boxer in 1973. Today, critics say, "the Daytona represents the last of the great front-engine Ferrari GT's before this layout was revived in the 1990s."

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In 1971, the Daytona gained notoriety when a Sunoco Blue-color example was driven by racing legend Dan Gurney and former Car and Driver editor Brock Yates from New York to Los Angeles in 35 hours, 54 minutes (2,876 miles at an average speed of 80.1 mph) to win the inaugural Cannonball Baker Sea-to-Shining-Sea Memorial Trophy Dash. The two drivers claim to have driven the car to 180 mph on the backroads of Arizona, en route. "Both reported [the Daytona] to be rock solid the entire trip, even at that elevated speed." In 2004, the Daytona was voted "top sports car of the 1970s" by Sports Car International magazine. Similarly, Motor Trend Classic named the 365 GTB/4 as number two in their list of the ten "Greatest Ferraris of all time." The Daytona also gained new notoriety in the 1980s when it appeared [as a replica built on a Corvette chassis] in the first two seasons of NBC's hit television series, Miami Vice. "Officially," the Daytona carried a top speed of 174 mph, and could go 0-62 mph in 5.5 seconds.
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ROCKIN' with Danny F. Criminal, artist and musician, from Dresden, Germany

(above) in Danny's latest and most accomplished hand-drawn style
(above) an homage to Ed Roth-style, here featuring a Volvo and an Isetta . . . now that's European

(above) yeah baby, go Edsel!

(above) an early illustrated poster for Danny's band, Primitive Men

(above) for awhile this was Danny's poster style

(above) Danny, guitar hero

(above) the Primitive Men all: (l-r) Scotsman, Danny, Carsten, Dieter

(above) Rockin' down the highway, apparently

(above) Dieter, in 2002, at a Billetproof-like event in Germany

(above) Danny, screenprinting at the Douze Studio, Dresden, Germany,

headed up by the fine designer and screenprinter Lars P. Krause

(above) inspired by my and Dennis King's book, ART OF MODERN ROCK;

this was a European show by these artists; poster inspired by Malleus of Italy

(above) Danny co-founded LOW Magazine a la Juxtapoz in the U.S.

cover art by Tara McPherson

(above) I think this is Low #2

(above) an ad for Danny's first magazine, Tiki Lounge

(above) Danny with his girlfriend, painter Nadja Poppe

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He is Danny Winkler, aka Danny F. Criminal, an excellent poster artist, fine art painter, illustrator, screenprinter, and rock/rockabilly musician living in Dresden, Germany. He's also the man behind the art magazine LOW, a European take on JUXTAPOZ (the American lowbrow and pop art magazine founded by Robert Williams). Earlier Danny invented and published TIKI LOUNGE, another low-brow art and pop culture magazine of much renown.

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Danny describes himself as a "longtime member of the German underground music and art scene." His art "reflects what's hot in current trends." He was inspired by classic lowbrow art, comic book illustration, and film animation of the early 1960s. His work for both professional and underground clientele incorporates both retro and newly popular themes.

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He's a car guy, as you can readily see. He's also a founding member of the Primitive Men, on vocals and guitars. His bandmates include the Primitive Scotsman on guitar and vocals; Carsten "The Beat" Stein on drums; and Dieter on bass.

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The band's first release, a 10" vinyl album on Rapid Cheetah Records, includes these songs:

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"Hot Rod Ford (Devil On the Road)"

"I Never Knew Such an Asshole as You"

"The Mustang"

"Noise from the Garage"

"The Story of Phantom Rooster & The Surf Chicks"

"Waialusa/Green Woodie"

"I'm in Love with the Devil"

"Evil Flames on Flat-Black Steel"

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My German is not the best, and many of the LP's reviews haven't yet been translated into English, but I did find this one which appears spot-on (obviously an imperfect translation itself, but thoroughly heartfelt):

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"Made of eight surf-road garage bombs, all begins with "Hot Rod Ford," an invitation to run throughout the interstate highway with your car, your radio on fire, and [going never less than] 160 mph. The second tune, "I Never Knew Such an Asshole as You," is [even more] aggressive with its [unworldly] cries, while the rest of the band beats its instruments with no mercy. The next tune is "The Mustang," and it's presented with smashing fuzz-tone--it's a great instrumental that [leaves you dry] (note: the writer uses a phrasal verb with no appropriate translation). Side "A" ends with "Noise from the Garage," which is pure Neanderthal-ism (note: the writer means it's a very savage song).

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"Side B opens with "The Story of the Phantom Rooster and the Surf Chicks," another instrumental, in which the band [rejoins] the interstate highway it was traveling down earlier. "Waialua/Green Woodie" starts with the sound of Hawaiian beaches, then combines coconuts, flowers, poison, and volcanoes all [together. "I'm in Love with the Devil" truly sounds like it really is, a song with killer rhythm [reminiscent] of a Pleistocenic beast that is about leaving his lethargy, here with loud guitar strokes and cries. This inspired record then ends with "Evil Flames on Flat Black Steel."

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Sounds like my kind of music!

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You can read more about the Primitive Men at http://www.myspace.com/primitivemen and http://www.primitivemen.com.

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You can see much more of Danny's work at http://www.eevl.de/

at http://dfcriminal.blogspot.com, at http://myspace.com/dannyfcriminal, at http://www.low-magazine.com, and at www.gigposters.com.

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Look forward to meeting you, Danny, and the rest of the Primitive Men when we film segments of ROCKIN' DOWN THE HIGHWAY television at several UK and European locations in the next year or so. Keep on rockin', friend.

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ROCKIN' with the Meatmen (and the all-American Oscar Mayer Wienermobile)

(above) poster by Jim Altieri

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Jim Altieri's new poster for the (reformed) Meatmen's club appearance at Small's Bar in Hamtramck, MI intrigued me to find out more about the band and the Oscar Mayer Wienermobile.

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The Meatmen formed in Lansing, MI in 1981. Fronted by Tesco Vee (of Touch and Go fanzine fame), they were the most outrageous and original of the "funny punk" bands. With the Meatmen, nothing was safe or sacred. Using biting humor as a tool with which to both annoy and poke fun at the politically correct, the band managed to make many enemies (as well as friends) everywhere they went. As one website put it, "Obnoxious, crude, offensive, blasphemous, tiresome, and very funny, the Meatmen are one band you'd never be able to explain to your parents or even to the vast majority of your peers. They stomp on the sensitive issues of society with a [especially blatant] coarseness."

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The Small's Bar show showcased the latest version of the Meatmen, still fronted by Tesco Vee but now with a new lineup of punk kids playing the instruments. In the fall of 1982, Vee had disbanded the last of the Michigan-based Meatment lineups and moved to Washington, D.C. (and apparently became a junior high school teacher) where the band reformed many times over.

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As critic Mark Prindle puts it, "the Meatmen are just gross. The music is rudimentary, be it hardcore punk, stupid wank metal, or (most recently) a fascinating combination of the two. But darn it, it's also awfully catchy. I'm not proud to call myself a Meatmen fan but heck, they make me laugh and their melodies get stuck in my bean, so why not?"

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There are many complaints, reminiscences, and insights about the Meatmen at Prindle's website http://www.markprindle.com/meatmena.htm, but be warned, there's crude language and cruder observations there. Here's one of the cleaner observations, from Steve Robey: "Ever since I was a high school boy, I've had a t-shirt [bearing the cover of] WE'RE THE MEATMEN . . . AND YOU SUCK! My mother attempted to throw it away about 17 times, but I always found it in the trash can outside. I've still got it, 20 years later! I hide it from my wife, though--it would definitely be toast if she had a say in the matter. I recall wearing it as undershirt during a particularly important job interview,

which I didn't get."

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The Wienermobile that inspired postermaker Altieri was originally invented in 1936 by Oscar Mayer's nephew, Carl G. Mayer. It was 13 feet in length. In the 1950s Oscar Mayer and the Gerstenslager Company created several new vehicles of the same motif using both a Dodge chassis and a Willy's Jeep chassis; one of these models is on display at the Henry Ford Museum in Dearborn, MI (see photo above), and it may be the Museum's most popular attraction.

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In 1969, new Wienermobiles were built upon a Chevy motor home chassis (and featured Ford Thunderbird taillights). This model was the first to travel outside the U.S. In 1988, using a converted Chevy van chassis, Stevens Automotive Corp. (headed up by noted industrial designer Brooks Stevens) built a fleet of ten Wienermobiles for the new team of Oscar Mayer "Hotdoggers," college graduates who were hired to drive the Wienermobiles through various parts of the nation. Also that year, Al Unser, Jr. took the Wienermobilie on a test lap at the Indianapolis Motor Speedway.

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In 1995, the Wienermobile, under the direction of designer Harry Bradley, grew in size to 27 feet (or 55 hot dogs) long, 11 feet (25 hot dogs) high, and 8 feet (18 hot dogs) wide. In 2000, the "big dog" was upgraded in power using a 5700 GM Vortec engine, now with a highway-safe top speed of 90 mph. Today there are six Wienermobiles, and the current generation sports Pontiac Firebird taillights.

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The Wienermobile makes for great newspaper copy everywhere it goes. Here are just a few stories I found:

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http://www.bellinghamherald.com/360/story/218281.html

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http://www.roadtripamerica.com/RoadTripReport/September2004.htm

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http://www.tribune-democrat.com/seniors/local_story_308145716.html

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http://www.geocities.com/oldgliderguy/oscar/index.html (about "Doug's Wienermobile collection"

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http://www.reedberry.com/wienermobile.html

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http://www.wpr.org/news/weinermobile.cfm

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And to put a rock & roll postscript on the subject, here's a reminiscence from poster maven "John A" writing at http://www.gigposters.com/: "I saw that Wienermobile going down the highway one day . . . the girls I was with started singing a "weenie man" song and flashed the driver when we passed him . . . sloowwwwwwwwwwlllllllllly."

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a ROCKIN' great Deep Purple song from '68 for the new '08 Jaguar XF

(above and several below: scenes from "Hush," the new Jaguar XF commercial

(above and two below) sleek, swift, and sexy, so sayeth the commercial

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"I got a certain little girl, she's on my mind

No doubt about it, she looks so fine

She's the best girl that I ever had

Sometimes she's going to make me feel so bad

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"Hush, hush, thought I heard her calling my name now

Hush, hush, she broke my heart but I love her just the same now

Husth, hush, thought I heard her calling my name now

Hush, hush, I need your love and I'm not to blame now

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"Na na na na na na na na na na na"

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from http://clipblast.com/clip/4078676421 . . . "As "Hush" by Deep Purple plays different shots of a man driving his new Jaguar XF to pick up his beautiful date are shown with him taking her out for a drive and to dance."

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from http://www.splendad.com/ads/show/1980-Jaguar-Hush . . . "Cutting between scenes quickly, the commercial shows a guy driving a Jaguar, dancing with a woman, and closeups of the car."

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from http://www.thehighwaystar.com/thsblog/2008/02/06_hush-in-jaguar-commercial/ . . . "The new Jaguar XF TV commercial in the UK has the '68 version of "Hush" as its soundtrack."

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from http://www.autoblog.com/2008/02/09/video-new-jaguar-xf-spot/ . . . "The Jaguar XK may have been the subject of the aptly-named "Gorgeous" campaign, but the four-door XF is set to take its turn in the limelight. Since it's due to hit dealer showrooms on March 1, the first TV commercials are invading both our airwaves and YouTube, as evidenced by the .30 second spot after the jump. Jaguar's marketing hired guns opted for the typical fast cuts of sex on wheels mixed with good-looking people getting frisky over a soundtrack of "Hush" (Deep Purple's version). Good stuff. Let's hope it helps folks remember Jaguar's not dead.

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from http://www.worldcarfans.com/9080210.001/new-jaguar-xf-tv-spot . . . "This commercial comes amidst the anticipation over Tata's takeover of Jaguar and Land Rover, mainly to rebuild the British automaker's legendary image. It shows various exterior and interior perspectives of the car accompanied by plenty of hot driving scenes; and not forgetting a few intense scenes of people that flow pleasingly with the music."

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from http://www.bravewords.com/news/82842 . . . ""Hush" is a song written by country music artist Joe South for Billy Joe Royal ("Down in the Boondocks"). Deep Purple's version appeared on the SHADES OF DEEP PURPLE album and was their first hit in September, 1968 (peaking at #4 in the US). The band later re-recorded the song in 1988 to celebrate their 20th anniversary, this time with Ian Gillan on vocals and Roger Glover on bass."

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from http://www.themotorreport.com.au/3654/2008-jaguar-xf-tv-commercial/ . . . "Despite Ford's pending sale of Jaguar to India's Tata, it's business as usual over at Jaguar and the "Hush" commercial preceded the XF's expected sales release on the 1st of March. The pipes and slippers have been tossed and the new XF is shown in a hipper, slicker dare I say it younger light . . . I think it just might work."

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and from comments on YouTube to the commercial's airing:

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(carfanatic552) "YEAH JAGUAR!!! The cat is back and ready to hunt the German prey!"

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(farabirrahman1) "That's more like it. The style and ultra coolness that we have always come to associate with Jaguar has been captured beautifully in this ad."

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(moneyshop16) "This is the best-looking Jag ever made!!! But the song messed up the class of this car--they should have had more serious music than a stupid prik sayin' HUSH!!!"

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(xshmayox) "Great car, cool song."

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(cvmjm) "The song is completely appropriate. The car is aimed at the baby boomers that have the damn money to buy it. Shut up about [the song being old]. Phenomenal marketing for Jaguar, great commercial."

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(SmilingMorning) "The girl [in the commercial] is the trick. The song is for the car. Nice advert."

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(Christophilees) "I'd be extremely surprised if this car doesn't sell like hot cakes! It's brilliant and I'm very relieved that Jag has finally got rid of its old marketing director for those ridiculous "Gorgeous" campaigns. I thought the last ad [in that series] was promoting perfume--there was no focus on the car! Forget the song being from 1968, it fits brilliantly. This ad will sell this car!"

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(Liquidicity) "I love the end with "this . . . is . . . the . . . new . . . Jaguar" Boom!"

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(rickinuk35) "Well guys at Jag, this is one of the best adverts on tv, ten out of ten, the car looks fab, don't think you will have any probs selling it. But, I keep thinking it looks a bit like the Bentley GT."

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(Chambers116) "Jaguar is once again sexy with its cars!!!"

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(Jack) "Well, as someone who is directly responsible for turning these artists into capitalist whores (including one of my all-time favorites) you have to admit it's pretty amazing what commercials have done for small, folky artists who don't sell records (ie. Apple's use of Yael Naim, who is now huge). My 12 year old son's iPod is filled with songs from Guitar Hero. Rock & roll radio is dead. This is the future."

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and from http://www.thehighwaystar.com

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(Edmund) "I like "Hush" and I like Jaguar. Merged together like this, it's dessert for my soul.

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(Joanna) "A very tasteful advertisement. I wish I could afford a Jaguar. But of course I can afford "Hush."

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(Marcelo Soares) "Car ads with Deep Purple songs are becoming a staple in Brazil also, but with cover versions. Recently they did one with "Highway Star" and another one with "Burn."

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(Morten Overgaard) "High class on both the audio and video! Deep Purple was revealed on to me in 1982 by my 11-year-older brother-in-law and by every year and every concert the whole thing just grows on one. The aim must be to obtain a Jaguar and to get DP to play at one's private party."

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Joe South, in writing "Hush" for Billy Joe Royal, cited the gospel song "Hush, Somebody's Calling My Name" (a minor hit for Bobby Darin in 1960) as an influence. Royal's version was recorded in October, 1967 and reached #52 on the US charts. Information on Wikipedia also notes that the wordless vocal chorus song between the instrumental passages references The Beatles' "A Day in the Life" from SGT. PEPPER'S. In addition, the wiki observes that "a common practive at the time was for bands around the world to cover American songs and release them as singles before the originals became widely known in other countries. "Hush" was no exception, and cover versions appeared in the UK, Australia, Italy, and Denmark. Deep Purple's 1968 version was itself covered by Thin Lizzy (as Funky Junction) on their TRIBUTE TO DEEP PURPLE album in 1973. Oh, and the rock band Killdozer covered the original Billy Joe Royal version in 1989.

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In 1968, Deep Purple had these musicians: Rod Evans (lead vocals); Ritchie Blackmore (guitar); Jon Lord (organ and backing vocals); Nick Simper (bass and backing vocals); and Ian Paice (drums). Evans would be replaced later by Ian Gillan and Simper by Roger Glover. Simper's claims to fame (apart from being in DP) were that he had been in Johnny Kidd & The Pirates and had been in the car crash that killed Kidd. He also was in Screaming Lord Sutch's The Savages, where he played with Blackmore. At the time their version of "Hush" came out. Deep Purple was booked to support Cream on their GOODBYE tour.

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Deep Purple, (hailing from Hertfordshire) are regarded, along with Led Zeppelin and Black Sabbath, as one of the pioneers of heavy metal and modern hard rock. They were once listed by the Guinness Book of World Records as the world's loudest band at 117 decibels. The heavy metal band Manowar most recently reclaimed the title at 129.5 decibels in 1994, in Hanover, but Guinness no longer recognizes the record because it doesn't want to encourage ear damage.

The Who were the last band so-listed, at 126 decibels, measures at a distance of 32 meters from the speakers at a concert at Charlton Athletic Football Ground on May 31, 1976. Other previous record holders included KISS and the Rolling Stones. Currently, Metallica has styled itself as "the loudest band in the world."

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Jaguar also used musicians Fujiya & Miyagi's "Collarbone" to promote their 2007 line; and in 2006 Spoon's song "I Turned My Camera On" was so employed. Jaguar previously used bands and musicians for major television commercials, including Massive Attack (2006), Moby (2003), Chris Isaak (2001), and Sting (2000).