Archive for The Fleshtones

The Fleshtones’ “The Band Drinks For Free”: The Tulip Frenzy Review + Bonus Exclusive Interview With Peter Zaremba

Posted in Music with tags , , , on September 2, 2016 by johnbuckley100


You’re walking down a darkened street when you hear the first sounds of a party in a loft above.  You are not in a glamorous neighborhood, there’s a bit of danger in the air, but the sound of a live band playing is intriguing. Wait, you say, is that Ten Year’s After’s “Love Like A Man”?  The band sounds pretty good so you follow the music up the stairs.  Inside the loft, the party’s in full swing, the guitarist and bass player are standing on top of the kitchen counter and while the singer alternatively plays Farfisa and his harmonica, the drummer is pounding away from his perch on the dining room table.  Someone hands you a drink and you take it, but the guy clutches your arm when you try walking away.  He points to the musicians, by now leading a conga line around the disheveled loft.  “The band drinks for free,” he says with a smile and wink.  You get it, and reach in your pocket to pay up.


The Fleshtones celebrated their 40th Anniversary in May, and The Band Drinks For Free is their 21st album.  While this mythical, celebrated, hard-luck institution — memorialized by a great book (Sweat: The Story Of the Fleshtones, America’s Garage Band), a terrific movie (Pardon Us For Living But The Graveyard Is Full), and still out there on the road many weeks of each year — may be immortalized in cool cats’ memories principally as the most entertaining live band in history, the fact is that they have, over the decades, produced a string of incredible studio albums. We are pleased to report, based on intimate study of the group, that this new ‘un, out today from venerable YepRoc Records, ranks among their very finest.  By that we mean it ranks with The Fleshtones Vs. Reality, and clearly is on a par with other platters of miraculous songwriting and boss performances such as Beautiful Light and even Roman Gods.  It is unquestionably better than that last moment when the fickle spotlight swung the Fleshtones’ way, when Take A Good Look (2008) came out and provided a well-deserved opportunity for rock critters across the land to do what should have been done long before: pronounce the Fleshtones living gods.  It is hard to believe, but trust us when we say: the Fleshtones in 2016 are every bit as vital as they were in ’76, ’86, and ’96.

(There is only band with the longevity and storyline remotely similar to the Fleshtones, and it’s the Mekons, AFAWK the last continuously performing, semi-intact band from that magical late ’70s era.  But the Mekons have had shifting membership and while we pray they continue forever, it’s not the same thing — the Mekons seem to need a concept to record a new album (hey, let’s go to a Scottish island, or perform around a single mike in a Brooklyn club), while the Fleshtones, their line-up intact for more than a quarter century, just go on, and on, and thank Heavens they do.  Fleshtones songs, on some of their 21 albums, might seem rushed, or they might not fully gel, but they are never generic.  And unlike another band that goes on and on — the Rolling Stones — while we can’t wait for Mick and Keith to hang it up and go sit on the beach and count their Bitcoins, we pray the Fleshtones never hang up their plectrums.)


The Band Drinks For Free sports fours songs by lead singer Peter Zaremba, four by guitarist Keith Streng, two songs by bass player Ken Fox, and two covers, including Alvin Lee’s great “Love Like A Man.”  Let’s focus on that cover for a moment, because it tells the uninitiated (wait, how can there be uninitiated when it comes to the ‘Tones? they’ve been around since the Carter Administration…what the Hell’s the matter with you?) much you need to know. How the Fleshtones approach “Love Like A Man” tells you a lot about their cock-eyed approach.  The original, from Cricklewood Green, Ten Years After’s great post-Woodstock album, is ponderous, lacks swing, though it is undeniably tuneful and great.  The Fleshtones treat it as a garage rock gem, a party song cut down from nearly eight minutes to 3:30.  It sets the tone for what’s to come.

On TBDFF, Peter Zaremba contributes some of the most fun songs of the band’s storied career, with “Rick Wakeman’s Cape” sounding like a cross between the Stones’ “2120 Michigan Avenue” and ? and the Mysterians.  On his songs plus the two written by Keith and Ken that he gets to sing, his voice is in fine fettle.  Keith Streng, who has stepped up almost as a coequal vocalist in recent years, has a remarkable voice — he’s like an athlete still able to roll along because he protected his body in the early years — and on the incredible “Respect Our Love,” he has the anthem he’s waited 21 albums to sing.

The tone of the record is elegiac, not quite nostalgic, as the Fleshtones reflect on a long career while still showing they have a full tank o’ gas.  This album swings, showcasing one of the great rhythm sections in rock’n’roll history with Bill Milhizer and Ken Fox propelling the songs on which Keith’s guitar and Peter’s Farfisa lay down their signature lines.  The backup singing of Vibek Saugestad rounds out the familiar boy’s choir with emollient tones, and Lisa Kekaula of the Bel Rays brings home “Love Like A Man” with the intensity of Merry Clayton on “Gimme Shelter.”

Tulip Frenzy has been along for the ride with the Fleshtones since we first saw them at Maxwells that hot summer night in ’79, and we’ve traveled cross country to write about them, hung in the green room while they opened for the Police, hosted them for barbecues, and dragged dozens of instant converts to see ’em.  We know whereof we speak when we say, 21 albums in, the Fleshtones have, in The Band Drinks For Free, their best album in nearly 30 years.  These guys are still going strong.  They still exemplify real rock’n’roll.  They are still worthy of their breakout record, their Madison Square Garden gig, their star on Hollywood Boulevard.  Now’s your chance to help — download the album today.


But wait, who’s that there sitting on the couch?  Why, it’s Peter Zaremba!  Before we go, let’s ask him a few questions about The Band Drinks For Free.

Hey Peter, congratulations on the 40th Anniversary of the Fleshtones and the release this week of “The Band Drinks For Free,” your 21st album.  The gang at Tulip Frenzy rank it up there with “The Fleshtones Vs. Reality”, “Beautiful Light,” and “Roman Gods,” and it’s the band’s best platter since “Take A Good Look.”  Tell us about the magic that took place with Florent Barbier in the studio.

Peter Zaremba: First of all, thank you, I’m really flattered. Some of the folks at Tulip Frenzy are notoriously hard to please. We’ve got a great rapport with Florent -he’s a long time fan. We got to know him well while touring France with the band the Roadrunners in the ’90s. He was their drummer. It’s pretty comfortable recording at his place in Williamsburg, at least for Keith and me. We can walk to Flo’s. We’ve gotten pretty relaxed recording and don’t have a producer breathing down our necks and making us nervous. And we were much more prepared for recording – which was stretched out over a year and a half. In the end we had too much material. We even left the title track ‘The Band Drinks For Free’ off the album. How’s that for a radical move?

On TBDFF, you and Keith each penned four songs, Ken penned two, and you’ve got two covers.  Is that the basic pattern of Fleshtones songwriting over the past several records?

PZ – hmmm, I hadn’t done the math. Looks about right though. Like I said, we came in with a lot of material, so this kind of balances out our contributions. And we can always do another record with what’s left. Song writing is seeming to flow easier now after 40 years, unlike how we had to labor over our early tunes. I believe it was you who tagged ‘Shadow Line’ as a ‘pastiche’ in a review. Of course you were right. Anyway, we’ve finally stopped torturing ourselves over the songs and are enjoying writing and recording more. About time!

One pretty significant change on Fleshtones records since the ‘90s is Keith singing more.  What a voice!  Is this a function of Keith writing more songs, or him having discovered, around the time you guys started covering “Communications Breakdown,” his inner Robert Plant?

PZ – Inner Robert Plant and more! Actually Keith singing more is the result of a little thinking. He sang about half of our first album ‘The Fleshtones Blast Off’ because these were the first songs he wrote and just heard them that way. Then we decided I should sing all the songs. I was the lead singer after all. But them we realized I had difficulty singing some of the material, so we decided to start letting whoever can sing a tune the best just sing it. This is a process we’re still working on -making use of all of our vocal abilities, but Keith did let me sing his ‘How To Make A Day’ on the new album, something I was very honored to do.

We were deliriously happy to hear you cover “Love Like A Man,” our second favorite song from “Cricklewood Green.”  What’s the connection between your covering a Ten Years After song and your writing a song referencing Rick Wakeman?

PZ – I’m deliriously happy to hear us cover it too, and really love our version español ‘Ama Como Un Hombre’ which is actually the version we play live (the 45 will be released for coming Black Friday). It was Keith’s idea to do ‘Love Like A Man’ as if a garage rock band was covering it, although I think I obsessed on taking the song to it’s garage rock limits. There’s no real connection to “Rick Wakeman’s Cape” (which came to me in a dream) except it’s wound up on the same album, but there are no coincidences, right?

And by the way, did you really steal Rick Wakeman’s cape from Madam Tussauds?

PZ – haha, just mashing up all the ridiculous Rick Wakman imagery in my head (of which there is plenty), you know, him posing with the wax dummies of Henry’s wives for the cover of his album. Weren’t those in Madame Tussauds? I was there a long time ago with my sister. All I remember is they had Telly Savalas and those ghastly murder victims in the chamber of horrors. Maybe the Beatles, but they never went in for capes. Now I do.

There are some great cameo appearances on TBDFF.  Tell us about the band’s bringing in Lisa Kekaula and Vibek Saugestad to help out with vox/piano.

PZ – Well we’re lucky that Vibeke is married to Ken Fox, so she can’t say no. She also does a lot of backing vocals and helped with working out the notes of some crucial riffs. She has a musical background, unlike the Fleshtones. It was Keith’s idea to get someone like Lisa Kekaula of The Bel Rays to sing the final verses of ‘Love Like A Man’ which were originally intended for him. So we figured why not just ask her? We’ve played a lot with the Bel Rays and form a small mutual admiration society. She said yes and absolutely nailed the part -kicking the track up into the next dimension just like it needed.

There’s a distinctive elegiac tone to the album — not quite nostalgia but fond looking back on your youth and the band’s earlier days.  Is the mood of the band, entering your fifth decade, looking back on the Fleshtones’ remarkable legacy as well as the future?

PZ – I’m glad ‘not quite’ nostalgic. The mood is there. We’ve been around for 40 years and as humans have experienced a lot. It’s only right that this should be imparted to our music. At this point I like the idea of projecting an image of a band who should know better.

“The Sinner” is, as far as I can tell, the first blues song you’ve recorded.  Is this your “Yer Blues?”

PZ – It’s the closest thing we’ve ever done to the ‘white English kids playing the blues’ stuff like the Stones and Yardbirds that we loved so much growing up, although we did record our ‘Worried Boy Blues’ for, I think “Beautiful Light’ or was it ‘Laboratory Of Sound’ album. I thought we were finally up to it, although the guys thought I was nuts. I just figured we had to avoid all the bad moves that mar all the bad blues that so many other white bands did, especially in the late 60’s and 70’s. How did we do?

You’re touring China??  Do tell!

PZ -We sure are touring China – a totally un-foreseen development. We needed to expand the Fleshtones fan base a bit. We tend to go back to the same (wonderful) places year after year. Japan seems oddly impossible for us, Brazil fell through because of the collapse of their currency. Danny Amis of Los Straightjackets did get us back to Mexico for the first time in over 20 years last June but we needed more. So I asked Eric Beaconstrip, a Frenchman in the British band King Salami & The Cumberland 3 for some suggestions. His band really gets around, mostly through a world-wide network of rock and roll supporters. He suggested contacts in many countries around the world including the band ‘Round Eye’ in China. Now, playing China was never in the career strategy of the Fleshtones but Catchy of Round Eye was really happy to hear from us. He put together the tour ASAP. Once again, this is a case of rock and roll fans being today’s life-spring of music, instead of the promoters (although there are a handful of promoters who are keeping music alive around the world. I’m very sad that we lost one of them recently – our friend Nicky Trifinynadidis who was responsible for bringing the Fleshtones and so many other bands to Greece). So, the Fleshtones are on our way to China, can’t wait to bring them ‘Super-Rock’ -they don’t know what they’ve been missing!


So, people of the world, you don’t know what you’re missing if you haven’t heard The Band Drinks For Free.  Get off the stick and get this album by one of the surviving wonders of the world, the miraculous, magnificent Fleshtones.



Today’s Question: What Are The Five Essential Fleshtones Albums?

Posted in Uncategorized with tags , , on November 2, 2014 by johnbuckley100


Hard though it may be to believe, at last night’s bravura performance by the Fleshtones at D.C.’s Gypsy Sally’s, some friends came who had never seen the band before.  You shake your head in disbelief, we know.  Never seen the only CBGB era band that has toured continuously for close to 40 years… that still puts on the most entertaining performance in all of rock’n’roll… that has almost single-handedly carried the garage rock movement since Jimmy Carter was president.


Yes, they’d never seen the ‘Tones, but loved them, and asked, “What are the five best Fleshtones records?”


So we emailed them this:

“1. Take A Good Look (2008), is probably the closest the ‘Tones have come to a real hit record in the past two decades. A very good collection of modern Fleshtones songs, it was heralded by rock critters as a way for the uninitiated to catch up, which makes sense to me.  Listen to this and you will immediately want to hear more.

2. Roman Gods: their first official album, an attempt by IRS Records to make them radio friendly off the bat, and though it provides something of a false picture, it will give you a sense of why they were so powerfully different from their peers circa 1977-’82. The way you likely can find it is as a 1985 combo with their first IRS EP, which takes great early songs, but does not render them well on vinyl. Which I wrote, disappointed, in NY Rocker in 1980.

3. Beautiful Light,1994, produced by Peter Buck of REM. Just a great album. Maybe a highpoint in terms of reflecting the Fleshtones as a serious band, beyond the entertainment value.  Though Lord knows there is plenty of that.  But people sometimes forget the Fleshtones are a serious and deep band, and Beautiful Light, to me, makes that case.  Also, listen to this record and then go listen to REM’s Monster, which came out a year later.  Yeah, that’s why REM’s sound was so different and better: Buck grafted Keith Streng’s guitar sound onto his band!

4. The Fleshtones Vs. Reality —  This was the first record to truly capture the early Fleshtones sound on vinyl. “Whatever Makes You Happy” may be my favorite Fleshtones song of all time. Really great.

5. The Fleshtones Live At Double Door: 2004, actually captures a version of what you saw last night! Alas, you really need to see them to grok how much fun they are, but this does provide an audio record.”


So we just spent the afternoon with the band and read them our list.  They found it respectable, though when we referenced the live album, they’d never heard of it! Though we bought it on iTunes, it’s a bootleg!  So don’t buy that.

Mulling it over, their consensus fifth choice would be More Than Skin Deep, a really great record that came out in 1998.

So thus would be our list of the records, though of course you should also read SWEAT, the excellent history of “America’s Garage Band,”and don’t forget to watch Pardon Us For Living But The Graveyard Is Full, the excellent documentary about the most fun, hardest working combo in showbiz.

Your Extremely Rare Opportunity To Dress Like A Fleshtone

Posted in Music with tags , on January 5, 2012 by johnbuckley100

Peter Zaremba emails to say some of his coolest items are available via eBay.  In fact, this rare Lily Pulitzer jacket could be yours.

Here’s how he describes it in the eBay pitch: “Outlandishly colorful vintage ‘Mens’ Stuff’ sports jacket from Lily Pulitzer of Palm Beach, approx size 40, worn by Peter Zaremba of The Fleshtones in the video ‘I Was A Teenage Zombie’ and on the cover of Love Delegation ‘Delegation Time’ LP. Golden buttons -well not gold really but very shiny. Get it just in time for ‘cruise season’. In very good condition. Dry Clean Only!”

He drily notes: Returns not accepted.

Move quickly before the schmatte collectors at the Rock’n’ Roll Hall Of Fame get in on the action.  Your own little piece o’ rock’n’roll history — poifect for fun summer parties drinking Rubies while doing The Gentleman’s Twist — is here:

Fleshtones Promote Physical Fitness At 930 Club

Posted in Uncategorized with tags , , on October 11, 2010 by johnbuckley100

America’s hardest working band brought Hitsburg, USA to the Nation’s Capital last night, playing at the 930 Club for the first time since it’s 30th Birthday party on Memorial Day.  They were opening for Southern Culture On The Skids, drawn to perform their boss folklore act to the home of the Smithsonian Institution, a city JFK famously said crossed Southern efficiency with Northern charm.

The spirit of JFK hung with us, as the ‘Tones high kicked their way through an all-too short, nonetheless exuberant set that witnessed everything from a salute to the Ramones, an incredible song we’ve never heard before about mean rats in the kitchen, to an instrumental cover of the Beatles’ “Day Tripper.” “Theme From The Vindicators” was played by Keith standing on a borrowed chair in the center of the club, and ultimately Peter triumphantly belted out the lyrics to “First Date (Are You Coming On To Me.”  Why JFK?  Well, growing up in Canada, Ken might have missed this, but surely Bill, Peter, and Keith are of an age to remember those Presidential Physical Fitness badges you had to earn back in the day — at least it would seem they remembered them as they got much of the crowd down on all fours during “Push Up Man.”

All we know is we got an unexpected work out, though as always, it was our cheek muscles that ached, for grinning like a goblin for an hour at a time is exhausting.  We left 9:30 with SCOTS “Voodoo Cadillac” stamped into our brain, marveling at how the Fleshtones can encourage mass mania, this time in support of physical fitness, 100+ shows each year, lo these many years.  Thanks, guys.  And we look forward to hearing the fruits of your labor in the studio with Lenny.

The Fleshtones Movie: Pardon Us For Living But The Graveyard Is Full

Posted in Uncategorized with tags , , on September 19, 2010 by johnbuckley100

It’s too bad Leni Riefenstahl already used the title Triumph of The Will, which was about some rock festival in Nuremburg or something, because it’s the genuine subtext of Geoffary Barbier’s wonderful movie about the Fleshtones, Pardon Us For Living Because The Graveyard Is Full, available to watch in is entirety for free at the world’s coolest website,

For what emerges from a story about the greatest working rock’n’roll band in the world, who have played in dives and palaces but most importantly, non-stop for nearly 35 years, is their indomitable spirit, their seemingly absurd persistence.  Pardon Us For Living takes the band from its origins in Queens to its outsider status at CBGB when the cool kids were getting record contracts thrust upon them even as they were blown away by the Fleshtones as their opening act, to The Party, as Barbier refers to it — the IRS Records years when Roman Gods came out and the Fleshtones, freed from their bad contract with Marty Thau’s Red Star Records, appeared finally to be on the verge of making it– to the end of that dream in the 1980s, and then the relentless, impressive, world historical campaign, similar in scope to Mao’s Long March but with fewer participants, to the Fleshtones becoming that working band that shows up in your town and, even as you call in chits to get skeptical friends to come see them, changes people’s lives as even the most straitlaced find themselves in a conga line marching out of a bar at 1:00 a.m. while the Fleshtones, still playing music, get into their van and drive off into the night, music still coming out of the amps they’ve left behind, and which they have to come back for.

I first saw the Fleshtones at Maxwells in Hobokon in June of 1979, and I’ve seen them maybe 30 times since.  That seems about right… an average of one time per year over the course of three decades, six presidents, at least three wars, children’s births, the rise and fall of the music industry, etc.  They are still going, and going strong.  I have never seen them put on a bad show, never left a club they’ve played in with anything less than a smile on my face and my head shaking, marveling at the manifest unfairness that (fill in the blank with this year’s darling) are selling out arenas and a band that spreads joy and sheer rock’n’roll genius are playing at (fill in the the blank with the shitty dive they’ve just played in.)

As this is written, The Fleshtones are going into the studio to record their 4,212th album.  Maybe this is the one that will finally do it… that will reveal to the world how dull The Arcade Fire really is, and why it should be the ‘Tones who get the Madison Square Garden homecoming.  Maybe.  It’s this kind of optimism that has kept the band going, though they are eminently realistic and down to earth people: it has to be something more, too.

Pardon Us For Living shows that The Fleshtones keep going because they are filled with joy when they play.  It is their higher calling to get rooms full of people dancing, sweating and laughing.  They are carriers of joy.  They have no self-pity, very little bitterness (except at the idea that history has not fully recorded their place in it), no rancor.  “It takes a big heart/big enough to hold us together,” the Fleshtones once sang, and it’s clear that even as few bands have ever been as exciting live, no band — not one — can compete with the Fleshtones when it comes to heart.

The Fleshtones have now been the subject of a fantastic book — SWEAT: The Story of The Fleshtones, America’s Garage Band, by Joe Bonomo — and a first-rate rockumentary.  Justice will only be served when the Fleshtones are voted into The Rock’n’Roll Hall of Fame. Start your petition now.  Those of you on Facebook, get cracking.  In the meantime, watch this movie, for free, on SnagFilms.  And go see the ‘Tones when they next set up shop in your town and turn it into Hitsburg USA.

SnagFilms, God Bless ‘Em, Have Posted The Fleshtones’ “Pardon Us For Living But The Graveyard Is Full”

Posted in Music with tags , , on September 17, 2010 by johnbuckley100

The coolest website in the world serves up the coolest band in the world. Take the rest of the day off. We won’t tell the boss.

We somehow messed up posting the widget, but LINK BELOW TO SEE THE FILM.

Pardon Us for Living but the Graveyard Is Full – Watch the Documentary Film for Free | Watch Free Documentaries Online | SnagFilms.

Our Austin Correspondent Reports On The Fleshtones’ Latest Triumph

Posted in Music with tags on July 22, 2010 by johnbuckley100

In addition to posting this video evidence of Fleshtones mania in the capital of the Lone Star State, we have this report from our correspondent in Austin:

They were on fire this weekend.  Some highlights:

• Friday and Saturday they pulled their shirts off, went out in the crowd and led a push-up contest.

• In Dallas, Peter Zaremba kept referring to me as “Joey” — so after they were done, people kept coming up to me and calling me Joey.

• Wednesday they played an in-store at Waterloo — the owner introduced them and said “Viva les Fleshtones” and Peter without pause says “Ooo-uff wit dey heads.”

• They started out in front of the clubs all three nights and worked their way through the surprised crowds singing and banging drums like pied pipers.

• Keith Streng and Ken Fox were airborn for probably about 50% of the sets.

Fleshtones Were Best At 9:30 Club 30th Anniversary Fest

Posted in Music with tags , , on June 1, 2010 by johnbuckley100

They only got to play four songs, but at the 9:30 Club’s 30th Anniversary party on a sweltering D.C. Memorial Day, the Fleshtones made the most of their brief opportunity, so much more entertaining than *The Fall, The Pixies, Cracker, X, Luna, Tom Verlaine, Brian Jonestown Massacre, Calexico, Nirvana, Joe Strummer and the Mescaleros, Wilco, Jesus and Mary Chain, The Mekons, Mazzy Star, The Soft Boys, The DBs, The Apples in Stereo, Lou Reed, The Jayhawks, Alejandro Escovedo, Camper Van Beethoven, Sonic Youth, Ryan Adams, The Feelies, New Pornographers, and all the rest who’ve graced the club.  (*Okay, okay, not all of these bands played at the party today, but this is a representative sample of bands we’ve seen at 9:30, in its stanky ol’ F Street origins, as well as its more commodious, air conditioned, smoke free and damned near pleasant home on V Street, which it’s inhabited since the early Clinton Administration.)

It also was great seeing the Slickee Boys play today — the first band I ever saw at the old 9:30 Club, on New Years Eve 1983-84 — and though it’s been more than twenty years since they’ve regularly played together, you wouldn’t have known it from the way Kim Kane and the gang played “When I Go To The Beach.”

The ‘Tones were in excellent shape for a 6:20 PM set on a scorchingly hot holiday.  Fortunately, they’d been able to get over to Tulip Frenzy World Headquarters for a hotdog and a burger each, and maybe a cooling swim.

The 9:30 Club was instantly turned into “Hitsburg USA,”  and every boy and girl started to do the Frug. “Feels Good To Feel” had Ken and Keith kickin’ to Bill’s beat, and when Peter whipped out the  harp, the place just swooned.  “Way Down South” was a reminder that New York’s pride was playing South of the Mason-Dixon Line.  Next thing you knew, Seth Hurwitz, who says The Fleshtones were the first band he ever actually booked at the old 9:30 Club, muscled his way onto Bill’s stool to play drums to “Ride Your Pony.” Thankfully, while standing next to his kit, Bill kept the beat while Seth earnestly kept up.  And then it was over, and not even the promised reunion of Creedence coulda possibly been better.

All of D.C.’s music fans cheered these American treasures — The Fleshtones and the 9:30 Club.  The show may still be going on — there was a rumor the Bad Brains and Fugazi were going to reform for the occasion… okay, I started it…but thank Heaven that America’s hardest working combo set up shop on V Street to get us all in the holiday spirit.  Summer’s here and its time to hear Solid Gold Sound.

Fleshtones Greet Their 5th Decade* By Bursting Into Film

Posted in Music with tags , , on January 3, 2010 by johnbuckley100

SnagFilms brain trust, please take note and acquire these rights for your most excellent nonfiction film site: 2010 will see the release of Pardon Us For Living But The Graveyard Was Full, a documentary about The Flestones, only the greatest… well, we’ll leave it there.  The Fleshtones are just the greatest.  And that there’s now a movie about ’em, in addition to the excellent book on them — Sweat, The Story of The Fleshtones, America’s Garage Band — means the ‘Tones Chronicle is now a full-fledged multimedia juggernaut.   I mean after a book and a film, through what medium may we next capture America’s greatest band?  Sculpture?

Can’t wait to see it, and the really fun trailer just whets the appetite.  Happy 201o.

* No, they haven’t been around for 40 plus years (just a mere 34), but having started in the mid-70s, and with this now 2010, we did the math and…

Fleshtones Frontman Peter Zaremba Upends The Blogosphere

Posted in Uncategorized with tags , , on October 30, 2009 by johnbuckley100

If Tulip Frenzy were a bar, we’d call Peter Zaremba a friend of the house and set him up with a free one every time he sat down.  How nice it was to hear from him yesterday, and to learn that one of rock’n’roll’s most entertaining writers has started his own blog entitled: Busybuddy, A Life of Excitement.

Now you may know Peter only as The Fleshtones’ singer, organist, and harp player, the funnest frontman ever to don a sequined shirt.  You may remember him as an MTV host back in the day when the M in MTV stood for “music,” not “moronic.” You may not know that Peter is also a journalist nonpareil.  For example, his GQ feature on the best and worst haircuts in rock history was hilarious and wonderful and only hints at his capabilities — which apparently are no longer in service to the late Modern Bride magazine, the demise of which has left a hole… well, somewhere.

Get ready to bookmark.  Tulip Frenzy is pleased to start sending traffic to Busybuddy, A Life of Excitement.

Peter Zaremba’s Blog

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