Deniz Tek's "Full Throttle" memoir goes beyond his Radio Birdman glory days to discuss his time as a pilot and surgeon.
Writes Deniz Tek...
Dear Friends
Today is the official release date for my new book, "Full Throttle" out now in Australia and New Zealand on Picador (Pan Macmillan). It's a memoir, written as a series of short stories. Some are tragic, some are funny, but all are true! I think you'll get a kick out of it. – Deniz
Deniz Tek – Full Throttle (Picador Australia)
A revolutionary pioneer of Australian rock, an emergency physician, and a decorated flight surgeon with the Marines - Deniz Tek is a man of many lives. In this raw yet reflective memoir, the Radio Birdman co-founder traces an improbable journey from his childhood in Ann Arbor, Michigan, to the high-intensity stages of Sydney’s punk rock venues and the cockpit of an F-4 Phantom.
Full Throttle describes a life lived at the vanguard in multiple domains. With the grit of a rock-and-roll muso and the precision of a doctor, Tek recounts stories of survival and achievement - from narrow escapes in international waters and life-and-death decisions in the ER, to the energy and anarchic excess of the 1970s underground music scene he helped to shape.
This isn’t just a rock or medical memoir; it is a profound testament to the idea that with enough resolve, anything is possible. It is the story of a life lived at full throttle.
Get a copy of "Full Throttle" via Booktopia Australia right here. Listen to Deniz discuss "Full Throttle" and much more on The Vinyl Guide podcast right here.
New Deniz Tek single and Visitors reissue
Deniz Tek returned to Ann Arbor to record “Let ’Em Be Wrong” / “Taking Hits” in the family home of his late friends Ron and Scott Asheton...the house where The Stooges took shape in the sixties!
Due November 6 from Italy's Wild Honey Records, the new Deniz Tek 7″ is limited to 300 copies and is available to preorder now on clear vinyl.
Last year, Deniz Tek returned to his hometown of Ann Arbor, Michigan, to record two new songs in a house with a deeply personal history: the family home of his late friends Ron and Scott Asheton. The place where The Stooges took shape in the sixties now houses 107 Sound, the studio where “Let ’Em Be Wrong” and “Taking Hits” (written by Deniz & Anne Tek) were recorded with his Ann Arbor band: Deniz on guitar and lead vocals, Anne Tek on guitar and vocals, Chris Taylor on bass and vocals, and Al King on drums and vocals.
As co-founder, guitarist and principal songwriter of Radio Birdman, Tek carried the high-energy sound of Michigan into Sydney’s independent rock scene, helping shape a musical language whose influence travelled far beyond Australia. His connections to that sound run through decades of friendship and collaboration: playing alongside Ron Asheton in New Race, recording his first solo album with Scott Asheton, and working with Wayne Kramer, Scott Morgan and James Williamson. He has also toured internationally with the MC5 and made guest appearances with The Stooges and Mitch Ryder.
Recording at the Asheton house brings another chapter of that shared history onto vinyl. Produced by Deniz Tek and Steve Lehane, recorded by Lehane at 107 Sound, and mastered by Bob Brown at Ship’s In, Billings, Montana, the single is dedicated to the memory of Ron and Scott Asheton, with special thanks to Kathy Asheton. The sleeve features photographs by Kathy Asheton and Chris Taylor, with cover design by Anne Tek.
You can hear the A-side "Let 'Em Be Wrong"on Bandcamp right now (and later on all digital platforms).
Wild Honey has put together a bundle including a much-requested repress of THE VISITORS self-titled 1985 debut album on white marbled vinyl. Featuring Deniz alongside fellow Radio Birdmen Pip Hoyle and Ron Keeley, with Mark Sisto on vocals and Steve Harris on bass, these recordings capture another essential chapter of his story.
Order both together and save considerably on shipping — two records in one parcel!
Listen, preorder and grab the bundle via Bandcamp right here.
Matthew Miele's great new Vincent Price doc "What Keeps Us Alive" kicks off a night of Vincent's horror classics Friday on TCM.
Here's the scoop...
This fully authorized documentary reveals far more than the man behind Hollywood’s master of the macabre. Through rare archival materials and intimate interviews with Price’s children, Victoria Price and V.B. Price, alongside cultural icons and admirers including John Waters, Tim Burton, Patton Oswalt, Hank Azaria, Bill Hader, Cassandra Peterson, and Alice Cooper, the film uncovers the remarkable life behind one of the most recognizable voices and faces in popular culture.
The documentary traces a life of elegant contradictions: a classically trained actor who redefined screen villainy with charm and intelligence; an erudite art collector, educator, and gourmand who moved effortlessly between high culture and low-budget horror; and, perhaps most surprisingly, a warm and generous mentor figure whose influence extended far beyond the screen. Through his films, television appearances, cookbooks, lectures, and iconic voice work, Price became an unlikely cultural touchstone for multiple generations.
At its emotional centre is the story of Price’s evolving identity, shaped by the turbulence of Hollywood politics, the complexities of family, and a lifelong fascination with the psychology of villains. In later years, Price spoke of villainy not as evil, but as a mirror—an opportunity for audiences to confront their fears, hypocrisies, and hidden desires. The film explores how he transformed from a sophisticated screen antagonist into a beloved ambassador for curiosity, creativity, and individuality.
More than a portrait of a horror legend, this is the story of an artist who defied categorization. Through the reflections of family members, filmmakers, comedians, musicians, and cultural commentators, the documentary examines why Vincent Price continues to resonate decades after his death. What emerges is a richly human portrait of a man whose legacy endures not merely in screams and shadows, but in the intelligence, generosity, wit, and warmth that defined the man behind the mask.
Unfortunately, What Keeps Us Alive – clearly made for an American audience – neglects to cover anything about Vincent Price's involvement with CHCH-TV's cult classic Hilarious House of Frightenstein or his childhood summers spent in Amherstburg, Ontario. Those interested in finding out more about Vincent's unlikely Canadian connections should check out my follow-up post right here.
Daughter Victoria Price shared the documentary trailer here.
Vincent Price: What Keeps Us Alive screens on TCM on Friday (October 30) at 8 pm Eastern, followed by a few of his classic 50's horror films: The Fly ('58) at 9:45 pm, Dr. Tongue & Bruno's fave House of Wax ('53) at 11:30 pm, Elvira's fave House On Haunted Hill ('59) at 1:15 am, Mad Magician ('54) at 2:45 am, John Waters' fave The Tingler ('59) at 4 am, The Bat ('59) at 5:30 am.
Watch the Vincent Price A&E Biography followed by a few of his television appearances and interviews below.
Ace Records have put together a sweet seven-inch box of Dave Hamilton-related Detroit soul treats – out November 27th!
Dave Hamilton’s musical career in Detroit stretched from the 40s into the 80s. He was involved in all black music styles during that period −blues, jazz, and gospel as well as soul music. A talented songwriter, he wrote or contributed to ten of the fourteen compositions here and produced them all in his studios. Though his released output was modest, considering the amount of recording he did, the gems in his tape vaults have been surprising and entertaining black music lovers since they were accessed by Ace in 1990.
Little Ann
That purchase came about due to Richard “Gilly” Gilbert’s detective work in discovering that a big covered-up Northern Soul spin at Wigan Casino was actually Hamilton’s production on “Little Ann” Bridgeforth. The ensuing years have seen soul tracks in all genres, issued on Kent and BGP and we are still discovering great tracks 36 years on. Witness ‘You Got Me Where You Want Me’ by Chico & Buddy, a fabulous funky number from around 1970 that would have been a soul fan’s favourite whenever it was issued; this is its first public appearance. Read more about Ace Records' lengthy association with Dave Hamilton's recordings below.
Funk crosses over to all dance scenes these days and even jazzier tracks like Hamilton’s own ‘Soul Suite’, a close relation of his coveted ‘Pisces Piece’ will pick up plays now it is on vinyl. Northern soul lovers have been demanding JT Rhythm’s ‘I Love The Way You Walk’ on a seven, as have Motown connoisseurs with Rita DuShay’s original of ‘All I Need (Steal Away Tonight)’ as covered by Barbara McNair on her 1966 Motown LP.
Original copies exist of the Ravins ‘Your Love Is What I Want’ but unless you have several grand to spare on this fast and furious dancer, our audio-enhanced release is a great substitute; especially with the Kent 45 deleted.
OC Tolbert delivers a tough and menacing Clarence Reid song ‘Along Came A Woman’ which has huge dancefloor potential, like Dave’s own bluesy vocal on his similarly gritty, R&B composition ‘Take Care Of Your Own Business.’
Dave’s accomplishments into the 70s and 80s are admired by modern soul lovers and his ‘Ride The Disco Train’ by the Moderations, hit a perfect groove for progressive clubs of the genre. Both the Felecia Johnson and New Experience tracks thrive on the laid-back atmosphere Dave was able to conjure up in his home studios and the talented singers present his thoughtful songs with panache.
With enhanced audio for both of Little Ann’s uptempo and ballad classics ‘What Should I Do’ / ‘Deep Shadows’ this box set is irresistible as well as being a tribute to the unsung heroes of Detroit Soul music.
Get a copy of Ace Records' limited edition 7" box set Dave Hamilton's Detroit Soul Sounds right here here. It's out November 27th. Check out the tracklisting below.
Ace Records' long association with Dave Hamilton's recordings
Urged on by rare soul collector Gilly, who had solved the Northern Soul mystery of “What was the identity of the singer who recorded the Rose Valentine cover-up ‘When He's Not Around’?” (as played on acetate by Richard Searling in the latter days of Wigan Casino), Ace Records went ahead and purchased the tapes and rights to the work of Detroit producer Dave Hamilton. Gilly told me how Dave had been an original member of Motown’s Funk Brothers, had played guitar on ‘Reet Petite’, ‘Boom Boom’ and ‘Please Mr Postman’, had recorded the Chalfontes for Mercury and had run the Topper label. He also said there were some great unissued numbers that Dave had copied onto a reel for him to get played on the Northern Soul scene.
I was not that knowledgeable about the Wigan cover-up, but I realized it made a great story and would create much interest. After Dave’s untimely death, I visited his widow Alice and listened to some of his tapes. I thought they were worth gambling on. At the time I could identify only one full CD’s worth of material with a few spin-offs for other compilations. We shipped the tapes back to London, allowing us the luxury of time to fully explore the material.
Our first “Dave Hamilton’s Detroit Dancers” CD featured most of the tracks that had drawn us to the catalogue. In further researching the tapes we began to discover unheard gems such as ‘Who Are You Trying To Fool’ by Little Ann (the true artist on that Rose Valentine cover-up), a recording later described by Ian Levine as the best non-Motown Detroit soul production. The rare soul collecting scene continued to view Dave’s work favourably and records such as ‘Sweep It Out In The Shed’ by Tobi Lark, Dottie & Millie’s ‘Talkin’ About My Baby’ and James Lately’s super-rarity ‘Love, Friends And Money’ went from strength to strength. Then the rare funk scene exploded and Dean Rudland was able to compile a BGP CD of late 60s and early 70s grooves. Additionally Dave’s jazz productions on himself and his tight band came out as the unreleased “Soul Suite” LP he had hoped would make his name in the late 60s. Dave’s jazz background also led to several of his tracks featuring in our “Mod Jazz” series and there were some excellent modern soul recordings from artists such as of Gil Billingsley and James Carpenter.
Meanwhile, we had been sitting on many unmarked tapes. Every few years we would haul a couple of boxes up from our storage facility, don the headphones and plough through several days’ worth of recordings. These varied from poorly copied old jazz radio shows to fully produced versions of songs Dave was trying to get to Motown’s Jobete Music publishing company. Tapes for some incredibly rare 45s eventually turned up, along with odd acetates, allowing us to release a third volume of “Detroit Dancers” and a new volume of funk, followed by a general “Detroit Soul” CD.
The EU then joined in the fun with a request from the Finnish company Timmion to issue an LP of Little Ann’s recordings. The faux 60s album was a great hit, particularly among the younger soul demographic, and it led to a similar project on O.C. Tolbert, who also cut enough tracks for a very impressive Kent CD of his own.
That one mythical 1966 recording that remained embedded in an old acetate was responsible for eight great CDs and we’re still counting. From small acorns, mighty oak trees do grow, and we’ve not even started on the gospel tapes yet.
