To Charlie Pickett, a guitar-playing local of Dania, FL, punk rock and roll meant aged Rolling Rocks and mid-’60s garage area rock and roll a lot more than the Ramones and Sex Pistols, which devotion to a hyped-up root base rock and roll audio was what produced Charlie Pickett such an excellent performer. Along with his support music group the Eggs (afterwards known as the MC3), Pickett was an anomaly in the period of punk hostility and new influx marketability, playing addresses by Uk old-wavers Johnny Kidd as well as the Pirates and Manfred Mann when the prevailing weep of underground rockers was “no potential.” Still, Pickett’s unobtrusive, straight-ahead design endeared him to both punks and brand-new influx thrill-seekers, and after a so-so debut live LP (Live on the Key), he quickly terminated off several good-to-great information steeped within a blues-influenced, root base rock and roll audio with a lot of electric guitar fireworks given by John Salton. Pickett’s greatest moments emerged in the middle-’80s documenting for Twin/Build beneath the watchful eye of manufacturer (and ex-Suicide Commando) Chris Osgood, who finally provided Pickett the type of muscular, grimy audio he required. (This audio was very similar to what Jimmy Miller provided to the Rocks on Exile on Primary Road.) But moderate achievement as well as the support of enthusiastic rock and roll critics was all Pickett could muster. His last LP, The Wilderness, was great, but received small acclaim, and by the ’90s Pickett appeared destined to stay a regional trend.