I’d witnessed every Alice Cooper show in Wales… until the last one. Why the sabbatical? It was an all-seated affair – the anathema of the true rock ‘n’ roll fan. So why, a number of years later, did I find myself taking a seat in the very same venue to attend the final show on the UK leg of the Godfather of Shock Rock’s ‘Ol’ Black Eyes Is Back’ tour? Well, after squinting my RnR morals and convincing myself that Alice’s legendary live show fusion of vaudeville and Grand Guignol would be the one thing that would suit an all-seated affair, and questioning just how many more times I would get the chance to see the artist formerly known as Vincent Furnier, I conceded that there were worse things to do on a Saturday night in the run-up to All Hallow’s Eve than watch one of the most iconic performers of his generation.

“Kick out the jams, motherfuckers!” A curious choice of term to administer to the auditory canals of hundreds of ageing rock fans sat down at around teatime, you’d think. Not when it’s coming from the MC50, the alternative supergroup of sorts put together by the legendary Wayne Kramer to honour the legacy of his original band, the MC5. With Kramer, bedecked with red, white, and blue outfit and matching guitar, flanked by guitarist Kim Thayil of Soundgarden, bass player Billy Gould of Faith No More, with Fugazi drummer Brendan Canty bringing up the rear and Zen Guerilla frontman Marcus Durant finger-snapping front and centre, this would be a true rock ‘n’ roll spectacle to see based on line-up alone; if, of course, the band didn’t have a slew of time-honoured tunes to back it up.

‘Kick Out The Jams’ came early (second song in, following a Kramer-fronted ‘Ramblin’ Rose’) but it was a lighting of the touch paper of an incendiary nine-song set that didn’t shave an inch off the original MC5’s legendary status. A classic one-two-three of ‘Come Together’, ‘Motor City is Burning’, and ‘Borderline’ was given a riotous rock ‘n’ roll run for its money by the similarly pulsing ‘Everything’, ‘Call Me Animal’, and ‘Sister Anne’, before Durant – a masterstroke of frontman recruitment, it has to be noted: towering in both stature and vocal prowess – took off his seemingly perma-shades for a set-closing ‘Looking At You’. “Fight The Power!” a Trump-baiting Kramer shouted as the band left the stage, victorious… and I fought the urge to tell the clod-eared jokers around me who had retreated to the bar to swill overpriced beer down their insipid, Planet Rock-loving necks that they had turned their backs on probably the best band to ever open a three-band-bill at the ungodly hour of 7 pm.

The gentleman seated next to my good self was witnessing The Stranglers live for the thirty-fifth time and, it soon became very clear, a lot of people were there to see the veteran act. It’s almost thirty years now since Hugh Cornwell left the band, but his current replacement, Baz Warne (as featured on a lengthy list of former Toy Dolls band members), is more than a worthy successor to the position; the singer/guitarist more than at home alongside original members, bassist/vocalist Jean-Jacques Burnel and keyboardist Dave Greenfield, plus (baby-faced in comparison) drummer Jim Macaulay.

‘Relentless’, from 2016’s ‘Suite XVI’, reminded everyone in attendance that this band isn’t just a nostalgia act on the retro tour circuit, but the core of the setlist (as many would have expected/hoped of a shorter, eleven-song support set) was culled from the most famed corners of the band’s back catalogue. From opener ‘Toiler On The Sea’ to the set-closing ‘No More Heroes’, via ‘Nice ‘n’ Sleazy’, ‘Peaches’, ‘(Get a) Grip (on Yourself)’, and, of course, ‘Golden Brown’, The Stranglers did nothing but impress upon those not already converted that they had been spectators of a classy performance from one of the truly great British bands. It may have lacked the adrenalin kick of the MC50’s set, but the Meninblack produced something as cool and slick as black ice.

All-seated? Pah! The curtain hiding Alice Cooper’s latest stage set – his Nightmare Castle – hadn’t hit the deck before almost every single person in the floor seating area was on their hooves, bolt (in the neck) upright, raising fists and yelling in the direction of opener, ‘Feed My Frankenstein’. That opener (culled from 1991’s ‘Hey Stoopid’) was an early indicator as to the tone of the show, with many tunes pulled kicking and screaming from that mid-eighties onwards cock shock rock period of the Alice Cooper story. Guitarist Nita Strauss, a whirling dervish throwing out, at times, Vinnie Vincent-like numbers of notes, was perfectly suited to paying the utmost rocking respect to this era; her hard-hitting shredding style underpinning ‘Bed Of Nails’ (from 1989’s ‘Trash’), ‘Roses On White Lace’ (from 1987’s ‘Raise Your Fist And Yell’), and the ‘Constrictor’ duo of ‘Teenage Frankenstein’ and ‘He’s Back (The Man Behind The Mask)’. The latter was, of course, featured on the soundtrack of 1986 horror sequel Friday the 13th, Part 6: Jason Lives, and this unashamed Eighties horror obsessive loved hearing it in the set. Jason himself made an on-stage appearance too; goring the throat of a teen with a plastic machete before revealing that the man behind the mask was none other than – yep, you’ve guessed it – that fella whose face was on those thirty quid T-shirts in the foyer.

The song choices weren’t purely focussed on big hair and big scares, however: ‘Raped and Freezin’ made a most welcome return to the setlist, a true highlight to be honest, and ‘My Stars’ and ‘Muscle of Love’ checked the same box too. ‘Fallen in Love’, from 2017’s ‘Paranormal’, appears to be a mainstay in the set nowadays and fits in perfectly and, writing of mainstays, ‘Poison’ appeared surprisingly early at the mid-point of the set, following a seminal one-two of ‘I’m Eighteen’ and ‘Billion Dollar Babies’.

Babies, you say? Arguably the most ludicrous yet entertaining of Alice’s stage props appeared after a breathless ‘execution’ section where a twisted fusion of ‘Steven’, ‘Dead Babies’, ‘I Love The Dead’, and ‘Escape’ saw the Coop rid himself of straightjacket, cleaver a baby’s head off, lose his own head via tried and trusted guillotine, then burst back from the dead via a coffin adorned with his legendary eye make-up: interspersed by a giant inflatable baby toddling around with his severed head, of course.

There was a Chuck Garric-sized hole on the stage – the bass player temporarily replaced by Hollywood Vampires four-stringer Chris Wyse, who certainly has the pedigree (The Cult, Ozzy, Ace Frehley) if not the same stage presence – but Strauss attempted to fill it at every available opportunity. Glen Sobel remains one of the finest drummers hitting the skins today – that punters didn’t return to their seats during his drum solo says a lot – and the über cool six-string pairing of Ryan Roxie and Tommy Henriksen never fails to impress, inspire, and make a little jealous, even if the latter has added a meta twist these days by channelling his inner Andy McCoy and looking not unlike Electric Angels era Roxie.

After the aforementioned ‘Teenage Frankenstein’ closed the main set, Alice reappeared for the two-song encore wearing a Wales football shirt – with Cooper and the number 18 on the back, obviously – and parked the proverbial bus for an understandably incredible run through the classic ‘Under My Wheels’. Only one song could have brought the night(mare) to an all-too-early conclusion. Original Alice Cooper band bass player Dennis Dunaway had joined the stage for ‘School’s Out’ earlier on the tour, but for the Welsh date it was first Wayne Kramer, then Kim Thayil who stepped up; the latter half-inching Henriksen’s guitar and having to be guided through the now-expected mid-song segue into ‘Another Brick in the Wall’. Before class was over, the rest of the MC50 and all of The Stranglers were on the stage for proper throwback end-of-tour hijinks in keeping with the Eighties feel of the setlist.

I have never seen a bad Alice Cooper show, and nothing changed on an October night in the Welsh capital. In fact, if the stewards employed at the Motorpoint Arena had been as torch-happy as the cinema ushers of my youth (when I first experienced some of these Cooper tunes) then I would have found myself on the edge of my seat…

Author: Gaz Tidey

Photos courtesy of Nev Brooks

With 2019 quickly rolling downhill towards 2020 and with Halloween just around the corner and Shit Island still under Tory rule heres a playlist to take you away from the humdrum of real-life and to take a peek at whats on the RPM turntables and MP3 players this month.

Alice Cooper is in the house with Go Man Go taken from his excellent EP ‘The Breadcrumbs EP’ and how could we not include Jim Jones & The Righteous Mind so get down and get with it as ‘Shazam’ is in the house on the virtual player.

Also on the live front we’ve caught up with the awesome Cyanide Pills who are ‘Still Bored’. this month we’ve got an exclusive interview we recently did with Spunk Volcano so it seems right we should include ‘Shit Excuse’ from ‘Double Bastard’.  It seems that every man and his dog is attending one of The Cult winter tour dates so why not play ‘New York City’ from the 30th Anniversary ‘Sonic Temple’.

Hands up if you’re heading to one of the Black Flag dates around the UK this month?  We are so ‘My War’ is on the list. Pulled Apart By Horses rode into Newport and left a mark so ‘The Big What If’ is on the list.

As for new albums we’ve reviewed how about a few new ones starting off with Pardon Us with the opening track on their debut album ‘Wait’ ‘check out ‘Beyond The Valley Of The Wolves’. The Hangmen are back with ‘Cactusville’ as are Starcrawler who we’ve included with the excellent rock and rolla ‘No More Pennies’, Bitch Queens bring ‘Superboy’ and their brothers from different mother are back with a new single.  The Hip Priests ‘I Hate The City’ from their recent split but fear not pop pickers they have another single on the way this month we’ve heard it and its a no brainer kids all killer and no filler was written for them.

As we say goodbye to Barrie Masters we’ve included Eddie And The Hot Rods cover of ‘Once Bitten Twice Shy’.  Since they’re having a movie made about them we think it’s apt that we include the awesome Redd Kross with ‘Motorboat’ on this months playlist.  turn it up baby because Charger make the paylist with ‘Victim’ from their self titled record. Cockroach Clan released their new/old record so why not sample some Norweigan punk rock whilst youre here.

It wouldn’t seem right not to have a Wildhearts tune in our playlist seeing as they have a new mini-album out this month and are playing the UK again so heres ‘A Song About Drinking’.  Supporting them on this round of dates are Janus Stark who also have a headliner at the hope & Anchor so with news of their new album released last week heres one from them for good measure – We can’t play you anything new but trust us when we say it’s going to be worth the wait so to keep you going heres ‘Every Little Thing Counts’.  It only seems fair we offer up some Shitbaby Mammals with the opener from their record ‘Heart On My Sleeve’.  To wrap up this months playlist heres some Black Star Riders with the second track from their new album and title track ‘Another State Of Grace’. So until next month…

 

Another month another visit to the jukebox to see what sevens are spinning round the RPM Jukebox.  this month sees a mixed bag with some of our favorites knocking out 45s and some welcome new bands dipping their toes in the water.  We love a 45 and this month sees some tasty singles. In no particular order this lot are well worth checking out.

Tyla’s Dogs D’Amour – ‘(Everybody Needs) A Friend’ (King Outlaw Records) What a reet little corker this is.  Not expecting a tune this good to come from camp Tyla but hey, here it is, its a gentle rock and roller with all those vital ingredients that were required in the 80s and beyond. It’s got the sloppy rock n roll edge you know you want to hear when Tylas familiar vocal comes in.  ruffle your hair (if you can) get out of bed put this on and you’re good to go. It’s backed by live renditions of ‘111’ with the band firing on all cylinders and you also get an exceptional atmospheric live take on the epic ‘Bullet Proof Poet’ part acoustic part electric but it melts into ‘Angel’ to create a pretty epic eight minutes that makes this worth the price of a pint any day of the week.  Still got it , still relevant, still rockin’? Absofuckinlutely! don’t ever doubt it! Pick it up Here

Suicide Generation – Prisoner Of Love (Surfin ‘Ki Records/ Family Spree/Spaghetty Town Records/Wanda Records) Another day another absolute killer record from Suicide Generation.  This time they’ve got some seriously good labels to share the love around with each label having its own coloured vinyl.  Three tracks of classic Suicide Generation it’s wild, loud and a whole lot of fun in the tradition of Garage Punks from The Stooges to the Damneds debut via channeling some Lux interior   Suicide Generation are an explosion of the finest noise currently making exciting records that you would be foolish to ignore.

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Razorbats – White Trash Radio Another slice of Prime Norweigan Rock and Roll with their usual mix of HArd Rock some classic Rock and a generous slice of power pop a melody and hook to die for Razorbats always deliver and this one is a beauty.  An instant hook on the chorus that you can sing along to and a breakdown that sounds like Had the Police been a ’70s inspired glam Rock outfit then they might have penned this bad boy.

Don’t be daft it’s one single do yourself a favour and go discover your new favourite band from Norway – you can thank me later and if this is a taste of what’s to come then I can’t wait for the next album on this form it will be a real contender. Facebook

 

Paradise Alley/Plastic Tears – Class of ’92 (Self Release) Turning back the clock Paradise Alley look back all (Plastic) teary-eyed at ’92. It’s a romping glam slammer and these two bands have teamed up to make what might just be the best song for both bands to be fair.  Call it nostalgia call it some old rockers just not wanting to go quietly into the night but whatever the reason for the regrouping of Paradise Alley songs like this makes it worthwhile.  Sounding like 69 Eyes used to sound isn’t a bad place to hitch your wagon and anyone can join in on the chorus.

Available as a CD from the band for the handsome price of £3 so hit em up glamsters and pull on those cowboy boots n backcomb your hair its time to get rockin’

Lauren Tate – What About The Kids (Trash Queen Records) Second single taken off her debut album Lauren Tate heads off in a differnet direction that will have fans purring at her new direction and diversity.  Check out the new album details on her website Here

Los Pepes – Automatic / Here Comes The Darkness (Wanda and Beluga Records) Los Pepes have joined Beluga Records for a guest 7inch record, to support there euro tour. Still the loudest powerpop band on earth…the Motörhead of powerpop! No hit wonder 60s and 70s garage pop melodies drowning in a wall of punk rock guitar. With four new tracks on this 7″.

‘Automatic’ is the best song The Hellacopters never wrote.  Man has Ben ever written a duff track?  Of course he hasn’t and this EP is another blinder Catchy, Melodic, loud and smack bang on the money. They’ve even had time to nip back to the 1960s and nick a Small Faces inspired tune ‘Here Comes The Darkness’ but thats not to say this is Rock and Roll isn’t up to scratch because it isn’t its a splash of fury, 12 bar at breakneck speed wham, bang, thank you, man! and ‘your Justice’  is pure Los Pepes coasting on a wave of everything they’re great at.  Another essential single from London’s finest.

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Crapsons – Who’ll Babysit The Goths? (Self Release) In the good old spirit of DIY meet these pair of Herberts from The Wirral with their punk rock noise.  Enjoy!

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Baby Shakes – Cause A Scene (Surfin ‘Ki Records) Features a previously unreleased B side of the Teenage Head track ‘Tearin’ Me Apart’ available in several coloured records this Garage punk rock and roll banger is available Here With a Racey rockin drum beat on the intro its more poppwer than power pop but its sickly sweet and a beautiful thing and well worth checking out. Baby Shakes always do Rock and Roll with a tonne of melody and attitude and the solo is bitchin as they say in some rock and roll quarters.

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Fast Eddy – Toofer One (Spaghetty Town Records/Boulevard Trash) You want Rock and Roll with loud guitars then Spaghetty Town have unopened another cracker in the shape of Fast Eddy.  Having your EP Produced and endorsed by Tuk from Biters is something to wear on your denim cut off. Coming outta Denver these four (named after their Drug Dealer) they’ve been weaned on the best stuff money can buy no not drugs I mean Rock and Roll.  From the power-pop with loud guitars of ‘Hurricane Alley’ its got all the vital ingredients to sustain life from the kickin harmonies on the pre-chorus to the solos and guitar licks that cover the tune its all killer no filler. ‘Milwaukee’ is a distant relative of the Faces if they were born stateside and they saved the best til last as ‘Lost’ is the best tune of the month pure 100% Rock and Roll with energy aplenty its just sunshine on a 45.  Awesome

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The Gotham Rockets – Blast Off (Rum Bar Records/Murry Sounds) When you name check being past as members of The Devil Dogs, The Fleshtones, Jack Black, The Prissteens, Simon & The Bar Sinisters, The Swingin’ Neckbreakers, The Trash Mavericks, and The Waldos, Of course, RPM is gonna be interested in what you have to offer.  From the awesome horn honkin’ on ‘What’s Done Is Done’ via the bad boy boogie of ‘Bad With Girls’ this is the bomb. ‘Rip this Night’ is a slice of classic heads down and jive talk and duck walk as we hand jive through the next three minutes of rock and roll. What a great slice of rock and roll and with added sax appeal its gotta come highly recommended and we endorse it 100%

The Empty Hearts – Coat Tailer (Wicked Cool Records) Just another Cool as tune from these power-pop giants. ‘Coat Tailer’ is a sprightly humdinger with some great harmonies and sharp solos but theres enough bit in that guitar riff and its got Clem Burke on the drum kit.  It’s great to have them back making new music and they’ve found the perfect label for their well-rounded sound.

The B Side is a light Beatles esque tune with more great vocals as it just sort of reminds me of walking through a park kicking leaves carefree.  The Empty Hearts doing what they do best writing great power pop – Result.

Available on glow in the dark vinyl – Cool.  Buy it  Here

 

45 Rally – Bigly (Rum Bar Records)  Switzerland’s garage rock sensations 45 RALLY have taken all of their song titles from presidential tweets. But in keeping up with their Swiss heritage, they have decided to remain politically neutral. The music here, a combination of Bubble Gum, Garage Rock, Country and Punk was created for everyone’s listening pleasure.  So to all of  our Conservative, Liberal and Moderate fans,  it’s time to unite! Grab your earbuds, some chocolate and hit the slopes with TWEETS FOR MY SWEET by 45 RALLY! With an equally swing yer pants video this is happy garage for sure.

Screamer – Halo (the Sign Records) Heavy Fuckin’ Metal! make no bones about it folk Screamer aren’t nu metal or Death Metal they just rock like a steam train.  Fist pumpin’, Denim, and leather-clad, long-haired, metalheads.  think Tank think Motorhead think Tysondog think real metal.  Screamer do no frills metal and its Rockin’. with a new album that has a man with wings on a horse al thats missing is some fire and a weapon like a mace or a hammer and they’d be all in. The album is due this month and its called ‘Highway Of Halos’ get on it.

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Right Hand Left Hand – Chacabuco (Bubblewrap Collective) clocking in at the most unsingle like length of a couple of seconds under seven minutes and two minutes elapse before former Estrons singer Taliesyn Kallstrom joins the party.  Post-Rock duo Right Hand Left Hand are back with a brand new album. Following on from their self-titled, Welsh Music Prize-nominated second album, their third offering, ‘Zone Rouge’, tells the story of humanity’s contempt for the earth beneath us, the air above us and the people around us. Layers of guitars and driving drums are the order of the day married with ambient space in between call it art rock or post-punk indie but one thing it does is build and build.

’Chacabuco’ is available to buy and stream digitally on 27th September. The album will follow on 15th November 2019. It will be available digitally, on CD, and on limited edition double clear vinyl. They launch the album with a show at Clwb Ifor Bach in Cardiff on the 13th of November, more info here: https://www.facebook.com/events/400022130707013/?ti=cl

Alice Cooper – The Breadcrumbs EP (earMUSIC) 12″ six tracks from the Coop singing about Iggy and The MC5 how can this possibly not have RPM salivating at the sight and sound?  ‘Detroit City 2020’ sounds good – Sure its modern Alice Cooper but there is more of the old school garage rocker in this and out of all his contemporaries I can’t think of any that are still out there doing it night after night and delivering the good and managing to still churn out new music that is relevant and bloody good. If you were impressed with the opener then hold onto your bobblehead because ‘Go Man Go’ is having it big time.  A good tempo with a lotta rhythm and some blazing guitar work. Sure it helps when you can call on yer mates like Wayne Kramer and drag ou tof them such great performances this was always going to be a winner. He gets his funk on on ‘Your Mama won’t Like Me’ and those horns are quality. I’ll admit I’m not so fussed on the lackluster ‘Devil With A Blue Dress On’ but the bar is raised on the finale of ‘Sister Anne’.  So all in all a mighty fine way to round off this singles club and with it being a 12″  long ‘un the Coop might just have taken it on the home straight.

Buy Breadcrumbs Here

What’s that musty smell? Ah yes, it’s emanating from the veritable feast of vintage collectables housed in the Pop Culture Schlock archive. For your delectation today I take you back to the Christmas of 1979; a seminal decade of music about to come to an end and give way to the dawn of a more brash, more brazen ten year period…

 

If you were a good, music-loving boy or girl in 1979 and had a.) done well in school, and; b.) not scratched your big brother’s vinyl, then there was a good chance that you’d find the Rock On! Annual 1980 nestled under the Christmas tree in your modest living room.

 

“The Rock What Annual?” I hear you exclaim, and you shouldn’t be embarrassed at your lack of knowledge on this subject because, truth be told, Rock On! magazine was a short-lived, oft-forgotten publication… if you’d ever heard of it at all.

 

Rock On! magazine debuted with an issue cover-dated May 1978. Debbie Harry featured on its cover and the mag – costing a whole 25p – promised a healthy mix of punk, new wave, heavy metal, and prog rock. It kept its promise too as, over the course of seven eclectic issues, Rock On! dished out features and photo spreads on a dizzying cadre of top musical combos; from Status Quo to Sham 69, The Clash to KISS, Rush to The Rezillos. Meat Loaf graced a cover, Ozzy, too, until Issue 7, with Jimmy Pursey as its cover star, and cover-dated November 1978, when Rock On! disappeared from newsagent shelves. The editorial in that final issue wrote of the outrage of cutting off such a desirable publication in its prime but, if anything, Rock On! was a victim of its own blurring of genre lines: readers seemingly wanting specialist publications dedicated to singular strands of the rock ‘n’ roll world rather than this ambitious crossover style.

 

That final editorial, though, did offer some hope for the future; stating that it was the last Rock On! “in its present form”. Fast forward to around a year later and, in the Autumn of 1979, the true final piece of the Rock On! jigsaw arrived in shops and catalogues to complete the punk ‘n’ prog rocking picture.

With a scorching hot live photo of Thin Lizzy’s Phil Lynott on the cover, Rock On! Annual 1980 (price – £2.00) may well have been jostling for attention on the shelves alongside big-hitting television and film spin-off annuals, but it certainly looked the most badass. It was, the cover screamed, packed with pictures, facts, and quizzes on your favourite rock bands. It did not disappoint.

 

The heady mix of photo spreads and more in-depth features on select bands really did make Rock On! stand out from its competitors, and this annual amps that angle right up to eleven. The first photo spread was a “Tribute to Vocal Power!!!” (yes, with three exclamation marks) and featured cool live action shots of Joe Strummer, Johnny Rotten, Cherie Currie, Pete Townsend, Willy DeVille, Graham Parker, Joan Jett, and Mick Jagger. A good start, I’m sure you’ll agree.

Next up, a photo diary detailing a “hard band” going “soft” as The Stranglers met their devoted fans, followed by a quartet of stinging live shots of “the band the critics love to hate”, Status Quo. Rock On!’s attitude to those Quo critics could be “summed up in two fingers” readers were informed.

 

With barely a pause for breath, a six-page A-Z of Heavy Metal feature detailed the prime acts in the genre, from AC/DC to, erm, Wishbone Ash. A-W, then. A few curious names in this run-down, too: Prism, Quartz, and Mahogany Rush rubbing shoulders with the expected likes of Whitesnake, Black Sabbath, Judas Priest, and, a firm favourite on the turntable at RPM HQ, Uriah Heep. A “Heads Down Heavy Metal Quiz” followed: a select question being “On Your Feet Or On Your Knees was a double live album for which heavy metal superstars?”

 

A Ten Years of Genesis feature followed, the first in a series of in-depth essays by John Tobler. His similar two-page spread on the history of Queen followed, as did those dedicated to Thin Lizzy, Blue Öyster Cult, Rush, and KISS. The latter, subtitled “Kings of Shock Rock”, wrote of “the forty foot columns of fire that emit from Gene Simmons’ mouth” and, c’mon, if you were eight years old at Xmas 1979 you had every excuse for then falling head over platform heels in love with the idea of the hottest band in the world.

There was a Rock On! reggae report, a fashion guide of sorts where the Quo’s Rick Parfitt spoke of his love of jeans and Hugh Cornwell of The Stranglers of his love of raincoats (!), a Hi-Fi buying guide, a feature on sound engineers, a top DJ article covering John Peel and Anne Nightingale, plus one-page specials on Peter Gabriel and Ken Hensley of the Heep.

 

A photo spread of Ian Dury swimming (just your seven shots) padded out the pages, but not before an impressive photo set of live Black Sabbath shots appeared, a Star Cars article featuring Steve Jones, Meat Loaf, Midge Ure, and, ominously, Cozy Powell, a “Cult Heroes” feature detailing the likes of Iggy Pop, Nils Lofgren, Todd Rundgren, Tom Petty, and Bruce Spingsteen, and a “Sex ‘n’ Girls ‘n’ Rock ‘n’ Roll” spread featuring Debbie Harry, Joan Jett, Siouxsie Sioux, Linda Ronstadt, Annie Golden, Poly Styrene, Stevie Nicks, and Rachel Sweet.

 

A “That Was The Year That Was” feature dedicated to 1978 was an obvious leftover from the previous year’s magazine and makes for entertaining if a little sombre reading amongst the other genuinely funny articles. Rock On! was a cool magazine, with its tongue firmly in its cheek and its love of a broad range of music at the forefront of any thinking. Your Uber Rocks, your RPMs are all subconscious descendants of Rock On! magazine.

No annual is complete, however, without a pull-out poster section (even if no kid ever dared pull a poster out of an annual!), and Rock On! Annual 1980 does not disappoint in that department. There are pin-ups of the aforementioned Pursey, Rezillos, Dury, Harry, Clash, and Lynott, plus Bob Geldof, Paul Weller, Freddie Mercury, David Lee Roth, Jon Anderson, Elvis Costello, Paul Stanley, and the Buzzcocks. Great photos too.

 

The Rock On! Annual 1980 may well be an uncommon piece in the average music memorabilia collection, but it is certainly a worthy one. Copies turn up on the secondary market relatively cheaply and, yeah, you should pick one up if you get the chance. The Rock On! staff were most certainly music journalist mavericks, and we’ve all tried to go there, right? Search for this precious, rockin’ tome… or you might never know how Rick Parfitt’s aunt ironed his double denim.

 

Thanks for reading, and for the feedback on my first column on the debut Alice Cooper comic. I’ll be back next month with something suitably archaic that the rock ‘n’ roll world tried to forget. Search for Pop Culture Schlock 365 on Instagram, Twitter & Facebook

Kevin Michael “GG” Allin was born Jesus Christ Allin on August 29, 1956. One of the most divisive members of the punk rock community he courted controversy wherever and whenever he could.  Love him or loathe him he certainly left an impression on the punk rock scene in the 80s and early ’90s.  Passing away on this day back in 93 is possibly one of the least surprising things to have happened in punk rock.  Let’s face it GG was never going to grow old and after promising to take his own life on stage as part of his act many times he sort of quietly slid off his mortal coil in tragic circumstances. Playing his last ever show in NYC the club turned off the power after a couple of songs which caused Allin to trash what wasn’t already trashed and then roaming the street almost naked covered in blood and shit the performer ended up partying at a friends house where he took a lethal Heroin overdose and never woke up being pronounced the morning after by paramedics exactly where he laid down the night before.

I guess whilst it wasn’t a surprise to hear the news it’s still a shame to hear about anyone passing away under such tragic circumstances.  Allin was fairly prolific throughout his career and moving from his early more glam roots he passed through punk, hardcore and country as well as spoken words performances Allin was no slouch when it came to what he considered art.

Even in death, the Allin circus continued when he was laid to rest his open casket was videotaped and he can be seen wearing a jock strap accompanied by a bottle of booze whilst friends posed with his corpse, placing drugs and whiskey into his mouth. As the funeral ended, his brother Merle put a pair of headphones on Allin.  plugged them into a cassette player which had a copy of The Suicide Sessions on it.

The film ‘Hated’ features the footage of that final performance and chaos that went on after.  Sadly GG’s grave was frequently vandalised urinated on, cigarette butts left as well as feces and alcohol left by so-called fans, an act that was greatly discouraged by his mother Arleta. His tombstone has since been removed because of this.

Musically he was a Beatles fan and that was reflected in his early songs other bands that greatly influenced him were the likes of Alice Cooper, the Stooges and Kiss.  when he put the Jabbers together.

Allin became popular when ROIR released a cassette-only ‘Hated in the Nation’  containing tracks from the Jabbers, the Scumfucs and Cedar Street Sluts. All unavailable elsewhere.  The tape also featured recordings with the likes of J Mascis of Dinosaur Jr. on lead guitar and  Mark Kramer on bass. The most famous person to work with GG would have to be none other than Dee Dee Ramone who toured with the band as part of the Murder Junkies.

It wasn’t until the mid ’80s that he began to spiral out of control as his commercial career failed to take off he took full advantage of his underground personal and the myths began to appear (remember kids this is pre-internet) Allin was already making record designed to offend and provoke and he certainly achieved that with titles and collaborations to cause outrage (which they certainly did) the subject matter was attacking gay people, promoting drug use and his fascination with serial killers like Gacy led him to go visit the guy in prison. Live he couldn’t finish a set either because the fans stopped it or the police and/or venue interrupted him for his behavior. 

There was nothing big or clever about his behavior from the mid-’80s as he tried to stir up a hornet’s nest at every opportunity by saying repulsive comments about women, children, and boasting of his antics.  The music had long since stopped being relevant and instead he’d turned into a parody of himself and covered in ones own blood and poop began to fade into history and be a figure of fun that people would poke fun at and goad on to carry out his threat of killing himself on stage. In 91 he recorded with Antiseen what he described as his best album that most closely connected with himself.

If you’ve never heard him or fancy seeing what all the fuss was about then I suggest you check out ‘Hated’ it sure is an extreme ride and one you won’t forget in a hurry. I hope finally after such a chaotic life GG found his peace and afterlife and he can finally rest in peace.

you can pick up his records on the net but this company Aggronautix make a whole bunch of GG related collectibles as well as other bands and iconic figures in punk you really should check them out.

 

Also passing on this day back in ’81 a guy named Robert “Bob” Davis better known as Chuck Wagon from the punk band the Dickies. Chuck was a talented multi-instrumentalist who played Drums, Bass, Rhythm Guitars, keyboards and Saxophone. He will be best remembered for their iconic debut record  ‘The Incredible Shrinking Dickies’.  He also returned to the band to record its follow up ‘Dawn Of The Dickies’ as well as playing a few tracks on the third album which came out after his untimely suicide. suffering from depression after the breakup of his relationship Wagon returned after a show with the band and shot himself with a rifle this was 1981 and he was only twenty Five years young.  Rest in peace Bob.

 

Finally today former Gun Club guitarist Rob Graves also known as Rob Ritter.  Rob died of a Heroin Overdose on this day in ’90.  Rob played with the Gun Club, 45 Grave as well as a bunch of other lesser known bands like The Bags and. Graves played on Gun Clubs early 80s ‘Fires Of Love’ and ‘Miami’ as well as 45 Grave ‘Sleep In Safety’. Gun Club will always be remembered as the vehicle used by Jeffrey Lee Pierce but 45 Graves were part of the art Goth Rock scene with their striking images and this outlandish video for ‘Party Time’.  Its believed that Hole and Courtney Love dedicated ‘Pretty On The Inside’ to Rob when it came out.

 

 

Thanks for checking out my little corner of the Internet again. There really are no rules or expectations of what I am going to do here. Immediately after completing my first one though, this piece started writing itself in my head. It’s also shifted back and forth a bit during that time. The Wildhearts recently released their latest studio album ‘Renaissance Men,’ and it is quite simply a monster of an album. It is a serious album of the year contender with its 10 mostly compact songs reminding us of those albums of yesterday that did not waste time and placed an emphasis on all killer, no filler. That album served as the inspiration for the topic here- the stigma of mental illness.

 

Completing the first half of the album, ‘Diagnosis’ finds the band making a powerful statement that cannot be heard enough. The album has been on constant rotation, and that song kept nudging me to emphasize it for anyone that carries a mental health diagnosis with them. Coincidentally, I also saw a study by Record Union which indicated 73% of independent musicians suffered from some form of mental illness (https://www.the73percent.com/). I do not believe this is by any means a new phenomenon, but there has thankfully been much more awareness raised now. Unfortunately, there continues to be a stigma attached to mental illness that needs to be destroyed. People are NEVER a diagnosis. I do not care if it is a physical health condition or a medical health condition. Labels have genuine consequences.

 

‘You are not your diagnosís
You’re not that prescription in your hand
You are not your diagnosís
Simplified for them to understand’

(Ginger Wildheart, The Wildhearts, ‘Diagnosis’ from their latest album ‘Renaissance Men’)

 

I have worked in behavioral health for many years and have seen remarkable changes taking place within the field which are innovative and produce remarkable results. I remember the first time the clinic I where I worked brought a Peer Support Specialist (PSS) on board. We only had one, and there was some definite ignorance among the clinical team as for the first few days there was an unsaid belief that the PSS probably should not work with someone in crisis because it could cause the PSS to also go into crisis. I am very happy to report this belief was eradicated within about a week because we experienced the power of peer support. Clinically, we had failed to connect with the person, but this approach was remarkably powerful. In the not too distant past, I introduced a Peer Support Specialist to an inpatient psychiatric unit where the concept was entirely new.

 

“The stigma I experienced working in that facility has permeated through my recovery story. Before I reached wellness, people were telling me that my reality wasn’t true. Throughout my journey, having friends and loved one’s back away. Now in my profession as a Peer Specialist, being denied opportunities to help someone because it would “trigger a crisis” in myself according to their opinion. I am not my diagnosis. I am not my past. I am a person. My name is Jessi.”  Jessi Davis, MHPS RSPS Transition Age Youth Coordinator Via Hope

 

I have been fortunate that I worked in a system that celebrated strengths and meeting people where they are. It inspired a passion for me in my career to always try to do everything I can to make this world a better place. Some days are more successful than others. I have heard and seen horrific stories. I have heard and seen beautiful acts of love, empathy, support, resilience, and recovery.

 

I know that I never liked the task in school when I was asked to identify 3 strengths or things I liked about myself. I think it has become much easier with time, but I honestly do not know if it is because of the experiences I collected on my way to adulthood or some other reason. Parts of my adolescence were awful, and it didn’t change until I was well into my 20’s. I also know though I was extremely lucky and fortunate in many ways, especially in that I found coping mechanisms that worked for me. Music spoke to me and was my escape from the challenges I experienced. I also began writing in a journal, and, while they were initially song lyrics, my limitations in musical talent (having none) meant that these would become essentially poetry, even if that wasn’t what I wanted to call it due to preconceived stereotypes about my role in this world as a man and how we are trained to guard our feelings. My darkness I felt when I was younger had outlets-  healthy outlets.

 

Along the way in my career, I was presented with an exciting opportunity. Despite having no behavioral health diagnosis, I had the opportunity to attend a two week Peer Support Training class as part of my orientation for a job. Part of the training is the Peer Support Specialist being able to share their story in a way that inspires hope and resiliency. It was scheduled for about the middle of the training, and I felt uncomfortable with the idea of being in the class that day. I felt like I was an outsider and was betraying my classmates trust in some way. On the second or third day, I said something to one of my classmates during a break. This came out later that day in class, and our instructor told me he was sure I would have a story to share. Sure enough, I was annoyed that we only had 10 minutes to share as I felt it was not nearly enough time. While I have never experienced some of the things my classmates had, I had experienced similar emotions, similar moments in my life, and was moved by the stories I heard. Those two weeks have been extremely inspirational in my career. I have worked with others who have also received that training, and the power and energy these individuals radiate with afterward are contagious.

 

Turning this back to the song ‘Diagnosis’ and what inspired this, people are never just one thing. If you take 60 seconds and write down everything you are, I am sure you will have quite a list. It might start with father, son, husband, supervisor and then it gets really interesting as we drill down even deeper into what makes us who we are. To label someone as a disease takes away everything else they are. I have been fortunate to work with a CEO who frequently serves to remind others of this and has inspired significant changes in organizations across multiple States on this side of the pond with his approach. He also plays to people’s strengths and understands that you meet the person where they are in their reality, which can be quite challenging for some staff. Whatever the person is experiencing is what is real to them, if that is not validated, what reason does the person have to trust you?

 

If you watch the evening news, scroll Facebook or Twitter, pick up a newspaper after a horrific event, you will be hit hard with the power of stigma as people are quickly labeled or assumed to be (fill in the derogatory word that comes to your mind). What word was it for you? How did that become your conditioned response? Statistics over the years have demonstrated that individuals diagnosed with a serious mental illness are more likely to be the victim of a crime than the perpetrator.

 

“Using longitudinal data of more than two million individuals and multiple independent variables, the Danish study found that individuals with mental illness are at 2.5 times higher risk of being subjected to any crime compared to the general population, and at even higher risk of being subjected to violent crimes.” Jeffrey Swanson PhD (https://www.treatmentadvocacycenter.org/fixing-the-system/features-and-news/4007-research-weekly-violence-victimization-and-serious-mental-illness-)

 

While I am not writing this to dig out all of those reasons why that might happen, I believe addressing the stigma of mental illness can help serve as a catalyst for change. If people felt like they could discuss what they were feeling and experiencing without the negative responses and shame, I believe it would begin to make differences, even if the ripple of change is small. Several of them become larger and a wave can form with enough of them. It starts with each of us though. We interact with people on a constant basis in our lives. We do not know what most of them are experiencing or have gone through in the moments before we see them, earlier that day, earlier in their lives. We often get one snapshot of that person. In my worst moments, I would not want someone to take that as being all I am.

 

When I look at the artists whose lyrics have hit me in the heart and soul the hardest, it is the likes of Frank Turner, Ginger Wildheart, Tyla, and others who articulate so clearly many of the thoughts that have passed through my brain over the years. Many of their songs have become personal anthems that inspire me when I need them. They inspire resiliency and let me know my brain is not really that strange in those weak moments. Turner’s ‘Get Better’  Being a powerful anthem for many and a reminder that we can always get better as people as long as we are still breathing.

Thinking about this topic has also given me a reason to really take a look across several parts of my collection with various albums immediately coming to mind that has connections to this blog. If we travel back in time to 1978 when I was just a boy, Alice Cooper unleashed ‘From the Inside’ which was conceptually based around his stay in a psychiatric hospital of the time.

The ballad ‘How You Gonna See Me Now’ has always been one of my favorite Alice ballads, and I have really enjoyed the lyrical depth to it that became apparent as I got older. Titus Andronicus released ‘The Most Lamentable Tragedy’ in 2015 and shared the story of someone dealing with symptoms related to bipolar disorder over the course of a rock-opera with the band releasing one segment of the story as a music video  that portrays someone receiving services in an institution.

Stand Atlantic released a music video for their song ‘Lavender Bones’  in 2018 which show their singer being treated the same as everyone else and being taught to think and act the same way. She breaks free from the authority in the video, and, to me, celebrates the character she is playing by showing all of the different sides to who she is as a person through all of the colors she uses in her painting (my interpretation).

Ginger Wildheart has been very open with the challenges he experiences and their impact on him. Between Twitter, his music, his charitable actions, and even negative incidents, he has let fans have a window into a world that would not have been seen decades earlier before the rise of social media. Ginger Wildheart has albums such as ‘Ghost in the Tanglewood’ and ‘The Pessimist’s Companion’ that really speak to the insecurities and dark emotions that we experience and provide catharsis. He has also addressed these experiences in specific songs over the years as well such as ‘The Order of the Dog’ and personal favorite ‘Drive.’ Ginger was recently on “Rock Talk with Mitch Lafon” with Alan Niven talking about their recent suicide attempts and mental health care. Here is a link to the show:

Wade Bowen is a red dirt singer/ songwriter based here in Texas who has a discography of amazing albums, and he has never backed away from singing about person topics that have affected both him and his family, such as his song about post-partum depression ‘Turn on the Lights.’ He recently released a piece on YouTube that addresses his own recent struggle with a physical illness as well as the suicide of his nephew who was also a member of their team. While Bowen and the team continue to process their grief, it serves as another reminder to eliminate the stigma that keeps this topic from being discussed. Here is a link to ‘Inconsistent Chaos.’

Another band that served me extremely well back in my late teens when I felt mentally exhausted and struggling was Suicidal Tendencies. I felt like Mike Muir was often tapping into my own brain with the likes of ‘You Can’t Bring Me Down,’  ‘Alone,’ ‘Can’t Stop,’ etc. His lyrics served as a kick in the butt while also tapping into human emotions that all of us feel at some point in time. They also helped provide another realization in that we need to like the person we are and be comfortable in our own skin. I feel like that goes back to my earlier example where I would struggle as a teen to identify my own strengths.

As the Wildhearts served as the inspiration behind this blog, it seems fitting to close it with Ginger Wildheart and Ryan Hamilton  ‘Fuck You Brain’

 

 

Author: Gerald Stansbury

 

 

Ghost Plays to Some Quarter-Million Fans on Leg One

of Metallica’s “WorldWired” European Stadium Tour

Manchester & London shows set for next week!

Ghost premieres a brand-new webizode, “Chapter 7:  New World Redro.”  This chapter first brings the viewer up to date with the Cardinal Copia-Papa Nihil-Sister Imperator storyline and then begins to lay the foundation for more backstory secrets yet to be revealed.  Check out “Chapter 7:  New World Redro”.

 

https://www.youtube.com/watch?v=qVvAByIDtmk&feature=youtu.be

Ghost is spending the bulk of its summer as Special Guest on Metallica’s four-leg “WorldWired” European Stadium Tour.  Leg One saw Ghost playing to more than a quarter-million fans; Leg Two kicked off on June 8, and Legs Three and Four will take place July and August.  Ghost will perform at Heavy Montreal on July 27, and then kick off its North American “Ultimate Tour Named Death” headline arena tour on September 13.

As Forbes writer David Hochman put it in his review of Ghost at the Los Angeles Forum last November, “Equal parts horror church, headbanger’s ball and midnight Stockholm cabaret, a Ghost concert draws elements from opera, Gregorian chant, classic glam rock – Kiss, Alice Cooper and Bowie, come to mind…Imagine Iron Maiden or Blue Oyster Cult under a blast of liquid nitrogen, and you start to get the vibe.”

JUNE

13-20 Metallica’s WorldWired European Stadium Tour

18       Manchester Etihad Stadium

20       Twickenham Stadium

JULY

6-21   Metallica’s WorldWired European Stadium Tour

27      Heavy Montreal, Montreal QC

AUGUST

14-25 Metallica’s WorldWired European Stadium Tour

SEPTEMBER

13 – 30 “Ultimate Tour Named Death” North American Fall Dates

OCTOBER

1 – 26  “Ultimate Tour Named Death” North American Fall Dates

 

POP CULTURE SCHLOCK at RPM: Exhibit A – Alice Cooper’s 1st comic-book appearance

 

Step inside; walk this way; you and me, babe; hey, hey! Welcome, RPM-People, to the first irregular column dedicated to music-related items from the Pop Culture Schlock archive. Some will be cool, some will be curious, but all will be from a simpler time when music wasn’t just binary code on a smartphone stolen by some scally on a moped. So, pour yourself a Skol, slip into your Starsky cardigan, and wrap yourself in the warm embrace of nostalgia via a New York sanitarium by way of a Seventies newsagent.

 

Marvel Comics, before becoming responsible for almost every three hours you spend in the cinema, saw the late 1970s ripe for its own slice of the mass market appeal afforded to the rock stars of the day. Rather than living fast and dying young, your common or garden rock ‘n’ roll visage was more likely to be on the cover of a teen magazine or the panel of a game show than the front of a memorial service brochure.

 

After giving KISS its first appearances in issues 12 and 13 of its monthly Howard The Duck comic-book, Marvel rocked out no fewer than three times within the first five issues of its then-new title, Marvel Super Special, a 41-issue series of one-shots published between 1977 and 1986. KISS featured in the first (famously/supposedly donating blood to be used in the red ink) and fifth issues, The Beatles Story making up number 4. Now, any UK rock ‘n’ roll archivist with a shred of honesty who was in single figures age-wise when that first Holy Grail of a KISS comic came out will admit that it took until they were well versed in the art of mail order before they could add that piece of exquisite ephemera to their collection. Not so issue 50 of Marvel Premiere which hit spinner racks in the UK prior to its October 1979 cover-date…

Marvel Premiere was essentially a “try-out” comic; publishing a one-shot tale of a character to determine whether or not he/she/it could attract enough attention and/or revenue to launch their own regular title. After throwing around the idea of an Alice Cooper comic for a few years, Marvel finally took the plunge in 1979 with the special 50th issue of Marvel Premiere. That the legendary comic company did so with a storyline based around the Coop’s album from the previous year, ‘From The Inside’ (a concept record based on the then-troubled shock rocker’s time in a NY sanitarium where he was treated for alcoholism, with songs based around patients he met inside), remains bizarre to this day.

 

To be fair, the album – housed in luxurious fold-out sleeve and playing as I type – was pretty upbeat, musically if not lyrically, no doubt courtesy of Cooper’s collaboration with Bernie Taupin. It was with that in mind, I guess, that Marvel deemed the content suitable for adaptation in comic-book form. Of course, as an eight-year-old kid I read it all in a blur, oblivious to its roots, simply joyous that I could actually find a comic that featured one of the coolest rockers to grace my turntable in a British newsagents. Reading through it now, four decades later, that sense of wonder remains, even though I now understand the serious ramifications of the original subject matter. That Marvel decided to go for a lighter-hearted tone (albeit with a wicked bite) more in keeping with the commercially-accepted theatrics of the album now means that critical re-evaluation doesn’t come with the wince that oft-accompanies the remembering of once-troubled celebrities.

 

With artwork by Tom Sutton and Terry Austin, who also provided the stunning cover art, and a script by Ed Hannigan (based on a plot by Alice, Jim Salicrup, and Roger Stern) the comic version of ‘From The Inside’ opens with Alice trying to escape from his sanitarium cell via the time-honoured tying together of bedsheets. Caught by Nurse Rozetta (yes, she of the album track – also joined in ink form by Jackknife Johnny and Millie and Billie from the record) Alice is thrown into The Quiet Room by Dr. Fingeroth. Here, the Coop recalls the unfortunate series of events that saw him stuck there on the inside looking out.

 

Y’see, Alice, his mind undergoing a meltdown whilst trying to survive the “high-powered lunacy of the showbiz world,” had checked into a clinic in an attempt to dry up and calm his nerves. As (bad) luck would have it, Alice was confused with an Alex Cooper – a “certified paranoid schizo with a radical tyre fetish!” – and locked away by mistake. As our hero is treated to electro-shock therapy, ice water baths, and a crude haircut, Alex Cooper is about to be elected governor!

 

With Veronica (his trusty snake here, yet a dog on the album track, ‘For Veronica’s Sake’) stripped from him and locked away herself, Alice has to negotiate bed straps, sedatives, muscle-bound orderlies, and a doctor seemingly more crazed than the inmates of his facility, in order to get his story believed. Spoiler alert: doesn’t happen!

With a legion of background cameos and in-jokes for lynx-eyed readers (featuring the likes of Popeye, the Incredible Hulk, and Donald Sutherland’s character from 1978’s Invasion of the Body Snatchers remake), the comic is wildly entertaining, possibly more so than the album it is based on (‘From The Inside’ attracting much cooler critical acclaim than many of its long-playing predecessors), though that claim could well be down to my original childhood love for what was then the pinnacle of my fledgling comic buying.

 

“But what of the future?” asked the powers that be at Marvel Comics in 1979. “Should Alice be awarded his own regular Marvel title? Should we break him out of that Asylum and send him blasting through the Marvel Universe?” Well, it would be 1994 before Marvel featured Cooper again via a three-part, Neil Gaiman-penned comic series that tied-in with Alice’s 1994 album, ‘The Last Temptation’.

 

Dark Horse Comics would later reprint ‘The Last Temptation’ as a trade paperback, but Cooper’s comic book history doesn’t end there. 1990 saw Revolutionary Comics’ dubious Rock ‘n’ Roll Comics title (more on these chancers in a future article) feature an unofficial Alice Cooper history, with Bluewater Comics later picking up that company’s past monstrosities and lowbrow ethics. Much better was to follow in 2014 with an ongoing Alice Cooper comic book title from Dynamite Entertainment which lasted for six issues and was followed by ‘Alice Cooper vs. Chaos!’, another six-parter that saw the veteran shock rocker up against the denizens of Dynamite’s horror universe; including Evil Ernie, Chastity, and Purgatori. Oh yeah, also look out for the Coop in a Treehouse of Horror special Simpsons comic along with Rob Zombie, Gene Simmons… and Pat Boone.

 

It is Marvel Premiere issue 50 that will forever be the peak of comic-book Alice Cooper, however. With the guillotine of nostalgia cutting deep, that forty-year-old mass of paper, ink, and staples is a thing of beauty in a world turned ugly. As Millenials and Post-Millenials reminisce about their friggin’ iTunes playlists, us forever-cool-kids will always have stuff like Alice Cooper comics to read via torchlight under our covers at night, knotted bedsheets at the ready…

Go visit Pop Culture Schlock 365 on Instagram, Twitter & Facebook

Author: Gaz Tidey

 

ROCK’N’GROWL RECORDS, a division of ROCK’N’GROWL PROMOTION have announced, the addition of three more bands: RYAN ROXIE (Alice CooperPlanet Axe), BLACKMAYNE and PHONOMIK for the digital Rock/Metal Sampler ‘RAWKAHOLIC Volume 1‘, which will be released by end of June 2019.

The first three bands which were announced are SYTERIA (feat. Jackie Chambers of Girlschool in their ranks), AIRFORCE and DESOLATION ANGELS.

 

There are still last slots available and bands can send their songs and full info to promo@rockngrowl.com

#6 RYAN ROXIE (Alice CooperPlanet Axe) is a US vocalist/guitarist & songwriter, and best known as ALICE COOPER’S long-time lead guitarist and collaborator. Facebook

#5 BLACKMAYNE, is a NWOBHM band from the UK and was formed in the mid-80s. “Not as heavy as Tank nor as poppy as Terraplane, this solid five-piece was surely one of the overlooked gems of the movement, sparkling with sadly unfulfilled promise.” Garry Bushell Facebook

#4 PHONOMIK, is an upcoming rock/metal band from Denmark, which can be described as a mix between Metallica and Disturbed. The song for Rawkaholic Volume 1 was mixed and mastered by Jacob HansenFacebook

And 9 more bands still to come!

Rock’N’Growl Records is a record label founded in 2009 by Axel Wiesenauer based in Germany. They focus on the rock and metal genre. The label working also with their division Rock’N’Growl Promotion heavily in the fields of publicity, press, promotion and consulting. Stay Rock’N’Growl !

www.rockngrowl.com

RYAN ROXIE (Alice Cooper guitarist) has released a new lyric video & single for ‘God Put a Smile Upon Your Face‘. The song is taken from his new solo album, “Imagine Your Reality”, which was released on May 25 via Cargo Records UK. The video can be viewed below.

Coldplay song would not be the obvious tune to cover on a ‘guitar-driven’ rock record like Ryan Roxie’s Imagine Your Reality.  Roxie takes the melancholy mood of the Coldplay song and injects a punkish energy to it with layer upon layer of raw guitar tracks while still staying true to the song’s dark timbre. Complimented by a new enigmatic video shot on location in the Las Vegas Desert by Director/Cinematographer Denise Truscello with graphic lyric overlay by Gustav Kronfelt and additional editing by Jonny Vegas, God Put a Smile on Your Face will do to you just what the title suggests.

God Put a Smile Upon Your Face was produced by Kristoffer Follin at Purple Skull Studios in Stockholm, Sweden and is the 5th song released off of the ‘Imagine Your Reality‘ album.

Ryan Roxie – Guitarist, vocalist and songwriter, who is best known as Alice Cooper’s longtime lead guitarist and collaborator, has also worked with Slash and Gilby Clarke and been a member of Classic Rock award-nominated band CASABLANCA.

Roxie began working with Alice Cooper in 1996. He was initially offered a ‘one year tour’ and 22 years later (with one leave of absence for family commitments) he’s become an integral part of the band.

In 2000 Roxie wrote and recorded on Slash’s Snakepit’s second album Ain’t Life Grand.

Ryan Roxie’s new music is currently being featured in the U.S. on Eddie Trunk’s Sirius/XM radio show, in the UK on Joe Elliot’s Planet Rock radio program and Rick Palin’s Firebrand radio. Roxie also appears on the ‘Nights with Alice Cooper‘ syndicated radio show as well as getting regular rotation on both Sweden’s Bandit Rock and Pirate Rock radio along with many other rock and alternative stations that are proudly supporting the return of ‘guitar-driven rock’.

www.facebook.com/realryanroxie

Buy single here