If Rob’s name is familiar it’s because he was a member of Government Issue and Artificial Peace — two iconic Washington, D.C. hardcore bands.

Looking to get back into the rock ‘n’ roll game, Rob called up old friends and friends of friends to record an album of new material. While a bass player in his past, Rob now plays rhythm guitar and sings lead vocals.

Tell us about your current album. How did it come together?

Rob Moss and Skin-Tight Skin is the first music I made since I was the bass player in Artificial Peace and in Government Issue in the early 1980s. A few years ago I picked up a guitar and taught myself some covers. Then I wrote a bunch of originals and posted them on Facebook. A friend asked if I wanted to record them in his studio.

You have a different lead guitarist on every song. Why is that, and how did you get them to play on your album?
I wasn’t sure I had time to put together a working, touring band. And asking a lead guitarist to record 14 songs as a favor would’ve been a lot to ask. I thought it might be easier to ask 14 guys to play lead on just one song. So I called up old friends and friends of friends, thinking the worst they could say is ‘fuck you!’ Only two turned me down.

 

But kidding aside, it gave me the chance to work with guys who mean a lot to me. Back in 1979, I first saw Marshall Keith in the Slickee Boys. They were having so much fun on stage that I wanted to start my own band even though I didn’t know how to play an instrument. And around the same time, I first heard Bob ‘Derwood’ Andrews on the first Generation X album. That those two guys – and many more of my favorite musicians – would play on my new album is beyond tremendous.

 

How did you get ‘Derwood’ to say yes?

I just asked him.

 

What’s the response been to the album?

Many people comment on the song quality. That even after hearing the album once, they find themselves humming the songs. The earworm thing. To me, that’s the best compliment.

 


What was the early Washington, D.C. scene like for you?
It was new and fun, and things happened fast. Brian Gay (the original bass player in the GIs) and I started writing songs before the Teen Idles or any of the Dischord stuff happened. But there were almost no all-ages shows back then. Marc Alberstadt (original drummer in the GIs) has brother a few years older than us. He’d sneak us into places. That’s how we first saw the Slickee Boys, the Bad Brains, Tina Peel, Sorrows and other bands.

Musically, Brian and I took cues from :30 Over DC – a compilation album of local bands that came out in 1978. We formed a band called The Indians around the same time that Government Issue started. Brian on guitar, me on bass, Mike Manos on drums and a female singer. After one show, Steve Polcari replaced her and we changed our name to Assault and Battery.

 

We were still in high school and played shows with S.O.A., Minor Threat, the GIs and others. In September of 1981, Brian went to art school in Chicago. So Pete Murray, who’d been in Red C, became our new guitar player and we changed our name again.

As Artificial Peace we played mostly in the DC area, Baltimore and New York City. We were on the bill with a lot of early hardcore bands, including the Bad Brains. We also played with Black Flag on their Damaged tour. Recording-wise, we did a few sessions. One of which had three tracks on the Flex Your Head album and that entire session was later released as an album on Dischord.

 

I was going to University of Maryland, while the rest of the guys in the band were going to community college or not at all. I’d come home on weekends to practice. I had limited time, I wanted to work on new songs. But, at the time, they were less driven. That led to the band breaking up. They formed Marginal Man, and I went on to join Government Issue and play on their ’83 USA tour.

 

After the tour I learned I got accepted to transfer to a school in Boston. Stabb and Marc understood. But Tom was not too happy, knowing he’d have to break in another bass player. And by that time, for me, the scene was not so fun. People took themselves too seriously.

 

Today it’s easy to know what’s going on in different cities. How did you do that pre-Internet?

I had pen pals. Vote Vasko in Finland. And a bunch of kids in LA, Northern California, Toronto, Vancouver and elsewhere. We’d send each other letters about what was happening. We’d trade flyers, fanzines, cassettes and vinyl. So, we were aware of what was going on in different scenes.

 

Of course, there was Yesterday & Today Records. Skip Groff, the owner, would bring back records from London. He’d stock imports. Other than trading, that’s where I got most of my punk records.

What’s your plan, post-pandemic?

Well, I was never completely set on forming a touring band. I’m more interested in songwriting. So how things will affect me once venues open up is unclear. And I’m not sure I could find one lead guitar player who could do all those songs justice. As far as recording a follow-up album, I’ve written more songs that are as good or better than the 14 on the current album. I’d like to record them. We’ll see.

 

The album’s available as a CD and digital download on Here on Rock On Records

 

Note: the full list of musicians on the album can be found on the Bandcamp page and the album’s available as a CD and digital download on Bandcamp at the link above

After a 35+ year hiatus from music, Rob Moss recorded an album of 14 proto-punk-inspired rock ‘n’ roll songs, featuring 14 different lead guitarists, including:

Bob ‘Derwood’ Andrews – Generation X
Nels Cline – Wilco, Nels Cline 4
Don Fleming – Velvet Monkeys, Gumball, Dinosaur Jr
Franz Stahl – Scream, Wool, Foo Fighters
Billy Loosigian – Willie Alexander and the Boom Boom Band
Mario Monterosso – Tav Falco’s Panther Burns
Marshall Keith – The Slickee Boys
Brian Gay – Government Issue
Stuart Casson – Smash Fashion, Dove, The Meatmen
Saul Koll – The Lovesores

In addition to top lead guitar talent, Spit Stix (Fear) drums on two songs and Francesco D’Agnolo (also of Tav Falco’s Panther Burns) plays piano on another.

If Rob’s name is familiar it’s because he was a member of Government Issue and Artificial Peace — two iconic Washington, D.C. hardcore bands.
Looking to get back into the rock ‘n’ roll game, Rob called up old friends and friends of friends to record an album of new material. While a bass player in his past, Rob now plays rhythm guitar and sings lead vocals. From the opening proceedings of ‘Babble Tower’ to the curtain call of ‘Rock n Roll Is Dead’ Rob turns in an impressive array of songs from the confident punch of the opener, Rob calls upon his friends from back in the day to lend a hand and help out a Rock and Roll brutha and the array of talent does just that.
The list of guitarists lending a hand is impressive which also adds some colour to the palet of Robs straight up Dead Boys meets Social Distortion old school punk n roll. Chris Rudolph lets off some steam on ‘Babble Tower’ and straight into ‘Ugly Chair’ that has Rob drawling on a Lou Reed vibe with Saul Koll bending the six strings like a good un.
We take a slight detour on track four and wander through the Coops garden picking up a lick here and a shuffle there sounding like prime time Alice Cooper band is never a bad place to find oneself. Stuart Casson is the player who lends some Roll to the Rock that’s being cooked up. ‘No 48 Crash’ is solid 70s glam as a tip of the hat is made to the lady in leather who no doubt inspired the groove.
If you want another change of gear ‘Oxygenate’ has some classic rock swirling organ for good measure.  I must admit I always love me some sleazy rawk n roll with a snotty dash of punk rock swagger and ‘Real Fine Kitty’ might be generic but I love it and its strut all that’s missing is the horn section tooting surely Rob had a Memphis horn section in his little black book?
Brian Gay turns up for a little tip of the Johnny Thunders handclappin’ rock and roll on ‘A Maltese Falcon’ and when a record has too much Johnny Thunders licks on it I’m tapping out as well.
The track I anticipated the most was the final knocking with Former Gen X band member Bob ‘Derwood’ Andrews who to be fair plays the song and doesn’t use it to jerk out a bazillion notes where they’re not needed and besides he has the cowbell going on as well and when has a record ever had too much cowbell? Exactly.  Andrews is a fine addition but cmon guys ‘Rock and Roll Is Dead’?  Never, not on my watch and not on the watch of Rob Moss & Skin Tight Skin either.  If you still believe in punk rock and roll with swagger and plenty of ’70s inspired glam rock then what are you waiting for hit the link and pick it up.
Pick up the album Here

“We assure you, this was filmed ages ago, before any quarantine! No monkeys were harmed. No viruses spread. Not even a vegetarian was offended. Stay safe, rejoice responsibly and see ya down the line. DP.”
…exclaim Dirty Power, who in times of gig cancellations and uncertainty throughout both the music industry and the world, have taken the opportunity to send out some digital cheer, releasing earlier than expected their latest track ‘Oh God’, newcomer to the bands 2018 EP ‘Notions’.
Influenced by gloriously timeless ‘legacy acts’; Dublin based hard-rock trio Dirty Power are driven by an independent D.I.Y. punk ethic, in everything from the writing, recording and release process, to approaching performing and touring. They stick to doing what they want to do, and do it their own way. Dirty Power is an ever evolving collective of musicians, and OH GOD is their 2020, gorilla reincarnation.
Think Nirvana, Foo Fighters, Audioslave and Rage Against The Machine, all in one giant melting pot of influence yet creative originality. Having taken to the stage internationally, the live scene is where Dirty Power’s music really comes alive, but since the unfortunate cancellation of their recent London show (curated by Camden Rocks) due to the worldwide pandemic, amongst other engagements, Dirty Power have taken to the net to dish out one giant “clean elbow wave” in the form of ‘Oh God’. And rest assured, when the live scene is back in action, so will Dirty Power be… Expect ‘Fist-pumping, cathartic, mosh-pit-rock for the mind’ and ‘Heavy rock riffs, big grooves, with tricky solos and sing-along choruses’.
‘Oh God’ – Available to download via BandCamp ONLY: Here

Was it really twelve months ago today we got the really sad news that friend of the website todd youth had sadly passed away.  A year flys by and there have been plenty of times several of us have talked about his sad passing and the legacy he left behind whether it be introducing some of the magnificent bands he was a member of or telling stories of the brief moments we shared with the guy.  We’ve had a whole year to think about his effect on our little scene and some of our favourite bands have to be the line up he was in alongside Johnny Martin (Now an LA Gun) as part of Jesse Malins St Marks Band.  It has been said that this was the finest line up Jesse has been in since D Generation no doubt about it.

Another band he spent a brief time in was the magnificent hardcore racket that was Bloodclot alongside legend vocalist John Joseph (Cro-Mags), Nick Oliveri (Dwarves) and Joey Castillo (Danzig).  But it all began when Youth was still Todd Schofield a New Jersey boy who ventured over to the LES when it was a tough neighbourhood and not the sanitized high street it is today. He started out in Warzone before graduating to Murphys Law where he stayed until 95. Todd then went on to replace Richard Bacchus in D Generation in ’96 and recorded ‘Through The Darkness’  after D Gen split he formed Chrome Locust with fellow D Gen Michael Wildwood. 

It was after the Chrome Locust album that he then moved onto Danzig and worked with Joey for the first time after turning down the chance to join Foo Fighters and the Hellacopters. Whilst playing with Danzig he got to record the one studio album with Glen that featured his fellow Bloodclot mate on drums former D Gen legend Howie Pyro on bass and of course Danzig on the ‘ I Luciferi’ album as well as the live Danzig album. later in 2007 he left Danzig and became the guitar player for none other than Glen Campbell.

Sometime later when we got to meet him he had formed the awesome Chelsea Smiles with Karl Rosqvist, Johnny Martin,  and  Skye Vaughan-Jayne and also reformed Son Of Sam.  He also almost made it into Gunfire 76 with Wednesday 13 and the inaugural line up of Michael Monroe’s band but Youth split at the 11th hour to play the guitar with one of his heroes Ace Frehley.  youth lasted four years playing with Ace and we spoke once when he played Bristol with the St Marks Social that he had been stranded in the UK as Ace pulled his shows leaving members of his band in the UK without a show. Anyway, it was 2017 when youth hooked up with Bloodclot  (I hope you’re keeping up here folks?) to record the epic ‘Up In Arms’. To be fair to Youth he turned in some epic performances in his time on this planet and along with Chelsea Smiles and Chrome Locust or Bloodclot and Fireburn he certainly left his mark with some amazing records.

Todd was 47 when he passed away and that’s way too young.  We miss you man see you in the next life.

 

Todd Youth R.I.P

 

Another East coast Legend who sadly passed away on this same day was the one and only Lou Reed. Lewis Allen Reed was born in Brooklyn March 2nd 1942. He’s somebody who doesn’t need any introduction and was forever pushing the envelope of Rock and Roll from way back when he was part of the whole Warhol scene and originally moved to NYC to be an inhouse writer for Pickwick Records before forming a partnership with Welshman john Cale whom he lived with in the LES and went on to form the Velvet underground.  It was through Warhol that his association with Nico (A German Model) that Reed wrote some songs after initially rejecting the idea of working with her.

In the 70s Reed signed with RCA who also had some notable other significant Glam Rock pioneers on their roster and he went on to form lasting friendships with bowie and Iggy Pop.  It was 72s ‘Transformer’ album that broke through for Reed which happened to be produced by Bowie and his fellow Spider from Mars Mick Ronson.  The single “Walk on the Wild Side” got him noticed as his anthem for the misfits of the world and the so-called weirdos and gender benders of the time but it was Reeds biggest hit managing to evade scrutiny for its playful lyrics of New York nightlife. Ahead of his time?  For sure he was.  He had a rather tempestuous friendship with Bowie and wasn’t afraid to disagree with his friend with his fists.

Reed had some success with ‘Berlin’ but decided to follow it up with an album primarily made up of metallic feedback and almost unlistenable music that was ‘Metal Machine Music’ no doubt an inspiration to many noisemakers further down the line such as ginger Wildheart for his Mutations records and Endless Nameless albums (possibly).

Drugs and booze might have had something to do with Reed’s creative mindset at the time but it wasn’t long before he would indeed clean up his act (as Bowie had previously requested) He got married at the turn of the 1980s and went on to produce some of his finest work in that decade. ‘New York’ ended the decade for Reed and gave him only his second Gold Record.

the 90s saw him work with former VU compadre Cale on the album ‘Songs For Drella’.  He also played Glastonbury was inducted into the Rock and Roll Hall of Fame with his fellow VU bandmates.  He also went on to record a bizarre record with Metallica after playing with the band at MSG in NYC ‘Lulu’ had only sold 13,000 copies in its first week of sales and ever the philosophical musician Reed joked that he’d finally pissed off all his fans and didn’t have any left.

It was in 2013 after suffering for years with hepatitis and diabetes Reed was diagnosed with Liver Cancer and after undergoing a transplant in the May of that year it was in the October Reed said he was bigger and he eventually passed away from liver disease at the age of 71. He was posthumously inducted into the #Hall Of Fame as a solo artist a year after his passing and Reed will forever be associated with the city he loved Lou Reed and New York go hand in hand and many of his songs are about the city and its only right that we remember such a legend on this day. Rest In Peace Mr Lou Reed. #Legend

𝗧𝗵𝗲 𝗥𝗲𝗽𝗲𝗻𝘁𝗹𝗲𝘀𝘀 𝗞𝗶𝗹𝗹𝗼𝗴𝘆 – 𝗜𝗻 𝗧𝗵𝗲𝗮𝘁𝗲𝗿𝘀 𝗢𝗻 𝗡𝗼𝘃𝗲𝗺𝗯𝗲𝗿 𝟲𝘁𝗵 – Uncompromising and unmissable, this one-night-only event features the short film paired with a full concert performance and a cinema-exclusive welcome from the band.

Find your nearest screening and book tickets online at https://www.slayer.film

For nearly four decades, Slayer’s onslaught has proven them to be the supreme thrash-metal band on the planet – the band that other heavy acts are measured against and aspire to. With their place in music history secure, Slayer – Tom Araya, Kerry King, Gary Holt and Paul Bostaph – in conjunction with Trafalgar Releasing, Nuclear Blast Records and Prime Zero Productions, will unleash the Slaytanic offensive on the big screen when “Slayer: The Repentless Killogy” debuts in movie theatres around the world on November 6, 2019. Uncompromising and unmissable, this one-night-only event will feature the short film paired with Slayer’s entire performance filmed at its August 5, 2017 concert at the Los Angeles Forum.

Revenge, murder, bloodshed and retribution. “Slayer: The Repentless Killogy” short film was written and directed by BJ McDonnell, who conceived and directed the three brutal music videos – “You Against You,” “Repentless,” and “Pride in Prejudice”- for Slayer’s final studio album Repentless (2015).

The “Repentless Killogy” motion picture begins with the powerful short narrative film that brings together the music of Slayer and the grisly story they wanted to tell. Opening with the trilogy of music videos assembled as one chronological storyline, we are introduced to the narrative’s main character Wyatt, a former Neo Nazi associated with “The Hand Brotherhood,” a gang whose signature mark was a bloody handprint left after a murder had taken place. Prior to the first music video, Wyatt had left the gang after he fell in love with Gina. The two had gone into hiding to escape his gruesome past and start a family, but The Hand Brotherhood was not going to allow that to happen, and Gina, pregnant with their first child, was savagely murdered as Wyatt was forced to look on. The film then segues into the present-time narrative that sees Wyatt on the run from law enforcement and the Nazi gang, but now dedicated to eliminating The Hand Brotherhood and seeking retribution wherever he can.

“The Repentless Killogy” stars many of the actors who appeared in the original video series: Jason Trost (“Beats of Rage,” “Hatchet III”) as Wyatt, Danny Trejo (“Machete,” “From Dusk Til Dawn”), Richard Speight (“Band of Brothers,” “Supernatural”), Derek Mears (“Agents of S.H.I.E.L.D.”), Jessica Pimentel (“Orange Is The New Black”), Tyler Mane (“X-Men,” “Halloween !!”), Bill Moseley (“The Devil’s Rejects,” “The Texas Chainsaw Massacre 2”), Caroline Williams (“The Texas Chainsaw Massacre 2,” “Sharknado 4”), and Sean Whalen (“Twister,” “The People Under The Stairs”).

Part two of “The Repentless Killogy” features Slayer’s entire live set performed at the Los Angeles Forum on August 5, 2017, and was directed by Wayne Isham who has directed videos for artists including Metallica, Foo Fighters, Michael Jackson, Kelly Clarkson, and Britney Spears. Presented in front of one of the most striking stage productions of the band’s career, Slayer performs fan-favorites including “South of Heaven,” “War Ensemble,” “Mandatory Suicide,” “Dead Skin Mask,” “Raining Blood,” and “Angel of Death.”

Joan Marie Larkin better known as Joan Jett was born on this day in.1958. Parents James and Dorothy had their daughter in Pensylvania at Lankenau Hospital  Joan is the eldest of three children. Joan was fourteen when she got her first guitar then her family relocated to California and soon after moving her parents split when Joan took her mothers maiden name Jett and the legend was born after taking in Rodney Birgenheimers Disco where she was exposed to glam rock and nothing would ever be the same again.

Jett teamed up with drummer Sandy West. Jackie Fox, Lita Ford and Cherie Currie and The Runaways were born. Jett was originally the rhythm guitarist and occasional singer but took on songwriting credits the girl group got support slots with the likes of Cheap Trick, Van Halen and Tom Petty and also toured the UK and Japan where they became massive stars. The band managed to fit in five albums in their four-year reign at the second half of the ’70s.

Jett also got into punk rock in the late ’70s producing the Germs one and only album before singer Darby Crash lost his life.  the band also had one Pat Smear playing guitars who later went on to play with Nirvana and the Foo Fighters. Jett managed to team up with Cook and Jones when the Sex Pistols fell apart and managed to get them in the studio to record some classic tracks when in London with the most famous being the version of The Arrows classic ‘I Love Rock And Roll’ which would go on to become the one song Jett would be known for more than any other. after shooting an iconic video to accompany the tune.

When Jett was a solo artist she also added the band The Blackhearts who managed to recruit some class players in the line up over the years but the original included, Gary Ryan (Bass), Ricky Byrd on Lead Guitar, and Lee Crystal on drums. One Track from the early years that has seen itself pop up over the years in loads of films is ‘Bad Reputation’ which appeared on that debut solo album along with the classic ‘You Don’t Own Me’ that also features the Pistols Cook & Jones. It was a record that showed many sides to Jett and what she was capable of performing. the album missed out on entering the Billboard top 50 by one place but it was indeed a start.

 

hot on the heels was the album ‘I Love Rock And Roll’ whilst it never managed to reach the number one spot on the Billboard Charts it has managed an impressive ten million copies sold in its life. it did however spawn the singles ‘Crimson And Clover’ that hit the top ten and Jett had her first number one with the Arrows track that carried the same title as the album.  Jett is known for being happy to put a cover song on her records but this album was 50/50 original songs. Later Jett would pen and produce a lot of her records.

Jett still makes records and released ‘unvarnished’ in 2013 that was co-produced by Foo Fighter Dave Grohl who also co-wrote.  Also, it’s notable that Jett wrote and co-wrote nine of the ten tracks on the record. this time sneaking in the top 50 as well is no mean feat for a rock record. It was also Jetts first album since 2006s ‘Sinner’ and prior to that was the Japanese only album ‘Naked’ which also featured RPM favourite Sami Yaffa on Bass guitar.  Of the sixteen tracks Jett penned thirteen – one was a cover of the Replacements ‘Androgynous’ from their ‘Let It Be’ album.

Jett’s has her own model guitar which is a white Gibson Melody Maker, which she has played on everything since 1977. In 2008 Gibson released the “Joan Jett Signature Melody Maker”. which is some reward for being such an icon, not something Gibson hands out to just anyone. Jett is also happy to talk about animal welfares and is a big supporter of PETA, as she has been a vegetarian for over twenty years and is a supporter of environmental issues.  Still making music and touring Jett continues to play with a biography and an excellent documentary being released last year (entitled ‘Bad Reputation’), as well as continued interest in The Runaways her legacy, will forever be passed down through time as a real pioneer for women in Rock and judged for her music and not who or what she is Joan Jettalong with Debbie Harry are rightfully regarded as legends and all Joan Jett needs now is one of those flunko statues and my work here is done.  Put another (Joan Jett) record on the jukebox baby and raise a glass as we wish Joan Jett a happy birthday and here’s to another year and who knows maybe another album? That would be good.

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