Gone But Not Forgotten – Cliff Burton & Ken ‘Dimwit’ Montgomery

Gone But Not Forgotten – Cliff Burton & Ken ‘Dimwit’ Montgomery

Best known for his work in D.O.A. and The Four Horsemen Ken was the older brother of Chuck Biscuits who he followed into D.O.A.  The brothers both played drums and whilst Chuck went on to play in Black Flag, circle jerks and Social Distortion Ken had the honour of being the stickman in the mighty Four Horsemen. Releasing their classic rock album ‘Nobody Said It Was Easy’ in ’91 Dimwit passed away on this day in ’94 of a Heroin overdose during the making of the bands follow up album ‘Gettin’ Pretty Good… at Barely Gettin’ By’ but the band seemed cursed as Dimwit was replaced by his younger brother to complete the recording.  Later in ’95 frontman Starr was hit by a drunk driver and ended up in a coma with the album eventually coming out in ’96 with just Limzi as the sole remaining member.  The album was dedicated to Dimwit.

Enjoy him at the peak of his powers on the magnificent ‘Tired Wings’

Clifford Lee Burton Born February 10, 1962 in California he was the youngest of three children first played the piano courtesy of his father Ray.  Clifford started playing the bass at 13 and said he would become the best Bass player he could be for his brother who had passed away.  Even after joining Metallica he was still understood to practice for up to six hours a day the usual suspects influenced his style and playing Lynott, Lee and Lemmy all styles that would have a bearing on the young Californian.

 

Playing on the metal giants first three albums ‘Kill ‘Em All’, ‘Ride the Lightning’ and ‘Master of Puppets’. He also received a writing credit for the song “To Live Is to Die” from the band’s fourth studio album, ‘…And Justice for All’.

On September 27, 1986, Burton was asleep as the tour bus he was travelling in was the centre of an accident in Kronoberg County, a rural area of Sweden. Metallica was supporting the ‘Master of Puppets’ album.

His passing was big news at the time for the tragedy that befell someone so young with so much going for him having the time of his young life. former bandmate Dave Mustain wrote ‘In My Darkest Hour’ about the news of his friend and fellow metal heavyweights Anthrax and Metal Church also dedicated records to their comrade Burton. Of the accident, Hetfield refuted the drivers claims that he hit black ice by suggesting he was under the influence.

Hetfield also stated that he walked long distances down the road looking for black ice and found none. When local freelance photographer Lennart Wennberg (who attended the crash scene the following morning), was asked in a later interview about the likelihood that black ice caused the accident, he said it was ‘out of the question’ because the road was dry and the temperature around 2 °C (36 °F), above the freezing point of 0 °C (32 °F). This was confirmed by police who – like Hetfield – also found no ice on the road. Ljungby detective Arne Pettersson was reported in a local newspaper to have said the tracks at the accident site were exactly like ones seen when drivers fall asleep at the wheel. However, the driver stated under oath that he had slept during the day and was fully rested; his testimony was confirmed by the driver of a second tour bus that was carrying the band’s crew and equipment. The driver was determined not at fault for the accident and no charges were brought against him. Regardless Burton wasn’t coming back and his memory lives on through his huge contribution to the birth and growth of a whole Genre and subsequent immense career of his bandmates. Rest in peace Ken and Cliff.

EVIL SCARECROW hit the road for ‘Lost In Antartarctica’ shows beginning tomorrow

EVIL SCARECROW hit the road for ‘Lost In Antartarctica’ shows beginning tomorrow

EVIL SCARECROW hit the road for their final run of their fabulous ‘Lost In Antartarctica’ shows and kick off their run in Oxford this weekend!

Final run of ‘Lost In Antartarctica’ tour dates:
28th September, O2 Academy, Oxford
31st October, Asylum Birmingham
1st November, The Face Bar, Reading
2nd November, Corporation Sheffield
9th November, MACMILLAN FEST Bristol
7th December, The Live Rooms Chester
2020
4th January, Yadbirds, Grimsby

EVIL SCARECROW’s album ‘Chapter IV: Antartarctica‘ was released at the end of 2018.
Evil Scarecrow’s fourth album saw them take another giant leap forward with the release of the sumptuous monster of a record, blending metal and melodies with riffs, roars and razor wit, it was everything you would expect from these multi-talented and exceptionally creative musicians. Chapter IV: Antartarctica sees this unique band keeping their own surreal space-time continuum moving ever onwards & upwards, running as smoothly as only Evil Scarecrow can.

Follow the band on social media

Website

Facebook

Twitter

Bitch Queens – ‘City of Class’ (Lux Noise Records/Spaghetty Town Records)

Bitch Queens – ‘City of Class’ (Lux Noise Records/Spaghetty Town Records)

 

Following up their excellent ‘L.O.V.E.’ album, the Bitch Queens continue their upward ascent with new album ‘City of Class.’ They continue their natural development as one of the best hard rock bands around today by incorporating various influences and packing each song with hooks and excellent music. This album needs to go on your list to purchase ASAP.

Kicking off with the title track, the band take about 40 seconds with everything bubbling under the surface on the first verse before fully unleashing itself on the listener. If you are familiar with the Bitch Queens, there are not a ton of surprises here which is okay in my book. The band continue to evolve within their sound which at times is like ‘Total 13’ era Backyard Babies. ‘Vote for Pedro’ continues the full on assault with a direct hook hitting the brain hard, and the song flying by in less than 2 minutes. Samples lead us into ‘Superboy’ with the vocal and electric guitar carried first verse leading into a commercial chorus that leads into some awesome guitar work before the next verse. The band have laced this one with several subtle changes and passages that really reward repeat listening. It’s the kind of song that makes an excellent single down the road.

‘Especially Danny’ clocks in at just over 2 minutes, with the band trimming all the fat off these songs. The chorus is contagious with an added bonus of some cool guitar cutting right into the chorus. Again, the band are not offering up huge surprises. These are rock n roll songs revved up for speed and packed with hooks. ‘Sucker for the Blues’ carries forward at twice the speed most of the bands likely would have made it with some musical similarities to acts like Rocket from the Crypt, but the vocals are pure Bitch Queens. Backing vocals throughout ‘Negative Heaven’ give the album more variety, and the bridge is one of my favorite moments on the album. I would love to see them on tour with the likes of the Wildhearts as I think their audience would also welcome these songs. ‘When Did I Die’ starts with a dirty riff before exploding to life. The chorus is straight forward and simple with the song feeling like a surge of adrenaline.

‘On and On’ follows feeling slightly subdued at the beginning leading into another catchy chorus. I mentioned ‘Total 13’ by the Backyard Babies earlier, but this song feels a bit more like a ‘Stockholm Syndrome’ song. It is not as abrasive musically and sets up a nice vocal break near the end of the song. The band lay down a great beat for ‘All My Money’ with its fast tempo ensuring it will be a fist in the air bang your head favorite live. As we get near the end, feedback gives way to ‘Never Say Never’ where the band lay on another great addictive chorus. One of my favorite elements of the Bitch Queens is they give you hard rocking songs that are designed for audience participation. It is easy to imagine the crowd’s energy as they move and sing to these songs. ‘Paso’ ends the album with a minute blast that is over way too soon. That really applies for this album as a whole. You can listen to the album on your half hour lunch break or on your way somewhere and start it all over again on your next break.

If you have never dipped your toes into the musical brilliance of the Bitch Queens, this serves as a good starting point as you will find yourself quickly singing along and fighting the urge to hit the repeat button 11 times. Let it play all the way through and then treat yourself all over again. If you are a long time fan, the band continue to slowly refine their sound with a crystal clear production that sounds awesome. I would enjoy hearing a dirtier live album in the future, but the studio versions are produced and mixed extremely well. They may sing about a ‘City of Class,’ but this is clearly a first class album.

Facebook

Buy City Of Class Here

Author: Gerald Stansbury

 

Jim Jones And The Righteous Mind/Ming City Rockers – York, The Fulford Arms – 19th September 2019

Jim Jones And The Righteous Mind/Ming City Rockers – York, The Fulford Arms – 19th September 2019

It only seems two minutes ago that Jim Jones And The Righteous Mind released their fantastic sophomore long player ‘CollectiV’ on the world. But after a three month break they are back with a new stand alone single entitled ‘Get Down Get With It’ on hot pink 7” and they are doing a run of live dates to support its release. The first date happens to be at my favourite local gig venue The Fulford Arms. Having only witnessed this band in full flow supporting in larger venues and festivals, it would be rude not to attend a full headline show, right?

 

Immingham’s finest exports Ming City Rockers open the evening’s entertainment in fine form to an already packed out room. The core of singer/guitarist Clancy and guitarist Morley seem to be keeping the good ship Ming flying, yet it seems every time I catch them they have a different rhythm section. That seems to be beside the point though, as whoever they have on bass and drums this week are pretty much up to scratch. The band’s sound is raw and ramshackle, but tight and punchy as fuck. In fact this is the best I have seen them and playing to a full room where the temperature is rapidly rising, can only be helping.

It’s not long before Clancy is stripped to the waist and shouting in-between songs at the crowd like Zed from Police Academy. The garage punk cool of ‘Sell Me A Lemon’ and ‘She’s A Wrong Un’ go down well and are perfectly delivered with the style and attitude that many of their peers can only dream of.

Clancy demands a volunteer from the audience to come and play his guitar for the final number or he will jump in and pick someone himself. Luckily some hapless punter steps up to the challenge, removes his shirt and straps on Clancy’s guitar as the smiling singer disappears into the crowd to sing the final song and bring their set to a chaotic climax.

They came, they saw, they conquered. Someone give these dudes a support tour sharpish.

The atmosphere is electric and the anticipation high as the headliners finally takes to the stage and Jim Jones peels off the opening riff to ‘Boil Yer Blood’. The familiar tribal beats fill the room as the song builds and the singer has the attention of every man, woman and child in the room. To his left Matt Millership bangs the keys, to his right Gavin Jay brings the low end, and just out of sight guitarist Mal plays some sweet pedal steel.

‘No Fool’ follows, drummer Andy Marvel beats out the most powerful of regimental beats as the frontman matches with dirty guitar and a deep bluesy hollerin’. If you thought Jim Jones And The Righteous Mind needed a gig or two to brush off the cobwebs after a 3 month live hiatus, you would be sadly mistaken. Dressed all in black, with matching turtlenecks and necklaces, the band fire on all cylinders for the next hour and a half and the energy levels do not diminish whatsoever. Even the claustrophobic confines of The Fulford Arms cannot hold back the raw power of the JJATRM machine.

‘Till It’s All Gone’ is all mad tribal percussion, maracas and cool as you like full band backing chants.

Jim and Mal ring seven shades of shit from their guitars, licks and riffs are peeled off with ease as the pair and the bassist aim their instruments to the crowd and to the ceiling for the majority of the set.

This is how live rock ‘n’ roll should be; raw, loud and sweaty… sublime. None of this Liam Gallagher ‘staring at the floor’ shit! This band gives everything they’ve got and they deliver songs, without pausing for breath, like they are unloading the magazine of an AK47 on an unsuspecting crowd.

 

The likes of ‘Satan’s Got His Heart Set On You’ and ‘Sex Robot’ from the recently released ‘CollectiV’ fit the set perfectly,  as the singer struts the stage and hollers from the depths of his soul, channelling rock ‘n’ roll from another era. The aforementioned new single ‘Get Down Get With It’ is suitably raw and powerful and a highlight of tonight’s frantic set.

I thought I had already witnessed the hottest gig of the year, but tonight Jim Jones And The Righteous Mind turned it up another notch. You could say tonight was a near religious experience, but whether Jim and his band took us to church, or towards the gates of Hell is up for debate. One thing’s for sure though, tonight was a lesson in how to fucking deliver and raise the stakes for all who follow.

Author: Ben Hughes

PIST SHARE NEW VIDEO FOR ‘MIND ROTTER’

PIST SHARE NEW VIDEO FOR ‘MIND ROTTER’
NEW ALBUM ‘HAILZ’ RELEASED 8TH NOVEMBER (APF RECORDS)

Riff juggernaut Pist who release new album ‘Hailz’ on 8th November through APF Records (Mastiff, Battalions, BongCauldron, Desert Storm) have shared the new video for ‘Mind Rotter’. Featuring footage from their recent spring tour with Orange Goblin, guitarist John Nicholson states that the band decided to choose ‘Mind Rotter’ as their first single, ‘as it covers all bases of our new sound: psychedelic intro, stompy punk riffs, groove and black metal elements. A mix of vocal styles in there too”.

 

 The Bury, Lancashire based quartet’s new album features 7 tracks that see them taking a step away from the stoner-doom label they were tagged with. Vocalist David Rowlands explains, 

“Myself and John (guitarist) had loads of ideas for riffs and basic structures however when we entered the jam room with these ideas and the four of us put our heads together it started growing and growing. I feel this record reflects more of our personal influences from shit like Darkthrone to Elder, Orange Goblin to Uada. Musically I feel it’s a step away from the ‘stoner doom’ label we found ourselves with, something we’ve never considered ourselves to be, in our eyes we’re a heavy metal, rock n roll band who listen to a fair bit of Black Metal and Punk. This is really reflecting in the songs on this record from ferocious black metal kicking your head in to chilled psyched out bits that make you feel like you’re fucking floating or something.”

Formed in late 2013 Pist have since released an EP and album chock-full of NOLA-influenced, Southern-tinged heavy rock whilst traveling the UK playing gigs, festivals and drinking beer. Both long out of print on CD, APF re-released 2014’s “Riffology” EP and 2015’s “Rhythm & Booze” album on one disc under the title “68 OFO” in March 2018 with new artwork by Dominic Sohor. 

As with their debut EP and previous album, ‘Hailz’ was recorded with Chris Fielding (Conan, Witchsorrow, Mammoth Weed Wizard Bastard), this time over at Foel studio. 

Only 2 years after starting out Pist had already supported Orange Goblin and Raging Speedhorn, toured with Ten Foot Wizard and Widows and come to the attention of Simon Hall at Bloodstock Open Air Festival who booked them to perform on Bloodstock’s the Sophie Lancaster Stage in August of 2015. 

During the six years since their formation Pist has also supported Napalm Death, Church Of Misery, Monolord, OHHMS and Dopethrone and played at Mammothfest, ‘Kinhellfest, Red Sun Festival, Hard Rock Hell and Hammerfest (twice). The band undertook UK tours in 2014 with Diesel King, 2015 with Foetal Juice and BongCauldron & Gurt, and with their label-mates BongCauldron again in 2016. Last year saw a co-headline tour with APF Records label-mates Battalions in the Spring, playing at Desertfest London in May. 

‘Hailz’ is a record that will grab the attention of fans of Orange Goblin, Kvelertak, Motörhead, Entombed, Uada and Black Breath making Pist one of the standout bands in the current UK underground heavy scene. ‘Hailz’ is Pist finally finding their sound as David concludes, 

“I finally feel like we’ve made a record we can all be proud of.”

Pist tour dates already in for 2020

9th November 2019 – Album release show – The Bread Shed, Manchester w/ Bast, Video Nasties

19th March 2020 – Hammerfest – Great Yarmouth
20th March 2020 – The Dev – London
21st March 2020 – The Old Salutation Inn – Nottingham
6th June 2020 – Stonebaked Festival – Temple of Boom – Leeds

SKID ROW Plus Special Guests dates and sales

SKID ROW Plus Special Guests dates and sales
The MJR Group by Arrangement with IAA Presents
SKID ROW Plus Special Guests
(The Quireboys + Crash Diet + Hollowstar + Matt Mitchell & The Cold Hearts)


Multi-platinum selling band SKID ROW will embark on a full UK tour this year, which will see the New Jersey rockers playing shows across the UK, starting in WINTERSTORM FEST, Scotland on 29th November and ending at The Mill, Birmingham on 8th December. Tickets are on sale on 19th June at 9 am on Eventbrite.co.uk.

Skid Row started in 1986 when a group of New Jersey kids, armed with their punk and metal attitude, and a collection of riff-heavy, high-octane songs, set out to conquer the world, one concert at a time. This determined and focused approach proved to be an unquestionable success, as the group went on to clock up numerous Top Ten singles, Gold and multi-Platinum selling albums and a Number 1 on the Billboard albums chart. In other words, the world was theirs.

They might have conquered the world several times over, but guitarist Snake Sabo admits the success hasn’t changed him or the band, and Skid Row are focused on making more earth shattering music. He says: “I will always be that 16-year-old kid in front of the mirror, pretending to be Ace Frehley or Michael Schenker. It’s still about writing a great song with your friends, praying it connects with someone. That has never left me. That willfulness will always exist, and there’s so much left to say!”

Joining Skid Row for a special co-headline show at Winterstorm Fest, Scotland is Hollowstar.  Surging into the top five in the ‘Best New Band’ category at Planet Rock’s 2019 awards, HOLLOWSTAR are carving their own route to the top, paved with hard-hitting riffs and cemented by melodic yet inherently impactful lyrics.  Hollowstar will also be supporting Skid Row on every date of their UK tour apart from  Birmingham, along with quintessential British rock’n’roll band THE QUIREBOYS. Following the band’s inception in 1984, The Quireboys are certainly enjoying a revival – selling out venues around the world. 2019 saw the release of their new studio album ‘Amazing Disgrace’ – their 12th – on April 5th.

Ultimate sleaze hard rock band CRASHDIET will be joining Skid Row on five out of the eight dates of their UK tour. “Go big or go home” has been their motivational “catchphrase” for the Swedish group ever since they started out in 2000. Their undeniable flirt with the 80s big arena rock bands like Guns N’ Rose, Kiss and Skid Row themselves, combined with a notable element of punk, has made them a significant name in the revival of the sleaze and glam genre. In September 2019, they will release their fifth studio album.

MATT MITCHELL & THE COLD HEARTS will be joining Skid Row at both Winterstorm Fest, Scotland and The Mill, Birmingham. Matt started out singing and writing songs in his late teens, leaning his craft in several bands early on and Matt Mitchell & The Cold Hearts is Matt’s solo project with an array of extremely talented guests players. The project got off to a great start, with the first single ‘Black Diamonds’ released on January 25th 2019, being championed across the UK and the rest of the globe.

Full Skid Row Tour Dates:
Winterstorm Fest, Scotland – 29th November – Skid Row + Hollowstar
Warehouse, Wakefield – 30th November – Skid Row + Quireboys + Hollowstar + Matt
Mitchell & The Cold Hearts
Rock City, Nottingham – 1st December – Skid Row + Quireboys + Crashdiet + Hollowstar
Engine Rooms, Southampton – 3rd December – Skid Row + Quireboys + Crashdiet +
Hollowstar
Tramshed, Cardiff – 4th December – Skid Row + Quireboys + Crashdiet + Hollowstar
Planet Rock Stock, Trecco Bay – 6th December – Skid Row + Quireboys + Hollowstar
Corp,
Winter Rocks, Corporation, Sheffield – 7th December – Skid Row + Quireboys + Crashdiet + Hollowstar
The Mill, Birmingham – 8th December – Skid Row + Quireboys + Crashdiet + Matt Mitchell
& The Cold Hearts

*Tickets on sale from Eventbrite.co.uk, 19th June at 9am
https://www.skidrow.com/

The Alarm – ‘STREAM’ (Hurricane of Change) Brand new/old album set for release

The Alarm – ‘STREAM’ (Hurricane of Change) Brand new/old album set for release
STREAM [Hurricane of Change]

A BRAND NEW MASTER RECORDING BASED ON THE WORKS OF EYE OF THE HURRICANE AND CHANGE

Released October 1st 2019 exclusively via www.thealarm.com

 

Exclusive Pre-order date from Wednesday September 25th at 7.00 PM UK Time / 2.00 pm US EDT / 11.00 am PST

 

On October 1st 2019, Mike Peters will release a brand new LIMITED EDITION Alarm masterwork entitled ‘STREAM’ [Hurricane of Change].

STREAM [Hurricane of Change] will only be released as a limited edition collection exclusively via www.thealarm.com

The collection includes:

  • STREAM [Hurricane of Change] Double CD Edition – 39 Tracks including brand new songs and narration by Mike Peters.
  • EYE OF THE HURRICANE [30th Anniversary Vinyl Edition]10 track re-imagined vinyl version of the 1987 original.
  • CHANGE [30th Anniversary Vinyl Edition] 12 track re-imagined vinyl version of the 1989 original.
  • ELECTRIC FOLKLORE LIVE[30th Anniversary CD Edition]. Mike Peters recorded in concert at the Norwegian Church, Cardiff.
  • COLLECTORS TOTE BAG
  • LIMITED EDITION ‘500’ NUMBERED ART CARD Personally Signed by Mike Peters.

This brand new release from The Twenty First Century Recording Company is only available exclusively through www.thealarm.com and will not be made available anywhere else in this format (see below for artwork, track listings and recording information).

STREAM [Hurricane of Change]will take listeners on a unique musical adventure that flows both downstream and upstream, telling a moving autobiographical story as lived and breathed by Mike Peters and The Alarm from 1986-1990.

The double CD Edition features 39 pieces of brand new recorded music, all joined together by a Mike Peters spoken word essay, that weaves a brand new narrative into the original lyrical DNA of such classic Alarm songs as Rain In The Summertime, Rescue Me, One Step Closer To Home, Sold Me Down The Riverand A New South Wales. There’s also a host of brand new song recordings including the raging acoustic guitar driven Irish Sea, and the dramatic Ballad of Randolph Turpin.

‘In order to capture the very essence of these classic / new Alarm songs, and to try and further understand what they truly mean to me for this, their 30th Anniversary. I went back and re-examined all the original lyrics from beginning to end,” says Mike Peters. “By reading the collected lyrics in chronological order from the first song created – A New South Wales(written for Eye of the Hurricane, but only released as the last song on Change), I was amazed to discover a whole new perspective, and by putting the lyrics in chronological order (and including songs I was unable to present at the time), I began to realise that I had unknowingly written a very autobiographical account of how my life (and the life of the band), played out in the second half of the nineteen-eighties. By starting at the very beginning of the musical structure that these songs were born into, and following the lyrical narrative through to its natural conclusion, I was able to make sense of the songs in a completely new way.”

“I have often talked in interviews about the experience of leaving Wales at the beginning of the eighties, only to return through the creative process that gave birth to the Eye of The Hurricane, Electric Folkloreand Change trilogy of albums”, continues Mike.“By looking at the lyrics afresh, I have now been able to fully realise what I was grasping for as a songwriter and lyricist in 1987-1989. Back then, my confidence had been blunted by a difficult creative process, and I had always privately felt that there was a lot more left to be discovered within the original body of music. With these new recordings, I have been able to realise a torrent of new possibilities and emotions and, in turn, draw them out of the very same songs. By recording STREAM [Hurricane of Change] in this new way, I feel that I have been able to liberate my original lyrical vision and re-present the music in a way that I believe, is just as relevant, if not more vital than ever before.”

STREAM [Hurricane of Change] has been produced in its entirety by George Williams who also produced Blood Red Viral Black, Equalsand Sigma.

“George Williams (the producer), listened to all my demos and suggested that I should really examine the song sequence”, continues Mike Peters. “George thought that the new directions I had pushed the music towards were really strong, but because there was so much material, a unifying track-listing needed to be found early on. I accepted the challenge, and began reading through the lyrics to see if I could find a common theme that would pull everything together as one. As soon as I looked at the words in this new way, I was inspired to write STREAMas a complete story, which in turn led me towards the idea of using narration as a bridge between the songs.

By the time we got to Sain Studios in North Wales to record (just after The Gathering on February 8th 2019,) I proposed to both George and Alarm drummer Smiley, that we create each piece of music in chronological order, so that our individual roles and performances could be informed by the context of the STREAMnarrative. It was a revelation to literally go ‘Downstream’ through the music of Eye of the Hurricaneon the first session and then a month later (on March 21st), travel back ‘Upstream’ with the songs of Change. A musical journey that inspired Smiley to perform at his absolute best, and myself to give what I believe, are some of the most emotive vocal performances of my entire career. Once we had completed the song cycle and with Jules helping out on piano and backing vocals, we all knew that something truly special had been created, and so from the 27th September, it’s going to be you – the listener’s turn to make the same musical journey as we did.”

I truly believe that Stream [Hurricane of Change], contains some of the best recorded music of my entire career, and I’m convinced that by sharing and recycling the music in this new exciting way, it will allow everyone who has ever loved the original ‘Eye Of The Hurricane’ and ‘Change’ albums to see them in a brand new light and to be able to enjoy them again – reborn.”

‘Stream’ [Hurricane of Change]will be released on Friday 27th September 2019 to coincide with the start of the Hurricane Of Change UK Tour, and will only be available as a special limited edition complete collection package. The Complete Collection is priced at £99.99 [plus p&p].

David J- Missive To An Angel From The Halls Of Infamy And Allure (Glass Modern)

David J- Missive To An Angel From The Halls Of Infamy And Allure (Glass Modern)

Where do I start with this one, I’m sure that anyone with a rudimentary knowledge of the alternative/ independent scene, especially if your of a certain age would know David J from his part within potentially one of the best bands Britain ever produced Bauhaus, (just a personal view but one I’m happy to debate).

 

Before I start, lets put something out there this LP sounds absolutely nothing like Bauhaus, instead showcasing a musician happy to trade on and work with possible influences, while taking on board a real depth of knowledge learned within and from any number of cultural musical identities. Take first up Mosaic imagine Lou Reed half spoken vocals over an almost eastern esoteric guitar run, giving the song a real depth.

 

While next up Blue eyes in the green room picks at gentle, acoustic Americana, while third in Baudelaire, introduces a classical violin lead which the vocals weave around giving the song a very different structure and feel.

 

What I’m picking up at this point is what an emotive LP I’m listening to, one that needs you to sit back, listen to and allow the music to wash over you, which got me to thinking who else is part of this LP it’s so diverse, checking in on the press blurb, I find contributions from Anton Newcombe (Brian Jonestown Massacre), Toby Dammit (Nick Cave And The Bad Seeds), Paul Wallfisch (Swans), Sean Eden (Luna), Rose McGowan, Asia Argento, Emily Jane White, Annabel (lee) and the great Czech violinist Karel Holas. Only then do you start to realize the pedigree of what your listening to.

 

This is 100% an LP that fits within the late night, lights turned down time to contemplate the day just past and what’s to come. Time blurs as you drift, while imagery comes and goes. If I had to pick a fave it would probably be the poetic ‘Migenta and the frozen roses’ harking back to earlier times, hinting at Jim Morrison’s American prayer, with the female spoken vocal giving a real counterpoint as the guitar builds and weaves an almost industrial tone, seriously good stuff.

 

There’s a gorgeous San Francisco 60’s feel to ‘Pre-existing Condition’ really setting it apart from what’s come before while the trumpet that cuts in just gives it a different depth. As you drift through the next thing that catches you is ‘Missive to an angel’ a time for self reflection and internal focus. This is a seriously strong LP, but won’t be for everyone, one to approach with an open mind and the time and space to listen.

 Buy ‘Missive To An Angel From The Halls Of Infamy And Allure’Here

Author: Nev Brooks

TOUR DATES
Oct 08 Prague, Czech Republic @ La Loca
Oct 12 Berlin, Germany @ BiNuu
Oct 13 Cologne, Germany @ Helios 37
Oct 15 Rome, Italy @ Traffic Club
Oct 16 Lisbon, Portugal @ Musicbox
Oct 17 Leiria, Portugal @ Teatro José Lúcio da Silva
Oct 18 Porto, Portugal @ Hard Club
Oct 19 Barcelona, Spain @ Salamandra (with The Psychedelic Furs)
Oct 20 Madrid, Spain @ Teatro Kapital (with The Psychedelic Furs)
Oct 22 Paris, France @ Le Petit Bain
Oct 24 Manchester, UK @ Club Academy
Oct 26 London, UK @ Moth Club
Oct 27 Nottingham, UK @ Beta
Oct 28 Newcastle, UK @ Cluny
Nov 03 Los Angeles, CA @ Hollywood Paladium (as Bauhaus)
Nov 04 Los Angeles, CA @ Hollywood Paladium (as Bauhaus)
Nov 08 Austin, TX @ Elysium (with Curse Mackey, Rosegarden Funeral Party)

POP CULTURE SCHLOCK at RPM: Exhibit D – The Black Crowes Rock ‘n’ Roll Comic

POP CULTURE SCHLOCK at RPM: Exhibit D – The Black Crowes Rock ‘n’ Roll Comic

POP CULTURE SCHLOCK at RPM: Exhibit D – The Black Crowes Rock ‘n’ Roll Comic

Greetings, RPM-people; I guess it’s time once again to dig into the Pop Culture Schlock archive and pull out something music-related to wax lyrical about. This month I’m fingering the comic book long boxes until I come across something particularly hard to handle…

Casting a dark shadow over both my comic- and music-buying in the late Eighties and early Nineties was a virulent strain of unauthorised biographies equal parts infamous and diabolical.

Inspired by ‘Hey Boss’, an independent Bruce Springsteen parody from the mid-Eighties, Todd Loren’s Revolutionary Comics launched its Rock ‘n’ Roll Comics strand in 1989 and, quite remarkably given that it came in the path of snowballing legal threats and action, the offbeat offshoot became the indie comic book publisher’s flagship product.

Hiring Larry Nadolsky, artist of the aforementioned Springsteen comic, to pen its debut issue, Rock ‘n’ Roll Comics hit the shelves with a first edition cover-dated June 1989. Guns N’ Roses were the subjects of this first issue and it was welcomed into the legal jungle via a cease and desist order from the GN’R lawyer, Peter Paterno. The subsequent press attention – Rolling Stone magazine covered the furore – saw the initial print run of 10,000 issues sell out completely within two weeks, with buyers assuming that the comic would soon be pulped as big business bulldozed small. As it happened, no actual lawsuits were filed and the debut GN’R issue would go on to have multiple reprints and eventually shift around 150,000 units. A first print copy resides in the Pop Culture Schlock archive, of course. Think it’s so easy to defeat legal issues when knocking on unauthorised material’s door, though? Think again…

 

Rock ‘n’ Roll Comics issues 3 and 4 – featuring Bon Jovi and Mötley Crüe respectively – garnered legal challenges which forced Revolutionary Comics to found a new distribution network outside of the traditional comic book store, instead focussing on music- and gift-related retail outlets. The gamble paid off and Rock ‘n’ Roll Comics ran from 1989 to 1993, publishing 63 issues. The final issue (cover-dated November 1993 and titled ‘Sci-Fi Space Rockers’ – featuring the likes of Hawkwind, Pink Floyd, Marillion, and Genesis) was actually numbered 65 as two issues – Number 8 featuring Skid Row, and Number 61 featuring Yes – were never published due to legal problems that simply refused to have the kinks ironed out. Surprisingly, the highest profile legal case brought against Revolutionary Comics, in regards to the New Kids On The Block issue from 1990, ruled in the indie publisher’s favour, even after Todd Loren had set up a 900 number – “Nuke The New Kids!” – to raise funds for the company’s legal fees.

 

So, Rock ‘n’ Roll Comics are pure, unadulterated, unofficial Pop Culture Schlock… but which issue should I feature for RPM? Scores of bands were featured: Aerosmith, Rolling Stones, Living Colour, Metallica, Anthrax, The Doors, Queen, Van Halen, The Who, Vanilla Ice – basically any popular beat combo or sex symbol that the artists couldn’t draw very well. Need proof? Check out the Bon Jovi issue; the poundshop rendering of JBJ on the cover as realistic as David Rashbaum’s hair extensions. I have, though, for the benefit of RPM’s flowery shirt and waistcoat-wearing clientele, decided upon Issue 34 of Rock ‘n’ Roll Comics, cover-dated September 1991 and devoted to…

 

The Black Crowes, by the time of the comic’s publication, had seen two of their singles – their cover of Otis Redding’s ‘Hard To Handle’, and ‘She Talks To Angels’ – crash into the Top 30 of the Billboard Hot 100, the band tread the legendary boards at Castle Donington, and be bell bottoms-deep into preparations for album number two, ‘The Southern Harmony and Musical Companion’. Being immortalized in comic book form would be the band’s then-high point, surely?

 

As with pretty much every page of Rock ‘n’ Roll Comics’ output, ‘Flying High With The Black Crowes’ was well-researched but dogged by poor, oft-shit artwork; exposition too often reduced to ludicrous sentences spat from inked rock star mouths – “You just wait! Any minute now you’ll hear the first single, ‘Jealous Again’, on the radio and before you know it, we’ll top the charts!” said Chris Robinson, never.

 

Ah, yes, Chris Robinson, one of the greatest voices of his generation, whose first word (“cool!”) in this comic comes via a thought bubble when he is still in the womb…

 

This is the kind of bollocks that you have to squint your brain and accept if you’re gonna have some Rock ‘n’ Roll Comics in your collection, however. That “Unauthorised and Proud Of It!” mantra from the company emblazoned across the comic covers carte blanche to interpret a beloved history in as ludicrous a way as possible.

 

“By the way, how’s your guitar playing coming along?” seventh grade Chris asks little brother, Rich. Pretty good you’d think, because seven pages later Mr. Crowes’ Garden have a record deal and a new band name. Soon band members are recording the sound of cars crashing into trash cans, supporting Junkyard, dissing Milli Vanilli posters, and getting career advice from Steven Tyler: “You could learn from [Aerosmith’s] mistakes, that stuff can kill you!” “Rock and Roll and safety have nothing to do with each other,” replies Chris Robinson. A few pages later he’s spitting at concert security for roughing up gig-goers. Silly Billy.

 

The band is accused of dabbling in black magic, of inciting a Dutch riot. Chris slags off Milli Vanilli again; this time in the face of an autograph hunter who complains about the sound at a Crowes gig. Cutting edge stuff, I’m sure you’ll agree.

 

“Quit calling us The New Stones!” Chris Robinson rages at a journalist. “We’re doing this in and for the ’90s,” adds Rich. “Acts like ourselves, the London Quireboys, and Lenny Kravitz are playing a NEW tune…”

 

…and then they are gone, forever to reside in the comic boxes of nerds like myself, a faint “the future holds nothing but high-flying promise for The Black Crowes” inked farewell floating on the winds of time.

 

If you think that the bands featured in Rock ‘n’ Roll Comics got their bank balances bludgeoned by the unofficial output of Revolutionary Comics, spare a thought for the company’s main man, Todd Loren. He was brutally murdered in 1992, the body of the 32-year-old found at his San Diego condo. He had been stabbed to death and, I shit you not, members of both Guns N’ Roses and New Kids On The Block were linked with the murder due to the previous legal issues. The case remains unsolved to this day, though many believe Loren was the first victim of Andrew Cunanan; the American serial killer who murdered Italian fashion designer, Gianni Versace.

 

You didn’t expect that bleak shit when I was writing about Milli Vanilli a few paragraphs ago, right?!

 

I’ll be back in October with some horror-related musical Schlock just in time for All Hallow’s Eve. Smell ya later…

 

Follow Gaz & his Pop Culture Schlock 365 on Facebook Here