Category Archives: New Wave Rock

GaragePunkNYC» Runaway Runway Weekend, or HATE Coutre

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1329878228 41 GaragePunkNYC» Runaway Runway Weekend, or HATE Coutre

What’s up, city! The weekend is here. Call your mom! (Make sure your gin rage calms down a bit first, though!)

I’d make some quip about Fashion Week but I doubt anyone (who reads this blog) cares too much. You shop at Beacon’s Closet/The Salvation Army/The Dumpster outside C-Town, and let’s  be real, YOUR idea of fashion week is the week you really have to do laundry but you’ve got no time so you don’t, so you reach in your dirty clothes hamper and scratch and sniff for the shirt that doesn’t smell completely like soccer practice.

Not that I am a complete hater of all this artifice: I am a dandy who likes to dress to impress after all, and honestly I WOULD love to go to one of those ridiculous parties one day. Just to drink all their booze, see if all the cliches about stupid beautiful rich people are true and hopefully make a fool out of  them and myself!

You might be able to get CLOSE if you go to the FIRST thing we got on tap tonight…

The Vivian Girls return from limbo for a special, outdoors performance this evening in conjunction with Fashion Week! Kinda odd, but find the first ladies of dissonant garage rock will be playing in the Meat Packing district,  in the pedestrian walkway called Gansevoort Plaza (Little West 12th and 9th Avenue) to be exact! They’re scheduled to go on at 7:30 sharp, so be timely. And should the Olsen Twins show up: give them PIZZA

But fuck your fashion and back to the grittier side of things: greaser action tonight at Williamsburg’s latest rock haunt of Grand Street, Grand Victory, in the form of loud and raucous performances by The Thunderfucks (who should have their new EP on hand for purchase), Laura Angel’s band The Screamin’ Rebel Angels and The Arkhams!

Keeping it geographical for you – a hop skip and jump away at The Shop Brooklyn, located on Metropolitian Avenue and Driggs and billed as “New York City’s only licensed bar (full liquor, wine and beer) inside an active motorcycle garage (and a place i’m dying to check out personally) – thrill to performances by Bradley Dean and the Terminals,  The Brooklyn What, girl gang Crazy Pills, Twin Guns (playing a set of completely new material!), and only the second show of Auto Bonfire, the new wave/punk influenced project featuring members of The Electric Mess amongst others. $5 cover, bands as listed from the time of 8pm.

Onwards to Greenpoint at the mighty St. Vitus, where amped up power punks The Highway Gimps open up with Organs and freakbeat prince’s of the street The Above! Bands in that order with 8pm doors and $6 cover. Our own intrepid founder/blogger Shimmy DJ’s rock and soul between bands and into the allegedly wintery night!

Tonight at Otto’s Shrunken Head, it’s the “art rock” edition of monthly party RockEM SockEM, featuring bands with art school weirdness dripping down  their guitar strings: freak-folk /country rag performer Larry Krone, spaced out post-punk sounds from a band called Sick Cell and trashy, NYC style trash glam by The Ruffian Arms. Hosts and DJ’s Ultra V and DJ Omega spin punk, garage and new wave in the front all night long. Everything starts at 10 and there’s never a cover in Tiki Rocker Heaven.

Here’s all the DJ spins and dance parties, and there’s A LOT more than typical this evening:

The legendary Lenny Kaye, the man responsible for bringing demented teenage garage punk from the 60′s to a new generation, spins with The Boogaloo Omnisbus Phast Phreddie for annual swing The Doo Wop Hop at Teddy’s in Williamsburg! Expect to hear prime cuts of the finest vocal groups of the late 50′s / early 60′s with room for twirling around in your poodle skirt…no cover, they start the spin at 9pm prompt till about 2am!

Nogood Nick has a happy hour (6pm – 10pm) spin tonight at the aformentioned Otto’s Shrunken Head! His Sophisticated Boom-Boom helps you start your trouble night out right with 50/60′s R&B, soul and rock and roll, no cover of course…

A few blocks west at Beauty Bar of 14th Street, CrystalBlu continues her weekly spin To Sir With Love, regaling cosmetically inclined ladies and post-work everymen with girl groups, psychedelia, surf and garage rock sounds from 7pm till 11pm…

Tonight’s edition of Shakin’ All Over at Chinatown’s Home Sweet Home has Josh Styles spinning tough garage, soul and R&B from 11pm till close, with the $3 cover after 11pm…do I need to mention at the point Metropolis Vintage’s Happy Hour that precedes it from 8pm till 11, with it’s buy one get one specials? Do I? Not sure who’s DJing tonight but you can rest assured it will be TOPS.

Meanwhile on the upper west side: you are the fiend and La La Linda is the dealer and she’s got your fix of garage punk, psych, soul and funky funk at  The Ding Dong Lounge from 10pm till the end of the night! Never a cover…

Back to Brooklyn: It’s edition 12 of Let’s Boogaloo, the dance party du jour at Zebulon in Williamsburg: tonight Girl Soul, Ol’ Stark and fellow colleague and Killer Diller Records proprietor Charles Gaskins spin an eclectic mix of  international beat, Latin rump shakers, bongo breakbeat, and exotic R&B and killer hula music, all for dancing! 10pm kickoff, no cover!

Grace of Spades monthly roots, dub and dancehall reggae party Love So Nice returns to it’s NEW home, the underground party and performance spot The Lake in Bushwick (258 Johnson Ave of the Montrose Avenue L stop). Certainly more irie vibes to be had here than in some bar, no doubt! A mere $2 cover and 9pm doors for this fun…

The super heavy psychedelic, prog-metal band The Phantom Family Halo will be celebrating the release of their debut full length “When I Fall Out” (from Knitting Factory Records) this very evening at St. Vitus, hitting the stage at 11pm and supported by Loom and Old Baby…show starts at 8 with a $10 cover

Saturday night basement punk at The Charleston, you say? Put THAT on top of your somewhat dry free pizza, foolie! Downstairs bill with Puerto Rican hard core Cojoba, trashy thrash punkers The Amputees, everyone’s favorite sax-i-tude terrors The Jigglers, The Harlots and The Grains…first band hits at 8, not sure of the cover ($6? $8?)

Our mystery man of dance Jumpy is joined by Big Sir for tonight’s edition of Soul A Go Go at The Satellite Lounge! You know just what to expect, danceable hi octane soul and R&B movers on ’45 rpm format all night long from 10pm till close for no cover. Move!

DJ C’Mon provides rock and roll refuge to the East Village every Saturday night at Idle Hands! She spins garage, power pop and punk and glam rock music while you sip on the bar’s extensive bourbon selections (take it from me: sip, DON’T slam)…10pm till the bittersweet end, no cover!

That’s what I got – if we missed any major fun leave a comment below!

WORK IT, GURRRRRRRRRRRL

Tags: auto bonfire, big sir, Bradley Dean and the Terminals, charles gaskins, Crazy Pills, Crystalblu, DJ C’mon, DJ Omega, Doo Wop Hop, Girl Soul, Grace of Spades, Grand Victory, josh styles, jumpy, Killer Diller Records, La La Linda, Larry Krone, lenny kaye, Let’s Boogaloo, Linda Rizzo, Loom, Love So Nice, metropolis vintage, nogood nick, Ol’ Stark, Old Baby, organs, phast phreddie, rockem sockem, Screaming Rebel Angels, Shakin’ All Over, Sick Cell, Sophisticated Boom Boom, Soul-a-Go-Go, St. Vitus, the above, The Amputees, THE ARKHAMS, The Brooklyn What, The Electric Mess, The Grains, The Harlots, The Highway Gimps, The Jigglers, The Lake, The Phantom Family Halo, The Ruffian Arms, The Shop Brooklyn, The Thunderfucks, The Vivian Girls, To Sir With Love, Twin Guns, Ultra V

How do amateurs recover premium concert services? Where is their office? Then, you should go to this to shop. There are many traditions in Romania yet perhaps one of the most important is practiced in the villages called "Ignatius". Everyone in the venue started chanting "Colt Ford! You can go about your daily routine as normal, and let the ticket broker do all the hard work for you. She credits gay community for her mainstream success and supports them. Mixer: It is right.... These are but solitary a little of the chart busters with the aim of he has produced. I've been watching videos from the 2008 Lost Highway tour and think that Jon Bon Jovi has still got what it takes. Erecting huge sound and light rigs at major stadium costs a lot, as does all the staffing involved; reducing these can also affect lower concert tickets for the fans at large. If you are into Concerts, we have you covered. If they're a reasonably large band, they'll probably have their own instruments with them.

The Blackouts: Seattle’s Greatest Band? (Part 1) « the strangest tribe

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1329825429 49 The Blackouts: Seattle’s Greatest Band? (Part 1) « the strangest tribe

You talk to enough Seattle people, you listen to enough music, and you begin to figure out the Northwest’s standout bands…those special bands …bands that created something beyond categorization.  Going back to the ’60s, four Seattle groups stand out, in my opinion—four bands that can’t be duplicated: the Sonics, Red Dress, the U-Men, and the Blackouts.

The Sonics basically invented Northwest garage rock, and continue to influence people with their raw, honest, and inherently creative sound.  Red Dress would result if James Brown and Captain Beefheart had a baby…and that baby that was brought up by a nanny named the Band.  I wrote a piece about them on this blog, so check it out.  The U-Men get more mention in my book than any other band, and with good reason.  That band influenced more of the grunge folks than any other local act, but they were far from grunge.

That leaves us with the Blackouts.  In late ’70s Seattle, you had to play covers to get bar gigs.  Punk bands found themselves putting on their own shows, with a few exceptions.  The only newer acts that got regular club shows were of the cleaned up “new wave” variety.  Musical innovation and experimentation were discouraged…which is why the Blackouts become even more remarkable in retrospect.

The Blackouts descended from the Telepaths, one of Seattle’s original “punk” bands.  The Telepaths played Seattle’s first major punk rock show in 1976—the notorious “TMT Show,” alongside the Meyce and Tupperwares.  But they weren’t punk rock, really.  The Telepaths did not subscribe to the less competence is more punk aesthetic.  They were fans of intricate progressive rock.  At that time, liking prog was the worst possible sin for a punk rocker.  “They were like King Crimson and the Stooges kind of mixed together,” says bassist Mike Davidson of the Lewd, who later joined the Telepaths.

The Telepaths featured brothers Curt and Erich Werner, Homer Spence, Davidson, and drummer Bill Rieflin, whose stellar percussion ability has left most Seattleites to anoint him “Seattle’s greatest drummer.”  That means something, given Seattle’s propensity for generating great trapmeisters including Soundgarden’s Matt Cameron, Mother Love Bone’s Greg Gilmore, the Melvins’ Dale Crover (originally from Montesano), the Presidents’ Jason Finn, and others.  Rieflin would later bring his drumming talents to Ministry and R.E.M. 

(The pic above, courtesy of the Meyce’s Paul Hood, shows the Telepaths’ Curt Werner singing at the Bird in 1978.)

That year, the band released its first single, “Make No Mistake”/“The Underpass” on Neil Hubbard’s Engram label.  While Rocket music critic George Romansic* did not believe the single fully captured the band’s live sound, he nevertheless lauded the Blackouts.  “This band is one of the very few in Seattle that transcend the local scene,” he wrote in the Rocket’s May 1980 issue.  “Those who’ve seen one of the shows where their energy, intelligence and deeply felt emotionalism have sparked and fused together, know about the potential of the Blackouts.”

A few months later, Engram released the band’s first EP, Men in Motion, that included four songs: “Dead Man’s Curve,” “Probabilities,” “Being Be,” and a beautiful industrial, yet melodic instrumental called “Five is 5.”  The Rocket’s Danielle Elliott gave it a favorable review, writing “what a classic it is.”

The Blackouts quickly became the kings of Seattle’s underground scene, happily positioning themselves as the antithesis to poppy new wave bands like the Heats.  The Blackouts landed an ironic gig opening for said Heats at a club called Baby O’s.  Feeling like they needed to make an anti-Heats statement, the Blackouts appeared on stage covered in pig’s blood.  The site and smell of the spectacle elicited screams from the shocked crowd.  “Nice statement,” says the Heats’ Steve Pearson.  “[But] I don’t know what it is you’re stating.  You hate the Heats?  You hate the Heats audience?  You don’t like pigs?”

*- note, Romansic drummed for two Seattle postpunk bands: the Beakers and 3 Swimmers.

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Johnson City a Top 10 med school destination

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Top 10 Medical School 2 Johnson City a Top 10 med school destination

There are places to go to medical school, and there are really good places to go to medical school, according to a national magazine.

And Johnson City is apparently one of the top 10 cities in the nation to get a medical degree, according to the January/February issue of PreMedLife, a publication geared toward people thinking of becoming doctors.

Dr. Philip Bagnell, East Tennessee State University Quillen College of Medicine dean, said the campus and academic environments are part of the attraction of ETSU

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The Story Of Rock ‘n’ Roll Comics DVD Coming ::Rock ‘n’ Roll Comics News ::antiMusic.com

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02/17/2012 . MVD have set an April 24th release date for “The Story Of Rock ‘n’ Roll Comics” on DVD.

This documentary tells the unbelievable story of Todd Loren, San Diego-based owner of Revolutionary Comics, famous for publishing the wildly popular “Rock ‘N’ Roll Comics” series.

The unauthorized and often controversial comics featured biographies of music groups such as KISS, the Sex Pistols and Metallica. Loved by some (Gene Simmons, Alice Cooper, Lemmy, Metallica) and threatened by others (Axl Rose, Skid Row, New Kids on the Block), over 300 issues of Rock ‘N’ Roll comics were printed, embracing all music genres: Rock, Alternative, Hip-Hop, Punk and Pop and they quickly became instant collector’s items. In a strange twist, Loren is found murdered in his condo in 1992, making people speculate that he may have the first victim of ‘serial’ killer Andrew Cunanan, leading to an absorbing mystery that still remains, UNSOLVED today.

“The Story Of Rock ‘N’ Roll Comics” includes over two hours of extras including:* 8 page liner notes insert* Liner notes from “Rock ‘N’ Roll Comics” co-creator, Jay Allen Sanford* Liner notes from rock critic Rob O’Connor (Rolling Stone, Spin, Yahoo)* Vintage Musicade 60 second TV commerical* Vintage 30 second Musicade commercial* Cynthia Plaster Caster: Full uncut Interview* Unauthorized Sports Comics featurette* Mike Tyson Comic: TV News Story* Unauthorized Conspiracy Comics: E! News Story* KFMB CBS News report on Todd Loren’s murder* Deleted Scene: Interview with Rock ‘N’ Roll Comics artist Robert Conte* Deleted Scene: Interview with artist/ collector Duane Dimock* Original Rock ‘N’ Roll Comics Cover Galleries (Over 100 covers)* Wild Eye Releasing Trailers

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Aaron K Sparks Blog: Oldschool Thrash Metal Bands: Metallica (pt. 12)

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1329477438 44 Aaron K Sparks Blog: Oldschool Thrash Metal Bands: Metallica (pt. 12)

Lulu and tenth studio album (2011–present)

On June 15, 2011, Metallica announced that recording sessions with singer-songwriter Lou Reed had concluded. The album, titled Lulu was recorded over several months, and resulted in ten songs based on Frank Wedekind’s “Lulu” plays, Earth Spirit and Pandora’s Box. The album was released on October 31, 2011.

On October 16, 2011, Robert Trujillo confirmed that the band was back in the studio and writing new material, stating “The writing process for the new Metallica album has begun. We’ve been in the studio with Rick Rubin, working on a couple of things, and we’re going to be recording during the most of next year.”

Metallica were due to make their first appearance in India at the “India Rocks” concert, supporting the 2011 Indian Grand Prix. However, the concert was cancelled when the venue was proven unsafe. Fans raided the stage during the event and the organizers were later arrested for fraud. Metallica later made their Indian debut in Bangalore on October 30, 2011. On November 10, it was announced that Metallica would play at the Download Festival at Donington Park, England, headlining the main stage on Saturday June 9, 2012, and that they would be playing the The Black Album in its entirety.

From December 2011, Metallica began releasing songs online that were written for Death Magnetic, but were not present on the final album. On December 13, 2011 they were released on Beyond Magnetic, a digital EP release only on iTunes.

Also in December Metallica celebrated its 30 year anniversary by playing 4 shows at the Fillmore in San Francisco. The shows were exclusive only to Met Club members and tickets were only being charged at $6 (or 19.81 for all 4 nights). The shows consisted of songs spanning their entire career and guest appearances by multiple artist that either helped or influenced Metallica. These shows were notable for having Dave Mustaine, Jason Newsted, Glenn Danzig, Ozzy Osbourne, Apocalyptica, members of Diamond Head, King Diamond among others join Metallica on stage for all appropriate songs.

On February 7th 2012, Metallica announced that they were going to start a new music festival call “Orion Music + More”, which will take place on June 23rd and 24th 2012 in Atlantic City.Metallica also confirmed that they will also headline the festival on both days and will perform two of their most critically acclaimed albums in their entirety: their 1991 eponymous fifth release (“The Black Album”) on one night and 1984′s Ride the Lightning the other.So far 16 metal and rock bands are slated to perform at Orion which includes Avenged Sevenfold, Arctic Monkeys, Fucked Up, The Sword and others.

Style and lyrical themes

Metallica is influenced by early heavy metal and hard rock bands such as Black Sabbath, Deep Purple, Led Zeppelin, Aerosmith, and Scorpions, New Wave of British Heavy Metal bands such as Venom, Motörhead, Diamond Head, Judas Priest, and Iron Maiden, as well as early punk rock bands such as the Ramones, the Sex Pistols, and the Misfits. Early Metallica releases contained fast tempos, harmonized leads, and nine-minute instrumentals. Steve Huey of Allmusic said that Ride the Lightning featured “extended, progressive epics; tight, concise groove-rockers”. Huey felt Metallica expanded its compositional technique and range of expression to take on a more aggressive approach in following releases, and lyrics dealt with more personal and socially conscious issues. Lyrical themes explored on Master of Puppets included religious and military leaders, rage, insanity, monsters, and drugs.

In 1991, with new producer Bob Rock, Huey felt Metallica simplified and streamlined its music for a more commercial approach to appeal to the mainstream audience. The band abandoned its aggressive, fast tempos to expand its music and expressive range, said Robert Palmer of Rolling Stone. The change in direction proved commercially successful as Metallica was the band’s first album to peak at number one on the Billboard 200. Metallica noticed changes to the rock scene created by the grunge movement of the early 1990s. In Load (an album that has been described as “an almost alternative rock” approach), the band focused on non-metal influences and changed musical direction. Moving away from lyrical themes dealing with drugs and monsters, Metallica’s new lyrical approach focused on anger, loss, and retribution. Some fans and critics were not pleased with this change, which included haircuts, the cover of Load, and headlining the alternative rock concert Lollapalooza. David Fricke of Rolling Stone described the move as “goodbye to the moldy stricture and dead-end Puritanism of no-frills thrash” and called Load the heaviest record of 1996. With the release of ReLoad in 1997, the band displayed more blues and early hard rock influences, incorporating more rhythm and harmony in song structures.

St. Anger marked another large change in the band’s sound. Guitar solos were excluded from the album, leaving a “raw and unpolished sound”. The band used drop C tuning, and Ulrich’s snare drum received particular criticism. New York Magazine’s Ethan Brown noted it “reverberates with a thwong”. Lyrics on the album dealt with Hetfield’s stint in rehab, including references to the devil, anti-drug themes, claustrophobia, impending doom, and religious hypocrisy. At the advice of producer Rick Rubin, for its ninth studio album, Death Magnetic, the band returned to E tuning (though all songs were tuned half step down live) and guitar solos, and adapted Middle Eastern influences.

Check out my website for more cool music: Aaron SparksCheck out my abstract graphics galleries: Aaron SparksCheck out my links page for all things guitar related: Aaron Sparks

Before anything else, you should determine your readiness with concert as soon as I know the feeling. You may get discounts here on buying tickets for a group. Buying Concert Tickets From the Internet When a person wants to see the next big live concert or sporting event or maybe you wish to catch that once in a lifetime live show with your beloved, you have got to get tickets. This is since I only use a little music for free to totally get your ass handed to you. Your should be able to do two things: to entertain and to inform. However in line with the video on the BobSeger.com website, Ohio, New York, Massachusetts, Missouri, and Michigan gets visits from Seger. There is no doubt there will be a mad dash for Justin Bieber tickets this summer. And all my feelings are component of this manufacturing." The album debuted at amount 6 to the Billboard Prime 200 Albums chart. They purchase too many tickets to resell for an event that doesn't sell as well as they thought. Each round took 5 days with a 2 week break in-between. Everyone has their favorite singers and musicians, and if people are lucky, they will be able to see these people live in concert. One thing is for certain, he has all the skills, talent and ambition to do so and if this is the start of what is to come then this glam rocker's future looks bright.

The greatest show on dirt comes to OK

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1329404235 68 The greatest show on dirt comes to OK

OKLAHOMA CITY, Okla. — From hoops to hooves, Chesapeake Energy Arena is in the midst of a major transformation. It’s out with basketball and in with bulls. PBR Production VP, Clayton Cullen said, “We like to say it’s a rock and roll show with beef.”

For the next several days, the “Peak” will host the PBR world finals.

It’s the ultimate contest of man versus beast. 

Bullrider Ryan Dirteater said, “It’s the greatest bull riders against the greatest bulls. Anything can happen. A guy can be on top of the world or smashed in the dirt.”

Crews began preparing the arena early Thursday morning.

They are installing 240 Giant speakers, a 47-by-27 video wall and hauling in a small mountain of dirt.

Organizers say the clay and sand mixture is critical for the safety of the animals and the bull riders.

Dirteater said, “I want to make sure it’s 300 tons of dirt on this floor. It’s like a mattress for us. That’s our pad. Gymnasts get pads. We get dirt.”

It’ll take roughly 1,200 man hours to transform the arena but organizers say it will be ready for the “greatest show on dirt!”

The PBR World Finals kick off Friday night and run through Sunday. 

Tickets start at around $10 each.

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Synconation – Old-Fashioned Indie Music Bloggery from Jacksonville – Est. 2010

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1328642238 92 Synconation Old Fashioned Indie Music Bloggery from Jacksonville Est. 2010

The decade of the 1980s was arguably a time of “newness.” The political, social and cultural landscape was fast changing, perhaps faster than some people could keep up with. Music in particular, including genres like new wave, hip-hop, and dance music experienced a radical re-birth when the advent of the analog synthesizer and its injection into the growing scenes became more common place. While our musical forefathers here in the U.S. were breaking these barriers during that neon age, continents away barriers of a very different sort (but in some ways very similar) were being torn down as well.

The Soviet Union was experiencing significant political, economic, and cultural changes during that time, most notably during the latter half of the 80s. The Cold War was coming to an end, the Soviet Bloc was beginning to crumble, and in light of these and other major events, the Russian people were now experiencing  freedoms previously unknown to them in that degree. They were now faced with the challenge of “catching up” with the rest of the world, so to speak. Although the world is living in 2011 right now, some Russians are still reeling from the explosive times of that spectacular decade.

What better example of this than the Russian trio, Tesla Boy? Formed in 2008, Tesla Boy has been crafting their insanely authentic brand of New Wave and synth pop (think Duran Duran, INXS, etc.) for only a short period of time, but already they are igniting the flames of fandom across their home country as if sparked by a Molotov cocktail. Tesla Boy embodies the new wave spirit with effortless ease. With a dash of cockiness, a sprinkling of sensuality, and a healthy dose of sheer glam, frontman Anton Sevidov effectively embodies the spirit of that decade, and just maybe, the spirit of his people as they felt it back then.

I had the pleasure of talking with Tesla Boy frontman, Anton Sevidov, about his memories of that turbulent era, what helps him craft Tesla Boy’s sound, and his love of vintage analog synthesizers.

Synconation: Art and design seem to play a heavy hand when it comes to what Tesla Boy is all about. Your releases feature art from international studios such as DW Design (the Tesla Boy EP) based out of Sweden and Mogollon (Modern Thrills, Tesla Boy’s debut album) based out of New York City. What sort of input do you give in terms of art direction for your albums?

Anton Sevidov: We saw a poster for our friend’s party in Moscow which had been designed by DW. I was also very impressed by Killian’s artworks on his Myspace page and then I had a strong feeling that this guy could do exactly what we needed for Tesla Boy. All this incredible neon and bright 80s colors at the same time on a dark background.

Is anyone in the band involved in the art/design community in some shape or form, outside of music?

No – but my father was a big fan of art. I keep all of his art books at home and it’s quite a big collection that includes painters from the 16th Century to modern time painters of the 20th Century.

Let’s get the obvious out of the way. You guys clearly have a love for the 80s. What excites you about that particular decade?

The Olympic Games in Moscow 1980, VHS, Soviet PEPSI, LINN drum, Roland Jupiter, Purple Rain, Let’s Dance, Gorbachev, Reagan, Playboy covers, porn movie soundtracks, etc.

You live in a country that was experiencing some truly profound events during the 80s, namely the fall of the Soviet Union where the whole world took notice. Can you recall what the social climate was like at that time?

As I can feel and according to some documentaries and the things that I heard from my parents, before 1986 Soviet people were totally depressed. There wasn’t any fancy food or clothes in the stores and malls, people couldn’t find anything that they really wanted in their lives and there was a feeling that it was going to be forever and nothing was gonna change it. But after Gorbachev became president he started Perestroika and it was like a new hope for all the Soviet people, it was a time when a lot of people thought that their dreams would come true.

The hypnotic, passionate and focused performance once again cemented the fact that Dylan was and still is the spokesperson for a generation. In 1974, she portrayed Virgin Mary in a humorous interpretation of religion -- "The Thorn." Bette moved into the big league with "The Rose" in 1979. Wilmer Mouney is entertainment professional, he works and writes articles about and also for over five years. For the most part though, I really did enjoy the concert. If there will be twenty or more people attending you might consider renting the Hummer. There are many time honored guesses in that method of thinking. Without going into a lot of extra details: You can't experience music radio for yourself. After a few shouts of "Carpool," he finally moved into it, but with traffic on the freeway and on the surface streets, we got off the bus as Anthrax began their four o'clock set. The US superstar seems to have genuine regard for her fans knowing that she is what she, is thanks to them. It doesn't matter what day it is when this happens. Think about this: "Every dog has his day." Forum, and - I was there!

Aging rock legend helps mother of four find her voice

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1328084227 34 Aging rock legend helps mother of four find her voice

Russ Gibb has always been good at discovering talent. After all, as the famed owner of the now defunct Grande Ballroom in Detroit, it was Gibb who gave the MC5, Ted Nugent and Iggy Pop their start. He was also responsible for bringing to Detroit rock giants like Janis Joplin, The Rolling Stones, Cream and The Who.

So when Gibb, who is now 80 (he can’t believe it either), calls from his home in Dearborn and says he’s found new talent, you know it’s going to be the real deal.

Jennifer Estrada, 33, is a mother of four and the creator of Jenny’s Day, a cartoon-strip blog based on her life that alternately pokes fun and serves up tender life lessons. “She just put them online a few months ago,” Gibb boasts. “And already she’s getting views from people all over the world.”

Officially, Estrada is Gibb’s home health care aide. In reality, she’s his secretary, morale booster, fellow movie-watcher, finder of anything and everything — including memorabilia from the drug-hazed ’60s — and occasional date; she last weekend accompanied Gibb to a gala at The Henry Ford. (The unassuming Mediterranean beauty laughs: “He kept on telling everybody: ‘She’s married with four kids.’ “)

Estrada was hired four years ago to help Gibb recuperate after back surgery. Gibb’s wife, Alberta, asked her to record his medications and activities in a journal and Estrada started drawing in the margins.

“The ones she drew of me were all when I was horizontal,” Gibb says. “They really had me doped up back then, like five Vicodin at a time for pain. It was like I was at the Grande again.”

Always the promoter, Gibb encouraged Estrada to tell stories about life with her kids through the drawings. She couldn’t see it: She said they were just doodles.

“But that, my dear, is what makes it so good,” Gibb countered. “Your stories are universal, timeless.”

They are also very real. Estrada’s mother died of cancer when was 10 years old. Five years later her father suffered a series of heart attacks, prompting her to drop out of high school and support the family waiting tables.

Still, she went back to school and earned a nursing certificate. She got married and had four kids: Angelica, 14, Isaiah, 13, Isabella, 11, and Jordyn, 1.

A few months ago, Estrada and her husband, Jesus Estrada, who works midnights in maintenance at Oakwood Hospital (one cartoon depicts them as two ships passing in the night), saved enough to buy their first house in a Downriver neighborhood.

Alberta Gibb died a year ago, and absent his wife of 30 years, Gibb is bereft enough to say things like: “The holidays were horrible.”

But, in the next breath, he’ll crack a joke: “You know what my name is spelled backwards? Big Sur. Beautiful place, right? That’s where I proposed to Alberta. Same place I dropped acid for the first time, too.”

After an hour visit you just know the young caregiver who massages his foot (he had surgery there, too) and occasionally finishes his sentences (“We sent the flowers to Etta James…um…um.” “It was three days before she died, Mr. Gibb. Three days.”) fills a large void in Gibb’s life.

Indeed, in an uncommon show of emotion, Gibb’s voice broke when he admonished a visitor to do right by Estrada. “Because she’s the daughter I never had,” he said.

Rest assured, the feeling is mutual. “Not having my parents for very long I feel like I may have missed out on a lot of life’s lessons,” Estrada said. “Mr. Gibb has so much wisdom.”

So, whether you check it out for an old sex-drugs-and-rock-’n'-roll guy or a mom of four kids doesn’t really matter. Just go to jennysday.com. You’ll be smitten.

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Our take: Top 10 live rock albums

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1327976229 44 Our take: Top 10 live rock albums

I was a music collector as a kid, at a time when music was all about vinyl. The beauty of it was the real sense of experimentation – when you would take a chance on a record and strike gold. I found the Ramones that way, picking up their debut album in the ‘70s because the cover just grabbed me. It was so simple and straight-forward.

But nothing could top a live album. When a band you were into put out a live album it gave you a chance to hear them raw, out of the studio and unfiltered, or at least relatively so. The stage was where musicians couldn’t hide.

The thing is that the issue of live albums came up recently during a discussion with a colleague, who had spent the weekend rediscovering Live at Leeds. It sparked a debate about the greatest rock live albums of all time.

As with anything it’s clearly subjective. But we bounced around a few ideas, and it prompted me to take it to the blog.

So, here’s my list of the top 10 of all time, in no particular order:

The Who Live at Leeds

Allman Brothers At the Fillmore East

Deep Purple Made in Japan

Humble Pie Rockin’ the Fillmore

Rolling Stones Get Yer Yas Yas Out

MC5 Kick Out The Jams

Derek and the Dominoes At The Fillmore

J. Geils Band Blow Your Face Out

Thin Lizzy Live and Dangerous

The last two are clearly homer picks. I loved Geils’ stage shows before their “Centerfold” pop phase. That album captures the energy of what was an amazing blues-R&B band. And as anyone who has read my posts here knows, I loved Thin Lizzy since I was a kid, so this remains one of my favorite rock live albums.

Of course, there’s more to live albums than just rock. So, I have a few others on my must-have list. I put them on a separate list because they’re not rock albums per se. But they’re awesome recordings.

Here’s my top five non-rock live albums:

James Brown Live at the Apollo

Johnny Cash at Folsom Prison

Sam Cooke at the Harlem Square Club

Jerry Lee Lewis Live at the Star Club Hamburg

Etta James Rocks the House

So, what’s your list look like?

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Rocknerd » Blog Archive » The Damned, January 20, 2012, Melbourne

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1327670228 27 Rocknerd » Blog Archive » The Damned, January 20, 2012, Melbourne

In previous reviews the general superiority of Billboard as a venue has been mentioned and they remain applicable here; the light is better, the sound is good, the floor-design is excellent and they actually keep the place at a moderate temperature. With an audience of the usual suspects, The Damned came with two support acts. The first was some clown (I mean a magician) who didn’t like the fact the audience were indifferent to his tricks; the accusations of being on heroin and being a bunch of grey-haired “fruity arses” are obviously designed to endear us to the performance. To be fair ‘Dr El Suavo’ did have a cool mask and a stylish assistant, but the act and customer relations is going to need some improvement.

The other support was the young Kill City Creeps who played competently and enthusiastically – and displayed more than a degree of adoration to the band they’ve come to support. It should also be noted that the intermission between the acts included some of the most awful moog music that has ever been created. A fellow attendee, well versed in such things, dutifully informed me that The Damned do this deliberately to remind their audience how bad music had become and why punk was necessary.

And what a necessity they were; The Damned, heralding from the dawn of punk rock, the people who released the first punk rock single (“New Rose”, 1976) have attracted more than a small crowd of fans over the years. Described by some as “Gothic Punk”, it is my considered opinion on the subject that there needs to be an ampersand between the two words in this case, to differentiate it from “gothic-punk”. Lead vocalist David Vanian, once described by NME as “a runaway from the Addams Family”, certainly fulfils the first half of the equation, with guitarist and occasional political organiser Captain Sensible fulfilling the latter. Old-timers certainly miss Rat Scabies (“let there be rats!”), although relative newcomers Monty Oxy Moron (keyboards), Pinch (drums) and Stu West (bass) were certainly warmly welcomed. OK, they’re not that new; Monty’s been in the band for fifteen years.

They started powerfully pounding out the first three tracks from “The Black Album”; ‘Wait for the Blackout’, ‘Lively Arts’ and ‘Silly Kids Games’. The fourth song in that sequence – which must be recognised as the one the best four-part meldleys in modern music – ‘Drinking About My Baby’ was played later in the set. Yet even at this stage there was a note of warning to my ears, that the sound was no quite at the standard that it should be, that the mixing wasn’t quite right. Yes, there is an inevitable roughness to live performances – and punk rock can thrive on that – but there are some subtle sounds to The Damned as well, and ‘Wait for the Blackout’ didn’t quite have those noises.

My concerns proved justified when latter in the gig tracks from their mid-eighties gothic period, namely the hit ‘Eloise’ and ‘The Shadow of Love’. Of course they were still great songs, and the crowd lapped them up as expected whilst David Vanian went into the crooner mode, but they were lacking some of the finer points of his melodic vocalisations.

On other tunes however where a higher degree of roughness is to be expected this wasn’t an issue; whether one ranges from the string of favourites including ‘New Rose’, ‘Love Song’, ‘The History of the World’, ‘Neat, Neat, Neat’ (I admit – my least preferred Damned song), ‘I’m Bored’ ‘I Just Can’t Be Happy Today’, ‘Anti-Pope’ and the signature conclusion, ‘Smash It Up’. The crowd adored their performance; there was pogoing, crowd-surfing, and slam-dancing, there were cheers and chats with the ever conversational Captain.

It should be mentioned that Captain Sensible did also suggest Happy Talk as their concluding song, after all it was the most successful single from the band and its members somehow reaching number #1 in the UK for two weeks. My innate sense of musical perversity and appreciation of its brilliant combination of irony and genuine intent would have certainly supported such a decision, but I suspect this would be a minority viewpoint.

Overall, The Damned certainly showed that there’s more than a little bit of life and passion in the band and among their fans as well. As a 35th anniversary tour, they also have a wealth of experience as well as well as a small mountain of popular songs among their fans. Attending on my the eve of my own 44th year really reminded me that they’ve been part of my personal narrative as well; after all I did name a sf fanzine ‘Phantasmagoria’ in my teenage years. Yeah, I guess they did leave quite an impression on me – and continue to do so today.

Note: Sludge Factory have an awesome set of pictures from the gig.

This entry was posted on Friday, January 27th, 2012 at 8:55 am and is filed under Uncategorized. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.

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