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Post by petrolino on Aug 9, 2019 21:07:30 GMT
Patricia Lee Smith was born on December 30, 1946 in Chicago, Illinois.
Laura Phillips Anderson was born on June 5, 1947 in Glen Ellyn, Illinois, a suburb located about 24 miles due west of downtown Chicago.
'Strange Angels' (1989) - Laurie Anderson
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Post by Deleted on Sept 14, 2019 16:28:08 GMT
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Post by petrolino on Sept 14, 2019 20:47:53 GMT
'Free Money' is my favourite Patti Smith song. Great video, thanks.
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Post by Deleted on Sept 14, 2019 21:58:31 GMT
'Free Money' is my favourite Patti Smith song. Great video, thanks.
Thank you for all the work you put into this thread
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Post by TheGoodMan19 on Jul 18, 2020 5:43:38 GMT
I always thought The Go-Go's were a criminally underrated band. Pop fluff to be sure, but they were talented musicians. Especially Gina Shrock and Charlotte Caffrey. Jane Weidlin was a great singer and should have shared lead vocals with Belinda Carlisle. In the end, they were probably doomed to split up. Belinda was just too big for the other girls. And the drugs were outrageous.
I had a weird crush on Kathy Valentine. Can't explain it. Female bass players. Tina Weymouth. Jackie Fox.
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Post by petrolino on Jul 18, 2020 23:01:06 GMT
Run, Run, Run, Run, Runaway to the Rainbow Bar & Grill
Joan Jett – Guitar
Lita Ford – Guitar & Bass
Cherie Currie – Keyboards & Percussion
Vicki Blue – Bass
Peggy Foster – Bass
Jackie Fox – Bass
Laurie McAllister – Bass Micki Steele – Bass
Sandy West – Drums
'The Runaways' (2010) 'The Runaways' is a feminist biopic of influential rock group the Runaways who formed in 1975 in Los Angeles, California. It's directed by video artist Floria Sigismondi and based on the book 'Neon Angel : A Memoir Of A Runaway' (2010), co-authored by Cherie Currie with Terry O'Neill. As I understand it, this book offers an expanded, revised and updated text based upon the original 'Neon Angel' (1989), which Currie wrote with Neal Shusterman.
"Actresses and vampire lovers Dakota Fanning and Kristen Stewart are on the big screen now as singer Cherie Currie and singer/guitarist Joan Jett in band bio The Runaways. But Currie's new memoir (on which the film was based, goes even way further than what's up there. What doesn't this book have in its tale of the rise and fall of the '70s all-girl teenage rock band that actually rocked? Shameless jailbait sex promotion, rape, abortion, suicide attempts and near-death experiences, world travel, drugs (LOTS of drugs), booze, sex (straight and gay), catfights, exploitation, family desertions, secrets and blow-ups. And that's just from the "Cherry Bomb" Currie, who may have only joined the group at 15 and left at 17, but managed to pack enough into that time period to make any teen girl's father shudder. And while it shares a title and some chapters with Currie's 1989 Neon Angel, this one is practically a new book, filled with way more article-headlining behavior - Currie and Jett's sexual encounters among them - than in that original slim volume.
Between all the substance/skin abuse and the battling among the original five Runaways (Currie, Jett, guitarist Lita Ford, drummer Sandy West and bassist Jackie Fox) is a full-steam-ahead-no-stopping tale in which Currie's stories of her troubled family just as compelling as the studio-and-stage rock and roll retelling. With what Currie was experiencing at an age when most girls are picking a prom dress, it's amazing she (and the rest of the band) made it to the other side at all.
But if the cleaned-up Currie - who would quit the group before it imploded, and eventually work as a drug counselor and tree-carving artist in addition to acting and singing - emerges as her own heroine, then the role of villain is lain squarely on Runaways creator/manager/abuser/Svengali Kim Fowley."
- Bob Ruggeiro, Houston Press
Alia Shawkat, Scout Taylor-Compton, Stella Maeve, Kristen Stewart & Dakota Fanning as the Runaways 'The Orchids' ~ The Orchids
Obnoxious self-promoter and self-styled impresario Kim Fowley was as despised in sections of American music as Malcolm McLaren was here in the U K, though I'd contend Fowley was more talented than McLaren. In fact, he co-wrote some great songs during his lengthy career in music, working with a wide variety of musical artists from the 1960s onwards.
In the mid-1970s, Fowley witnessed the emergence of punk rock. He recognised this as an opportunity to fashion something dangerous on the west coast and started recruiting teenage girls with musical skills for a range of creative projects. Before long, accusations of horrific abuses were being laid at Fowley's door and it's hard to separate the artist from the scumbag he appears to have been (though I don't think he was ever tried, convicted or prosecuted over these alleged sex crimes and infractions). I was never a Fowley fan and haven't given him or his career much thought, but I enjoy the Runaways' music immensely. I need to pick up a copy of the 2010 edition of 'Neon Angel' and give it a read.
"Producer Kim Fowley's larger-than-life story continues to add outlandish chapters even after his death. Fowley, who passed away Jan. 15 following a struggle with cancer, cut a colorful path through the record business during his long career, working with a long list of artists that included Frank Zappa, Warren Zevon, Kiss and Alice Cooper -- as well as overseeing the early career of the Runaways, the groundbreaking band that helped erode rock's stubborn gender barriers while launching the careers of Joan Jett and Lita Ford.
According to TMZ, musical taboos weren't the only boundaries Fowley wanted to break. The celebrity news network has filed a (decidedly NSFW) report detailing the unorthodox plans Fowley made for his corpse -- and the somewhat strange turn they've taken in the days since his death.
Without going into too much detail, suffice it to say that Fowley expressed an interest in appearing as a model in a photo shoot for Girls and Corpses Magazine, which is apparently a real thing that attracts enough subscribers to stay in business during the post-print era. According to e-mails unearthed by TMZ's sources, Fowley reached out to the magazine in 2012 to offer himself up, and although the publisher passed on his most extreme requests, they did agree to a cover shoot between his corpse and his girlfriend.
The problem now -- at least for the magazine -- is that since that offer was made (and, presumably, money changed hands), Fowley parted ways with his girlfriend and, in 2014, married Kara Wright, his wife at the time of his death. Wright has reportedly been incommunicado since Fowley's passing; as the report puts it, the magazine "can't find her to allow them to shoot the body."
It's worth noting that more than a few of Fowley's fans have chimed in at the comments section of the TMZ report, pointing out that he loved getting a rise out of people and may have been hoping to pull off one last shock. If that's the case, then please join us in saying "mission accomplished" ... and in hoping this matter is resolved as quickly and privately as possible."
- Jeff Giles, Ultimate Classic Rock
Kim Fowley 'Big City' - Venus And The Razorblades
'Nervous' - Dyan Diamond
I'm not sure I'd recommend 'The Runaways' as I didn't particularly enjoy the movie. I'm more keen to get a copy of the book, but the movie's done a good job bringing the band's music to a new generation of fans. The Runaways' guiding light, Suzi Quatro, is among the musical artists that appear on the film's soundtrack.
"The Runaways is a curious mix, an exhilarating story of female self-expression that's also a cautionary tale of female exploitation. So as the '70s girl group The Runaways comes together and then slowly disintegrates, there's a simultaneous rising and falling arc — which would be thrilling if writer-director Floria Sigismondi had a structure that could hold it all together.
What she does have is punkish audacity: Her first shot is a splotch of menstrual blood on the pavement, as 15-year-old future Runaways vocalist Cherie Currie gets her first period. What makes this even more outrageous is that Cherie is played by Dakota Fanning, now stretched out and filled out. It's as if the director is saying, "Here's your adorable little child star. What do you make of her now? What will she make of herself?"
After she's teased by her more worldly sister, Cherie dolls herself up and heads for Rodney Bingenheimer's English Disco, a well-known L.A. club that's also where Kristen Stewart's Joan Jett heads, after buying herself a motorcycle jacket. She wants to play guitar in a rock band, but in the mid-'70s, the sexist conventional wisdom said girls didn't play electric guitar. Still, when Jett accosts the ghoulish impresario Kim Fowley, played by Michael Shannon, the idea for The Runaways is born."
- David Edelsetein, National Public Radio
Lita Ford, Joan Jett, Cherie Currie, Sandy West & Jackie Fox 'The Wild One' - Suzi Quatro
I would, however, happily recommend Victory Tischler-Blue's in-house documentary 'Edgeplay : A Film About The Runaways' (2004). The soundtrack for this film showcases songs by Lita Ford and Suzi Quatro. Blue directed the music video for Quatro's cover of Goldfrapp's single 'Strict Machine'.
Vicki Blue 'Wasted' - The Runaways
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Post by petrolino on Jul 24, 2020 21:39:45 GMT
Punk Photoplay
Debbie Harry has been photographed by some of the New York punk scene's finest ... David Godlis, Marcia Resnick, Donna Stantisi, Roberta Bayley, Gary Green, Lynn Goldsmith, Ebet Roberts, Julia Gorton, Bob Gruen ...
"More and more lately, I’ve been thinking that I was portraying some kind of transsexual creature."
- Debbie Harry, 'Face It'
* For some California punk photos, check out the work of Linda Aronow, Edward Colver, Brad Elterman, Jim Jocoy ...
Debbie Harry by Brad Elterman
'Here's Looking At You' - Blondie (embracing social distancing)
New York Nightlife
Erotica was an intrinsic part of New York's art punk scene long before Madonna arrived from Bay City, Michigan to patent it. Pop artist Andy Warhol of Pittsburgh, Pennsylvania was the art punk scene's godfather, a natural voyeur with an eye for lurid detail.
Like Warhol, portrait artist Robert Mapplethorpe is often recalled for his images of masculine bulges and aggressive male members, but he photographed a lot of different subjects during his lifetime. Surrealist Jimmy De Sana created psychedelic images that distorted dimension and rendered gender as amorphous form. Transgressive filmmaker Richard Kern developed longstanding artistic relationships with Lydia Lunch and Sonic Youth who composed music for some of his photography collections and art installations.
The Museum of Sex, now commonly known as MoSex, opened its doors in 2002 and was immediately condemned by the Catholic League for Religious and Civil Rights. It's an adult museum dedicated to restoring, preserving and exhibiting New York's sexualised artworks of the modern era, located at 233 Fifth Avenue at the corner of East 27th Street in Manhattan, New York City. I've not been there myself, but its work has been eagerly covered by 'The Daily Mail' tabloid newspaper here in England, notably during a court case involving a giant installation known as the Big Boob Bounce House.
“By the time CGBGs came around, there were more girls involved – and over here as well in the UK. It was the beginning of female intervention - or whatever you want to call it. I think there was more resistance to having girls in bands towards the end of the ‘60s – Cherry Vanilla and Ruby Lynn were very active early on. They probably had it much harder than I did. Though it just seemed like it was part of evolution as far as I could see. I also felt that way about the gay guys fronting bands and it being very apparent – I think they had it a lot harder than me.”
- Debbie Harry, New Musical Express
Mudd Club co-founders Anya Phillips & Diego Cortez by Jimmy DeSana
Elisabeth Carr (Lung Leg) by Richard Kern
'Nurds' - The Roches
A History Of Erotic Art
The crossover between art scenes in New York's concise, distinct districts is perhaps best encompassed by the work of roving photographer Roy Stuart, a somewhat mysterious punk figurehead who's become one of the world's premiere eroticists and is the author of several grounbreaking collections of erotic artworks. Stuart played drums in Pigeons Of The Universe and Numbers, two of the New York underground's more notorious outfits. These groups were connected to the Plasmatics whose controversial live shows evolved from Rod Swenson's adults-only revue, Captain Kink’s Sex Fantasy Theater, in which Wendy O'Williams (still a redhead) performed as part of an anarchic burlesque troupe and displayed a predilection for mooning.
In the 1990s, Stuart's photography career took off while he was living in Paris, France. He'd built a studio there and assembled a small but loyal company of models, performers and technicians. His work mixed a New York sensibility with French impressionist techniques to create a highly individualistic style all his own and he remained an advocate for captured images of shapely behinds. Like Richard Kern, Stuart directed films too; his movie 'Giulia' (1999) became the extended centrepiece of Tinto Brass' project 'Erotic Short Stories', a celebrated 12-story film compendium compiled for Italian television which has since been released internationally to dvd.
The visual artistry of Stuart and imaginative staging of Swenson are both said to have been inspired by European cinema of the 1970s. Stuart is noted for his images of sophisticated ladies taken from behind. A return to this most trusted of civilised artistic formats took hold throughout Europe in the 1970s. Indeed, the hunt for ladies' bottoms was depicted in comedies like Cliff Owen's 'Ooh … You Are Awful' (1972), Sven Methling's 'Tact And Tone In The Four-Poster Bed' (1972), Henning Ornbak's 'Me And The Mafia' (1973) and Franz Josef Gottlieb's 'Bottoms Up' (1974). Women's backsides were envisioned as tools of seduction, counterpoint and distraction in comedies like Lucio Fulci's 'The Senator Likes Women' (1972), Gianfranco Baldanello's 'The Ingenue' (1975), Raoul Foulon's 'The Groper' (1976) and Alberto Lattuada's 'Oh, Serafina!' (1976). Obsessive male tendencies and privately held desires were explored in comedies like Joel Seria's 'Cookies' (1975), Maurizio Liverani's 'The Fishing Hole' (1975), Lucio Fulci's 'My Sister in Law' (1976) and Andrea Bianchi's 'Dear Sweet Nephew' (1977). Paintings were reproduced in cinematic terms in Jean-Francois-Davy's 'Clockwork Banana' (1974), Jean Rollin's 'Fly Me The French Way' (1974), Walerian Borowczyk's 'Immoral Tales' (1974) and Alois Brummer's 'There's No Sex Like Snow Sex' (1974).
Such comedies frequently drew inspiration from ideas observed within a well-documented history of scandalous European art. These traits have been rigorously explored by art historian Caroline Pochon whose extensive research and ability to access interview subjects have led to the creation of several keynote academic texts (these studies are said to have formed the basis for her 2009 publication 'The Hidden Side Of The Bottom' which she co-authored with Allan Rothschild).
"Captain Kink’s Sex Fantasy Theater was a strange mix of vaudeville and live sex, but it was a success – and people who worked there enjoyed it.
Roy Stuart – a struggling drummer, sometime sex film actor, and future erotic photographer – remembers the atmosphere: “I got a job as a stage manager. I met Rod Swenson and thought he was very creative. My job there wasn’t very complex. I would set the small stage, handle the spot light, things like that. The shows were… well, it’s too bad that no one really filmed an entire show. There would be so many different things going on. Sometimes Rod had me wearing roller skates. He would announce, “Hold on while the stage manager resets the stage on his roller skates. I worked there for a year and a half or so. I enjoyed it.”
Wendy O'Williams quickly developed a fan-following at Captain Kink’s, but one that extended to the NYPD as well. In a series of raids in the city, she was arrested eight times for live sex performances in a twelve-week period. This was not uncommon. Monica Kennedy, the self-proclaimed ‘most outrageous performer in town’, was arrested for a number of reasons – the most common being for weapons possession on account of the toy guns that formed part of her costume.
But in the Spring of 1977, the city – led by Mayor Abe Beame – embarked on a more concerted effort to rid Times Square of smut. And Rod’s Show World, now billed as “America’s Most Outrageous Live Fantasy Theater,” was in the firing line. In March 1977, Beame personally led two police raids that resulted in the closure of an adult bookstore and peep show, a topless bar, and the Show World center itself. The charges against Show World? A building code violation on the first floor of the 12-story building. The violation stated that the building was in imminent danger because it had no sprinkler system.
Rod decided to fight back – so he and Wallace Katz, the owner of the building that housed Show World, held a press conference in the theater. In a well-attended event, Rod claimed that the theater shows were in fact “a stabilizing influence in the neighborhood” and that his business employed 60 people. He was adamant that, “Sex between consenting adults is not against the law,” and announced that he was bidding to have the theater re-opened within days."
- Ashley West, The Rialto Report
Debbie Harry
Debbie Harry's screen test for 'Union City' (1980)
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Post by petrolino on Aug 22, 2020 23:40:54 GMT
Punk Bass : Innovators & Technicians
Richard Hell (Neon Boys / Television / The Heartbreakers / The Voidoids)
"We cannot fully recount the glory of rock ‘n’ roll sans the narrative of the bassist, singer, composer, novelist, journalist born Richard Lester Myers. Following frustrating stints with the Neon Boys, Television and Johnny Thunders’ Heartbreakers, Richard Hell helmed a groundbreaking ensemble which fulfilled his artistic vision, The Voidoids.
With the late great guitar virtuoso Robert Quine, guitarist Ivan Julian, and drummer Marc Bell – Hell waxed one of the most influential albums in any era of rock – Blank Generation (1977). To my ears, Hell’s bass artistry evokes comparison to his UK peer Tom Robinson, as both employed rudimentary lines with angular rhythms that embellished their poetic disposition.
A musical and fashion innovator with his signature spiked hair and torn safety-pinned haberdashery – Hell sartorially swayed the punk movement. The artist recalls in his memoir (I Dreamed I Was a Very Clean Tramp / 2013) an incident wherein Blondie brain-trust Chris Stein observes an image of the Sex Pistols and opines to him – “Here’s four guys who look just like you!”
Even the late punk impresario Malcolm McLaren admitted to copying Hell for both the Pistols and his legendary London boutique Sex.
After the release of The Voidoids’ aforementioned seminal collection and the long-delayed follow-up Destiny Street (1982), Hell drifted from the music business for a myriad of reasons; however his vital contributions to the annals of rock ‘n’ roll endure."
- Thomas Semioli, Bass Player
'The Plan' - The Voidoids
Ivan Kral (Luger / Blondie / The Patti Smith Group)
"Ivan Král briefly played with Blondie in the mid-’70s before beginning his long tenure with Patti Smith Group. The composer, producer, and guitarist co-wrote many songs with Smith, most notably “Dancing Barefoot,” from the 1979 album Wave. Král also performed on and wrote for Smith’s debut album Horses (1975), Radio Ethiopia (1976), Easter (1978), and the live album Exodus (1994), recorded in the ’70s.
In addition to his work with Smith, Král wrote songs performed by Iggy Pop, David Bowie, Eastern Bloc, and others. In 1976, Král released a documentary of the local New York punk scene titled The Blank Generation. The film—directed by Král and Amos Poe—features footage of Blondie, Richard Hell and the Voidoids, Talking Heads, Ramones, Wayne County, and more."
- Madison Bloom, Pitchfork
'Kimberly' - Patti Smith Group
Fred Smith (The Stilettoes / Blondie / Television / The Roches / Peregrins)
"Marquee Moon.
Forty five minutes and thirteen seconds of genius.
I know, I know, there's a work of genius hailed in just about every record company press release, but it's a term easily thrown at this week's New Thing and very rarely as justified as it is here. This is music which is at once strangely-familiar and completely alien. It's beautiful, graceful, powerful, fractured, smart and driven, and it's a massive rush from start to finish.
A look at the front cover gives you no idea at all what lies in store: what looks like three rock musicians and a geek with a thousand-yard stare. But this is Tom Verlaine, and he's looking into the future. This is Tom Verlaine and soon you will realise that just about all of the guitar players that you've ever heard were, somehow, missing the point. He and Richard Lloyd will mark this album for all time as one of the great electric guitar records.
Forget all those bands where, halfway through yet another second-rate rock'n'roll plod, the rhythm section will keep time while the guitar player acts out some masturbatory fretboard fantasy. There is nothing in this album which doesn't seem to belong. Wherever the guitars and vocals go, the whole thing is held together by Billy Ficca's wonderful drums and Fred Smith's elegant, almost-understated bass lines. Just as the really great guitar players know when to play nothing, the great drummers know when to hold back and when to be there."
- Keith Allison, The Wonder
'The Dream's Dream' - Television
Dee Dee Ramone (Ramones)
“Dee Dee Ramone was the archetypical f--k-up whose life was a living disaster. He was a male prostitute, a would-be mugger, a heroin user and dealer, an accomplice to armed robbery -- and a genius poet who was headed for an early grave, but was sidetracked by rock ‘n’ roll.”
- Legs McNeil, 'Lobotomy'
'Now I Wanna Be A Good Boy' - Ramones
Billy Rath (The Heartbreakers / Street Pirates)
"Billy Rath replaced original Heartbreakers bassist Richard Hell in 1976, prior to the recording of the band's only studio album, 1977's 'L.A.M.F.' Although the record was far from a critical or commercial hit, the group caught the eye of the Sex Pistols, who invited them to travel on the Anarchy Tour, which also included the Damned and the Clash; unfortunately, what should have been an opportunity quickly devolved into a disaster, as all but a handful of shows ended up being canceled (due at least in part to pressure from local politicians along the tour's route).
The Heartbreakers broke up in 1978, but reformed periodically for reunion gigs, and Rath walked away from the lineup -- and rock 'n' roll in general -- in the mid-'80s.
"I disappeared in 1985 for health reasons or I would have probably died as was rumored," he explained in a 2011 interview. "What I did was go back to school. I now have a BS in Psychology and a Masters in Theology. I was helping/counseling people with alcohol/drug addiction. I also became a minister and pastored a few churches helping people find a better way to live."
- Jeff Giles, Ultimate Classic Rock
'Chinese Rocks' - The Heartbreakers
Tina Weymouth (Talking Heads / Tom Tom Club)
"On the cusp of her teenage years, Tina Weymouth, a California native, found an unexpected musical outlet: at 12, she joined a prestigious youth music group called Mrs Tufts’ English Handbell Ringing Group, which travelled across the mid-Atlantic United States performing medieval melodies and wearing Elizabethan garb. Yet her interests soon shifted to less archaic genres, namely rock ‘n’ roll and folk. A self-taught musician, Weymouth found inspiration in artists like Bob Dylan and Peter, Paul & Mary. In 1971, Weymouth met her future husband (and band mate) drummer Chris Frantz, while studying at the Rhode Island School of Design, where they shared a painting studio. Four years later, Talking Heads officially formed in New York City, and Frantz and Weymouth married in 1977 (and remain together, romantically and musically, to this day).
The trio’s pioneering sound, with its nods to funk, African, and Brazilian music, and eccentric onstage antics – from David Byrne’s oversized suits to Weymouth’s memorable dance moves – brought them widespread acclaim and multiple records. However, it wasn’t until 1981 when the band took a breather that Weymouth found a sound all of her own. That year, she and Frantz co-founded Tom Tom Club, named in homage to the Bahamian dancehall where they rehearsed for the first time while on hiatus from Talking Heads, and released their dreamy, sonically dynamic and highly danceable debut record to rave reviews. It’s a testament to Weymouth’s talent that club favourite Genius of Love, which has been sampled by countless artists, including Mariah Carey and Grandmaster Flash, remains a timeless classic in 2017."
- Olivia Aylmer, AnOther
'Warning Sign' - Talking Heads
Gerald Casale (Devo / Jihad Jerry & the Evildoers)
"I had four siblings, but Bob was my closest brother in age. We were born four years apart and we bonded very, very early on. We also loved the same sort of music when we were young. We got really great radio stations out of Detroit, so we were listening to a lot of Motown and R&B and Chicago blues. That was our true love other than big pop music hits like the Rolling Stones and the Beatles and Kinks and James Brown.
Bob was a self-taught guitar player. I started playing bass when I was 17. He began playing guitar when he was 15 and I had gone onto college. His first band was a surf band called the Wipeouters. We didn’t see each other much in that period.
We hooked up as musicians when I was in graduate school. We started talking about these Devo concepts and I started infecting him with the Devo bug. Mark Mothersbaugh and I got serious about our concepts so we enlisted our brothers. I talked my brother Bob into it and Mark talked his brother Bob into it. Suddenly, we were a real band. We never played together until we started jamming as Devo in 1974.
When Bob graduated from high school he went into radiology and became a radiologist technician. For the first three or so years of the band, he was leading a double life between Devo and his work as a radiologist. He even came into one of the gigs at The Crypt in his scrubs. A lot of people told Bob to stop playing in Devo in those early days. Luckily, he had trust. That’s one of at the advantages of brothers. He didn’t accept disrespectful assessments of our experiments. We were feared and objects of derision all at the same time. They felt sorry for us in a way. We couldn’t even get a date.
Devo was certainly, in the beginning, a true unit. We were the Five Musketeers. It took everyone’s energy and everyone’s contributions, whether or not they wre the primary songwriters. Of course, Mark and I wrote all the songs, but without Bob Mothersbaugh and Bob Casale those songs would have never been fleshed out into full Devo expressions. What people liked about us was that we were playing as if we were a machine. But we were playing for real with no click tracks, no sequencers or anything in the beginning. People didn’t believe what they were hearing. It was so tight, like white robot versions of James Brown’s Famous Flames. It really took Bob’s style of guitar playing to complete that, both Bob’s. They could play very staccato very exactly. They both had the willingness to play lines that no self-respecting guitar player would play because that’s not how you use a guitar."
- Gerald Casale, Rolling Stone
'Blockhead' - Devo
Jeff Magnum (Dead Boys)
"Here’s where the Dead Boys started for me. They were the first punk rock band I ever saw. In November 1976, I came down to Boston from Maine — I was attending college there — and tried to catch gigs. It so happened the Dead Boys, who had yet to record their debut album, were at the Rat one night and that’s where I ended up with about 50 other people. It was my good fortune. Punk was starting to gain strength.
I’d heard about shows like this — Iggy and the Stooges were infamous for them — but at age 20, I’d never seen anything like it. Stiv Bators was all over the stage, caterwauling and sneering. He cut his bare chest with a broken beer bottle, put his head inside Johnny Blitz’s kick drum, pretended to hang himself with the mic cord — all while the band churned out this nasty, catchy, furious punk rock, songs like “Sonic Reducer,” “Down in Flames” and “All This and More.” The songs — angry, raw and oddly empowering — were new to me and sucked me in immediately.
“People weren’t used to that sort of thing,” Cheetah Chrome says now, looking back at those days. “In a way, it was a lonely existence. We had kind of a rough time because of it. People thought you were weird every place you went. We kind of carried it with us.”
Chrome says they never talked about what the Iggy Pop-inspired Stiv was going to do or what his game plan was for the night’s show. “Some nights he’d lose it,” says Chrome, with a slight laugh. “He did some things that didn’t work quite so well, and he was like, ‘Well, I won’t never do that again!’ Like he’d pull my guitar cord over and the amp would come with it across the stage. Sometimes he would go crawling through the drums and knock them out of the way so we couldn’t play and we’d have to stop and fix them. We’d all be standing around for five minutes.”
- Jim Sullivan, The ARTery
'Ain't It Fun' - Dead Boys
Tony Maimone (Pere Ubu / They Might Be Giants)
"I know a lot of drummers who can play to anything. I always thought that in a lot of ways Scott Krauss was a really uncompromising drummer, who could only play if he felt a certain way about something, and I always respected and admired that."
- Tony Maimone, Nadir-Novelties
'Street Waves' - Pere Ubu
Tim Wright (Pere Ubu / DNA)
"The sound of DNA changed when Tim Wright joined the band – he played bass, while his predecessor in the group was a keyboardist – and the trio influenced subsequent punk and underground rockers, including Sonic Youth."
- Erin Coulehan, Rolling Stone
'Heart Of Darkness' - Pere Ubu
Jay Bentley (Bad Religion)
"Dee Murray's talent for finding the lines in a piano-led band are phenomenal. Elton John had a pretty mean left hand, which freed up a lot of space in the middle of the fretboard that I think Dee used very tastefully. He may have been the first player I absolutely recognized as "refrained."
- Jay Bentley, There's Something Hard In There
'White Trash (Second Generation)' - Bad Religion
Lorna Doom (Germs)
"The Germs – whose classic lineup comprised Lorna Doom, Don Bolles, singer Darby Crash and Pat Smear, who later joined Nirvana and is currently in Foo Fighters – formed in 1976. The group released its influential album, (GI) in 1979. Produced by Joan Jett, the album has been heralded by Rolling Stone as one of the “Greatest Punk Albums of All Time.” However, with only one full LP under their belt, the Germs disbanded in 1980 after Crash committed suicide via a heroin overdose."
- Althea Legaspi, Rolling Stone
'Lexicon Devil' - Germs
Chuck Dukowski (Würm / Black Flag / October Faction / SWA / The Chuck Dukowski Sextet)
"If Chuck Dukowski had only played on, say, Black Flag's first 6 releases – and he DID – he'd already be a music legend. Hell, if he'd only written Black Flag's "My War" – which, again, he did – he'd make the history books. But there's much more to the guy than that. Chuck also helped run (and co-owned) the SST label from approximately 1978-1989, the core period which saw the label make its name as the most important American independent label of the 1980's, releasing records by the likes of Husker Du, Minutemen, Meat Puppets, Saccharine Trust, Saint Vitus, Sonic Youth, Bad Brains, Dinosaur Jr. and many more, and was, according to Henry Rollins, the great brains trust, "attitude man" and motivator within that milieu (with all due credit to Greg Ginn!).
But of course, there's also his history with his first band, sludge-metallers Wurm, and his post-'Flag outfit SWA, a band whose hard-rock fury still divides fans and remain a love-'em-or-hate-'em proposition."
- Dave Lang, Perfect Sound Forever
'What I See' - Black Flag
Klaus Flouride (Dead Kennedys)
"Geoffrey Lyall, aka Klaus Flouride, hails from Detroit, Michigan. Fascinated by early rock and roll records by Buddy Holly, Jerry Lee Lewis, and many others, he picked up the guitar as a teenager and began playing in bands. The switch to bass occurred in 1968 after moving to Boston and playing in a power trio. For roughly a decade, Klaus went back and forth between Boston and New York with various bands and as a freelance player. In 1977, he moved to San Francisco and found a new musical home in the punk rock scene. Klaus responded to a magazine ad by East Bay Ray, auditioned, and shortly thereafter, Dead Kennedys came to be."
- Ryan Madora, No Treble
'Ill In The Head' - Dead Kennedys
Mike Patton (The Middle Class / Eddie And The Subtitles)
"If you’ve ever found yourself stuck in a room with a bunch of record collecting nerd types arguing over who was America’s first Hardcore Punk band, the name of Santa Ana California’s Middle Class had to be thrown around more than once. Their debut seven-inch EP from 1979 Out of Vogue is considered by many to be one of the precursory, blueprint records for the Hardcore scene along with Bad Brains Pay to Cum, Stimulators Loud Fast Rules and Black Flag Nervous Breakdown."
- Tony Rettman, VICE
'Mosque' - The Middle Class
Roger Rogerson (Circle Jerks / The Secret Service Band)
"A founding member of the Circle Jerks, Roger Rogerson perhaps had more musical skills (he was classically trained as a guitarist) than most of his peers in the LA underground, but he was wrecked by a combination of a bi-polar diagnosis and years of drug and alcohol abuse. There was also the issue of his wildly unpredictable personality."
- Carlos Ramirez, No Echo : Hardcore, Metal And Everything In Between
'Operation' - Circle Jerks
Derf Scratch (Fear / The Werewolfs)
"Derf Scratch — real name Frederick Milner — founded the band in 1977 with singer Lee Ving, more or less abandoning his job as a realtor (where he worked with both of his parents) and sneaking off to practice while pretending to be out looking at properties. The group released the single “I Love Living In The City” later that year. A band so rough-and-tumble that it would openly goad its audiences into trying to fight them, Fear developed a reputation as one of the most hardcore acts in a city teeming with them — a reputation that was secured once director Penelope Spheeris documented one of their sets in The Decline Of Western Civilization, during which the group duked it out with the crowd before ever playing a song. Decline also featured a scene where Scratch immortalized the phrase, “Eat my f*ck.”
- Sean O'Neal, The A.V. Club
'Foreign Policy' - Fear
Kathy Valentine (Girlschool / The Violators / The Textones / The Go-Go's)
"I love that when you hear the Go-Go's music, it doesn't necessarily sound '80s. It might not sound real modern, but it doesn't sound dated. It's weird to me that the '80s were so long ago. And it's weird to me that I'm part of nostalgia now."
- Kathy Valentine, Pop Matters
'You Thought' - The Go-Go's
Mike Watt (Minutemen / Dos / Firehose / Unknown Instructors / Floored By Four)
"The Minutemen are a fascinating band and Mike Watt and the Minutemen are so very clearly THE defining influence for the Red Hot Chili Peppers.
The Minutemen play concise songs that combine frenetic energy, complex basslines, whimsical lyrics, discordant effects, engaging tension & release, driving beats, shredding guitar solos and a blurring of punk and funk music; pretty much the exact same components that define the Red Hot Chili Peppers. In their career high-point endeavor, the Minutemen amazingly released a 43-song album Double Nickels on the Dime, which despite an average song length of about one minute (ah now I get it, the “Minutemen”), contains almost entirely complex and interesting compositions."
- Ryan Dembinsky, Glide 'Joe McCarthy's Ghost' - Minutemen
Bass Duo
Bruce Loose (Flipper) & Will Shatter (Negative Trend / Flipper / Any Three Initials)
"The original quartet — singer and bass player Will Shatter, guitarist Ted Falconi, singer and bass player Bruce Loose, and drummer Steve DePace — played music that was soon notorious. Their slow, glacial groove, Falconi's wall of noise guitar style, the interlocking bass lines of Loose and Shatter, and the relentless timekeeping of DePace's drums created a new, unfathomable style. With decades of hindsight, they can be recognized as the first post-rock band, or the forefathers of the grunge rock movement. At the time, their rhythmic, avant garde noise got them tagged as the band you love to hate."
- J. Poet, East Bay Express
'Shed No Tears' - Flipper
Alternating Bass Duo (Utilising Various Modulating Instruments)
John Piccolo (The Shirts / Chemical Wedding) & Robert Racioppo (The Shirts)
"A first album had been well-received in many countries (if not at home). Basic living standard or not, it was time for the second. For this ingenuously enthusiastic, musically ambitious and positively-thinking group, personal support from EMI London in the late seventies was caring and unconditional. Those were the days when workers at a large corporate record company could feel free to respond on a personal level and make a difference. From this distance, it seems increasingly incomprehensible that a large corporation could exhibit such indie-record company responsiveness: not any more. I dimly remember going out to Heathrow Airport with A&R boss Nick Mobbs and a couple of other company people to pick up and greet the Shirts after their New York flight on arrival at Heathrow at 9am, arriving for their first album recording. Getting up at such a time has always been a serious endeavor for any music type, but we all did it without a second thought.
I also dimly remembered another early morning getting-up at the sh*t-house (as it was affectionately known) Shirt House, under the crippling influence of jet-lag and a hangover. CBGB’s club needed to be seen to serve food to keep its liquor license, one aspect of a continuing cat-and-mouse game with the New York City regulatory authorities. Since there wasn’t much call for fine cuisine (the dreadful Phebe’s down the Bowery being the recovery room of choice) there was usually a surplus of raw material at the end of the long night. Balanced on one of the gas stove burners were an aluminum pan and a wodge of good-looking hamburger meat. The pan was on the stove, where it belonged. The meat was underneath it. Domesticating the Shirts never seemed a viable option."
- Mike Thorne, The Stereo Society
'Triangulum' - The Shirts
Bass Unit
Fred Smith (The Stilettoes / Blondie / Television / The Roches / Peregrins)
Ivan Kral (Luger / Blondie / The Patti Smith Group)
Gary Valentine (Blondie / The Know / Essential Logic) Frank Infante (Sniper / Blondie) Nigel Harrison (Silverhead / Blondie / Chequered Past)
"I had known about the occult vaguely from horror films and comic books and things of that sort, but I'd never taken a real interest in magick and the more obvious occult sort of things. But when I was first playing in Blondie in New York in 1975 I was living with Chris Stein and Debbie Harry in this little flat in Little Italy, [and] Chris had this sort of kitschy interest in the occult and black magick and voodoo and Debbie was vaguely into it as this kinda "funny thing". Chris had quite a few books and paraphernalia and there was this one book by an English writer named Colin Wilson called The Occult — a huge history of it from a sort of philosophical point of view. It was very readable and it made it very interesting to me. I was always a big reader, reading tons of books; I just borrowed it and pulled it off the shelf and was fascinated by it.
There were also books floating around like Diary of a Drug Fiend. Aleister Crowley was this kind of figure because he was still around from the 60s. The 60s picked up on him as a kind of proto-hippy and his stuff was floating around as debris. The idea that he took lots of drugs was very encouraging to us. Gradually from there it became a fascination — I read more and more about it and took a more serious approach to it.
I was involved in a few rituals many, many years ago when I was living in Los Angeles in the late 70s. I got involved in a Crowley group there. I had the robe and the incense and I practiced some of the rituals. I was involved in what is called a gnostic mass and my expectations were "OK, here's where the wild sex orgies and drugs take place," but it was a rather calm sober affair and nothing much happened.
I do remember one time, when I was moving back and forth from New York to Los Angeles, I was going to do some ritual and in preparation for it I fasted and took a vow of silence for a day. I was walking around New York going to all the places I normally go to and running into a lot of people and when I wouldn't talk to them they thought I was out of my mind. I couldn't go the next day and say 'Oh the reason I didn't talk to you was because of my vow of silence' — that would probably make it worse.
When I was living in LA in in this Crowley group, they had these salutations you'd do three times a day — at dawn, at noon and at sunset. Once my girlfriend and I were in a coffee shop and it was noon and I had to do this thing and she was completely red in the face. It definitely put a damper on our love life. You should try things, check them out, and if they work for you move on to the next thing."
- Gary Valentine, The Quietus
'Atomic' - Blondie
The Singing Bassist
John Doe (X / The Flesh Eaters / The Knitters)
'Universal Corner' - X
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Post by DrKrippen on Aug 25, 2020 7:42:33 GMT
Who needs the White Stripes and Black Keys when Mr. Airplane is around? Two piece ensemble at it's best.
Mr. Airplane Man - Commit A Crime
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Post by petrolino on Aug 25, 2020 16:46:02 GMT
Who needs the White Stripes and Black Keys when Mr. Airplane is around? Two piece ensemble at it's best. Mr. Airplane Man - Commit A Crime
I've not heard of Mr. Airplane. I really like that song. Thanks.
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Post by DrKrippen on Aug 25, 2020 18:27:26 GMT
Who needs the White Stripes and Black Keys when Mr. Airplane is around? Two piece ensemble at it's best. Mr. Airplane Man - Commit A Crime
I've not heard of Mr. Airplane. I really like that song. Thanks.
They were a coupla gals who went out to the proverbial woodshed, in this case a basement in Boston, and did nothing but play The Blues for a year and a half before venturing out to give the clubs a try. They were heavily influenced by them blues, in fact, it's where their name comes from. Mr. Airplane Man was a song done by Howlin' Wolf. Howlin' Wolf - Mr. Airplane Man
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Post by petrolino on Aug 25, 2020 23:00:57 GMT
Punk Bass : Anarchy In The U.K.
Glen Matlock (Sex Pistols / Rich Kids)
"I don't want to just play the bass. I like playing the bass when someone else is singing. I've finally worked it out. All the songs I've ever written, I've written on an acoustic guitar so I just want a chance to sing them and put a record out. Whether people like it or don't like it, at least they get to hear it and decide. That's my main frustration. Hopefully, then people start seeing you as an artist in your own right and not just a side man."
- Glen Matlock, Pop Matters
'Pretty Vacant' - Sex Pistols
Paul Simonon (The Clash / Havana 3AM / The Good, The Bad, & The Queen)
"Paul Simonon, the Clash. Art student naively learns to play bass guitar in such a way that he makes it accessible for everyone! F*cking punk rock! Now add the cool factor and the whole package becomes everything I want to be. My de-facto target player when I'm in doubt."
- Jay Bentley, There's Something Hard In There
'Remote Control' - The Clash
Tony James (London SS / Chelsea / Generation X / Sigue Sigue Sputnik / Sisters Of Mercy / Carbon/Silicon)
“The reason we formed groups was because, like, two years ago, there was, like, no exciting groups about, right? The vision we had of like, the Stones, the Who, Mott the Hoople, the New York Dolls, really didn’t exist on stage, OK? It was like we’d go to see groups and everyone just sat there, like, spending your time watching some dopey group. So like, our vision was, like, a really exciting Rock ‘n’ Roll group.”
- Tony James, 'Punk : The Early Years'
'Paradise West' - Generation X
Gaye Advert (The Adverts)
"I’ve always been drawn to skulls. I try to get away from them and they always seem to come back again!!! I’ve been doing this electronic photo-layering. Obviously I didn’t take the photographs of myself. That was a kind chap called Jeremy who took them at a live gig at The Nashville in 1977 or 1978. He doesn’t mind me using them. The background photographs I took in the Czech Republic.
I like layering photographs electronically and then eating away at bits, making whole new artworks. It’s a nice thing to do in winter when it’s dark and gloomy and you can’t really see what you’re doing. You can carry on working on a laptop into the night."
- Gaye Advert, Brighton And Hove News
'Fate Of Criminals' - The Adverts
Gina Birch (The Raincoats / The Hangovers)
"I call Gina Birch the Raincoats’ bassist, but it might be premature. At the time the band formed, she was an art student, and until about two weeks before their first show, did not actually own a bass guitar. The inspiration to start playing music came, in true punk fashion, from watching other people who didn’t know how to play music get in front of an audience and play it anyway-- in this case, the Slits, a mischievous punk-reggae trio whose frontwoman, Ari Up, was only 15 years old.
Birch had seen the show with a Portuguese doctorate student named Ana da Silva, who became the Raincoats’ guitarist. (In several interviews, Birch-- who has described herself as “whiter than white”-- recalls, almost wonderstruck, da Silva’s tan.) Eventually, the Slits’ drummer, a Spanish journeywoman who Clash bassist Paul Siminon nicknamed “Palmolive” because he found it difficult to say “Paloma,” joined, then turned around and recruited a violinist named Vicky Aspinall through an ad pasted on the wall of a bookstore. “Female musician wanted,” the ad read. “No style but strength.”
Punk, especially in its infancy-- and especially in England-- was built on loud, confrontational statements. A sampling of early English punk lyrics include the lines, “I wanna riot,” “I wanna be anarchy,” “Oh bondage, up yours,” and “AHHHHHHHHHHHH.” Disciples of punk wore mohawks, safety pins, brightly colored hair, and whatever else they hoped might get the attention of a society they simultaneously hated and yet desperately wanted to be acknowledged by."
- Mike Powell, Pitchfork
'No One's Little Girl' - The Raincoats
Jean-Jacques Burnel (The Stranglers)
"When I was 14 or 15, my parents – who were French – had a restaurant in Godalming near Guildford, and there was a pub there called the Angel which ran a blues club every Sunday night. I was smuggled in by my older friends and I saw Peter Green’s Fleetwood Mac, and Free before they were called Free, Duster Bennett, Aynsley Dunbar. Chicken Shack… all before they had recording contracts."
- Jean-Jacques Burnel, Guitar World
'Peaches' - The Stranglers
Bruce Foxton (The Jam / Sharp / Stiff Little Fingers)
"Sometimes I wish I hadn’t have done it, especially after the show when I’ve got back ache or leg ache (Laughs). But again it’s not choreographed. It has become, I suppose, a bit on the set where I jump up. But I can’t help myself. It really is, without sounding pretentious, where the music takes me and I get excited, and I can’t help it, I love it."
- Bruce Foxton, Penny Black Music
'The Place I Love' - The Jam
Simon Gallup (Lockjaw / The Magspies / The Cure)
"Simon Gallup was The Cure’s bass player in the definitive early line up (Gallup had first crossed paths with Robert Smith while playing in another band, Lockjaw, at the Rocket pub in Crawley in February 1978). Always volatile, the relationship between frontman and bassist had taken a turn for the worse recording 'Pornography'.
Drugs and alcohol were becoming a dangerous crutch for the musicians. To further darken the mood, someone had suggested that they explore disturbing imagery (they have never gone into the details). It added up to six months of unexpurgated hell. “During Pornography, the band was falling apart, because of the drinking and drugs. I was pretty seriously strung out a lot of the time,” Smith confessed to Rolling Stone. “I know for a fact that we recorded some of the songs in the toilets to get a really horrible feeling, because the toilets were dirty and grim. Simon doesn’t remember any of that, but I have a photo of me sitting on a toilet, in my clothes, trying to patch up of some of the lyrics. It’s a tragic photo.”
“We immersed ourselves in the more sordid side of life, and it did have a very detrimental effect on everyone in the group,” he continued. “We got ahold of some very disturbing films and imagery to kind of put us in the mood. Afterwards, I thought, ‘Was it really worth it?’ We were only in our really early twenties, and it shocked us more than I realised – how base people could be, how evil people could be.“
- Ed Power, The Independent
'Another Journey By Train' - The Cure
Mick Karn (Japan / Dali's Car)
"Mick Karn rose to fame as a member of the group Japan and played the bass guitar with such a subtle, intelligent artistry that he became one of the most highly respected British musicians of the 1980s. Although Karn's time in the pop spotlight was relatively brief, he continued to make adventurous music throughout his life."
- Garth Cartwright, The Guardian
'Communist China' - Japan
Graham Lewis (Wire / Dome / FITTED)
"Wire's similarities to the other new groups gigging around London in 1977 were superficial: they witnessed punk's foundational moments; they had short hair and straight trousers; they played venues where punk bands performed; their songs were short, fast and noisy; they played the usual instruments, not entirely competently, and they had an intimidating live presence. They even briefly had punk aliases: Colin Newman was Klive Nice (in contrast with Johnny Rotten), Graham Lewis was Hornsey Transfer (a more abstruse pseudonym referencing his art-school background, nomadism and love of football). However, Wire's differences were more striking, as journalists noted almost immediately. "No Pun(k)s Please, We're Wire" proclaimed their first NME cover in December 1977. Wire weren't like the other punks: they shared some of the vocabulary but spoke another language."
- Wilson Neate, 'Pink Flag (33 1/3)'
'106 Beats That' - Wire
Tessa Pollitt (The Slits)
"There were so few female role models for us, and we felt that really, there was just something we had to do. There were so many limitations on women musicians that had to be broken. We didn't want to be labelled or categorised at all. People like to label and categorise: it makes things so much easier for people doesn't it? But we weren't having any of it.
A lot of people were disturbed or unsettled by us. We were too unpredictable, explosive even. But you know I wouldn't like to say I was even a musician at that time. The first Slits gig we played, we played with The Clash. It was in Harlesden. I had only picked up the bass two weeks before. I wasn't a musician. I was terrified, but you know I was just 17, and at that age you have so much energy and excitement in you, it carries you.
I remember at one point onstage, me and Palmolive (The Slits' drummer) looked at each other in amazement as if to say, "What the f*ck are you doing?" We were all playing a different song from each other! But we got away with so much, and the audience didn't care. The energy was what mattered. We were playing from our heart. Literally. With spirit. Our spirit was there."
- Tessa Pollitt, 3:AM
'Earthbeat' - The Slits
Steve Severin (Siouxsie And The Banshees / The Glove)
"Co-opting his stage name from the VU classic “Venus in Furs” the songwriter, producer, multi-instrumentalist, recording artist, soundtrack composer, and bassist born Steven John Bailey co-founded the iconic goth – post punk rockers Siouxsie and the Banshees.
A mostly no-frills roots player who uses “upstrokes” with a plectrum on a MusicMan Stingray bass, Steve Severin employs a myriad of ethereal effects ranging from flange, chorus, delay and countless variations thereof to create a signature tonal character."
- Thomas Semioli, Bass Player
'Monitor' - Siouxsie And The Banshees
Jah Wobble (Public Image Ltd.)
“Jah Wobble’s basslines became the human heartbeat in PiL’s music; the rollercoaster carriage that simultaneously cocooned you and transported you through the terror zone.”
- Simon Reynolds, 'Rip It Up And Start Again'
'Annalisa' - Public Image Ltd.
Youth (Killing Joke / Brilliant / The Fireman)
"The mind-bending saga of Killing Joke. Involves maggots, burned flats, gay brothels, police raids, black magic, electric shock therapy, pig’s heads, self-harm, decapitated wax figures, the Great Pyramid, Iceland, leylines, wizards with tattooed faces, Paul McCartney (bassist in the Beatles), immensely powerful music… and the restoration of antique furniture."
- Peter Watts, Uncut
'Primitive' - Killing Joke
Barry Adamson (Magazine / Visage / The Birthday Party / Nick Cave And The Bad Seeds)
"Since the late 1970s, the musician, composer, photographer and filmmaker Barry Adamson has carved out his own idiosyncratic path in music. Born and raised in the Moss Side area of Manchester, Adamson emerged from the punk/ post punk scene as an innovative bass player, first utilised to great effect by Magazine (1977-1981) and then as a founding member of Nick Cave’s Bad Seeds (1984-1986), whom he would briefly rejoin for the 2013 album Push The Sky Away album and the subsequent tour.
Following his departure from the Bad Seeds in 1986, Adamson announced the start of his solo career with his 1988 dynamic reinvention of Elmer Bernstein’s main theme from the 1956 film The Man With The Golden Arm. This single gave due notice of Adamson’s formidable talents, as a producer, arranger and multi-instrumentalist, and indicated the path that his career would follow. His debut album Moss Side Story (1989, Mute) was presented as a soundtrack album for a contemporary film noir crime motion picture that did not exist (long before this had become a trope) – the listener provided the visuals.
Early in his career, Adamson’s evocative soundscapes inevitably attracted the attention of film makers, keen to co-opt his inherent skill for mood manipulation, leading to him composing tracks and soundtracks for a number of motion pictures. These included Derek Jarman’s The Last Of England (1987), Carl Colpaert’s neo-noir Delusion (1991), Oliver Stone’s Natural Born Killers (1994), key score pieces for David Lynch’s crime mystery Lost Highway (1996), Michel Blanc’s The Escort (1999) and Carol Morley’s drama-documentary Dreams Of A Life (2011)."
- Ian Johnston, The Quietus
'The Great Beautician In The Sky' - Magazine
Dave Allen (Gang Of Four / Shriekback / King Swamp / The Elastic Purejoy / Low Pop Suicide)
"I always enjoyed the element of humour in Gang of Four. I remember when I was producing Killing Joke (their 2003 self-titled album) and Jaz Coleman the singer said, “What's that song about, I Love A Man In A Uniform? It’s crap!” I remember being quite annoyed at the time. Killing Joke are not known for their humour. They're not known for their subtlety. Or irony or sarcasm. So it went… [makes whistling noise while wafting hand over his head].
Yes, but you know what, it is a subtle song to the extent that the US Army was thinking of using it in an advert for recruitment in the 80s, but somebody had a word with General So-and-So and that was dropped. Man In Uniform feels – and is – accessible, but if you go just a little bit under the surface, there are other ideas going on. The song does have this rather nice duality between sexual macho-ness and militaristic macho-ness."
- Andy Gill, Louder
'I Found That Essence Rare' - Gang Of Four
Robert Blamire (Penetration / The Invisible Girls)
"In 1980, Pauline Murray collaborated with The Invisible Girls, which also included Penetration member Robert Blamire as well as other Manchester musicians such as Vini Reilly, guitarist in The Durutti Column, Steve Hopkins and John Maher (Buzzcocks). Produced by Martin Hannett, the resulting album spawned the singles ‘Dream Sequence’ and ‘Mr.X’, with a further non-album single ‘Searching for Heaven’ released in 1981."
- Nick Linazasoro, Brighton And Hove News
'Nostalgia' - Penetration
Steve Garvey (The Teardrops / Buzzcocks / Motivation / Blue Orchids)
"The Buzzcocks were among the most influential bands to emerge from the UK punk – new wave era with their deft combination of pop melodies as penned by Pete Shelley, stripped down arrangements, and boundless energy.
Employing no frills four-to-the-bar roots passages to creative counter-melodic motifs, the bassist during the band’s glory years was Steve Garvey, who anchored some of their finest singles along with The Buzzcocks' essential early canon: Another Music in a Different Kitchen (1978), Love Bites (1978), and A Different Kind of Tension (1979).
Garvey, who also moonlighted with pop punks The Teardrops (which also included members of The Fall and PIL) and drummer John Maher were a ferocious rhythm section which grooved mightily at a frenetic pace."
- Thomas Semioli, Bass Player
'Fiction Romance' - Buzzcocks
Peter Hook (Joy Division / New Order / Revenge / Monaco / Freebass)
"He changed the main focus of the "bass" from the low notes to high ringing notes. Everyone had gone there, but Peter Hook STAYED THERE. Not that I would ever want to imitate that, but he made it possible for me to go there if I wanted. I remember distinctly the first time I heard them... "he can't do that, he cant do that! but he is doing that" and I still think about that to this day."
- Jay Bentley, There's Something Hard In There
'Candidate' - Joy Division
Bass Unit
Captain Sensible (Johnny Moped / The Damned)
Algy Ward (The Saints / The Damned / Tank)
Paul Gray (Eddie And The Hot Rods / The Damned / UFO) Bryn Merrick (Victimize) Jason 'Moose' Harris (New Model Army / The Damned)
“At one point Lemmy came up to me and said, ‘I wanna have a word with you about your drinking’. Well, when someone like Lemmy says that to you, you listen.
He said, ‘Remember: it’s not what you drink, or how much you drink, it’s how fast you drink.’
I’m pleasantly surprised to have come through it and still be alive.”
- Captain Sensible, Louder
'Liar' - The Damned
Bass Troupe
Andy Warren (Adam And The Ants / The Monochrome Set / Would-Be-Goods) Leigh Gorman (Adam And The Ants / Bow Wow Wow / Chiefs Of Relief / Soho) Kevin Mooney (The European Cowards / Adam And The Ants / MAX) Gary Tibbs (The Vibrators / Adam And The Ants / Zu Zu Sharks / The Fixx)
"Bipolar, the term itself, means up and down, extremes, light and dark. I think any good songwriter has to draw on both – otherwise the music’s going to be pretty boring. So sometimes you have to search inside yourself to go to some pretty dark places to produce the work. So I think that’s why writers and creative people do succumb to it, because they have to go a bit deeper. But the first time I ever heard the term bipolar was in New York City at the end of the Wonderful tour in 1995, when I was told that I had contracted acute mononucleosis from drinking some water at a gig in Mexico. And one of the unfortunate symptoms of mononucleosis is a kind of depression. You get into a state where you literally can’t get out of bed, you can’t move. So unfortunately I did contract that at the time, and that was the first time I actually heard the term. But since then I’ve been fortunate enough to work with some very good medical people, who advised me to try and learn as much about the condition as I can in order to help them with either prescribing medication, or at least knowing what the medication is doing to those parts of the brain that need help. In my case a lot of it is due to overwork, stress and just not stopping. I did not stop from work 1980 until the mid-Nineties. It was like 24/7, and that’s not a sensible thing to do. But nobody could’ve stopped me. There’s that burning desire to create and be top dog, I suppose."
- Adam Ant, Rolling Stone
'Deutscher Girls' - Adam And The Ants
The Showman
Sting (The Police)
'Peanuts' - The Police
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Post by petrolino on Aug 26, 2020 23:40:38 GMT
My Top 20 Punk Drummers (Ranked)
# "The Family" : The Brothers Ramone
Jeff Hyman ~ Joey Ramone ( Sniper / Ramones)
Thomas Erdelyi ~ Tommy Ramone (Ramones / Uncle Monk)
Marc Bell ~ Marky Ramone (Dust / The Voidoids / Ramones / Misfits) Rich Reinhardt ~ Richie Ramone (Ramones) Clem Burke ~ Elvis Ramone (Blondie / Chequered Past / Adult Net / The International Swingers)
Chris Ward ~ C.J. Ramone (Guitar Pete's Axe Attack / Ramones / Los Gusanos)
“It was a disaster. His drumming style wasn’t right. It was very loose, like in Blondie, not as rigid as we need. Double time on the hi-hat was totally alien to him.”
- Johnny Ramone assesses Clem Burke's drumming as Elvis Ramone
'Cretin Hop' - Ramones
20) Scott Krauss (Hy Mya / The Finns / Pere Ubu / Home And Garden)
"This one friend of mine was telling me that there's this really weird band down [DEVO] in Akron. He said, "You're not going to believe this but they all wear these uniforms and sing about the de-evolution of the human race." So we go down to check this out and it was at a little club called the Crypt. It was definitely one of the weirdest bands I've ever seen. I kept wondering, "Aren't these guys afraid of getting beat up?"
I don't know how it all got worked out, but sometimes they'd come up to Cleveland, and we'd take turns headlining. They got into a bunch of philosophical discussions, Jerry Casale and Mark Mothersbaugh versus David Thomas and Allen Ravenstine, and it was pretty interesting. I think they got the impression that Pere Ubu was never going to make it because we didn't care whether we made it or not. And we thought they were going to the other extreme."
- Scott Krauss, Nadir-Novelties
'On The Surface' - Pere Ubu
19) Topper Headon (London SS / The Clash)
"Topper Headon remains a hugely underrated drummer, so it comes as a surprise to learn that he arrived at the profession by accident. Aged 13, a broken leg put paid to his footballing ambitions and it was a doctor who suggested the drums as a way of venting his frustration. Within six months he was playing for a jazz band in a Dover pub.
When he later moved to London with his new wife Wendy, he was sacked from various drumming jobs for not hitting the drums hard enough, a legacy of these jazz beginnings. Drowning his sorrows at the Rainbow Theatre one night, he met The Clash's guitarist, Mick Jones, who was on the lookout for a replacement drummer.
Headon agreed to an audition but didn't bother going; he'd briefly been in Jones' previous band, the London SS, "but they were all long hair and afghans and stuff". He bought that week's edition of the NME, however, "and who's on the cover, but Mick, Joe and Paul [Simonon, bass player], and it was like... 'Oh, I'll be down in a minute, then!' I went in there and went bang! bang! bang! – I had to relearn my whole drumming style." He ended up with his hands covered in blood blisters but he'd got the job on a wage of £25 a week.
Being part of The Clash meant Headon had to give up his previous existence. Having set off for the audition in casual clothes and with long hair, he returned home dressed in punk gear, his head sporting hacked spikes. His name was changed next; Simonon rechristened him after deciding their new drummer looked like Mickey the Monkey from the children's comic, Topper. "I wondered: am I doing the right thing? I'd only been in the band a week – I'd had to deny I was married. It was quite intimidating, you had to ditch all your mates and be part of the gang."'
There was no room for Headon's marriage, but he bonded with the band through sheer industry and application: life became an endless cycle of touring and rehearsing.
It was some time before his drumming skills were fully appreciated by The Clash. His strength and stamina were obvious but his ability to play jazz, soul and funk weren't needed to begin with. Sandy Pearlman, the producer for the band's 1978 second album Give 'Em Enough Rope, was astonished by Headon, calling him "the human drum machine". "I was really on top of my game then," the musician recalls. "I didn't make mistakes. I really could drum." If Headon was gradually encouraging The Clash to play the sort of music he liked, he was also being introduced to reggae by the rest of the band. "I loved drumming, so I just thought, 'Right, I'm going to learn reggae now.' That's the way I was – I've got an addictive personality. All I ever did was drum, drum, drum. Then I went on the road and discovered booze. All I did was drink, drink, drink. Then Mick turned me onto coke and all I did was coke."
- Mark Lucas, The Independent
'Rudie Can't Fail' - The Clash
18) D. H. Peligro (Dead Kennedys / The Feederz / Three Little Butt Hairs / Red Hot Chilli Peppers / Jungle Studs / Nailbomb)
“John Frusciante was an absolute, you know, this interstellar, transcendent, incredible virtuoso musician. And after Hillel Slovak died, he became our guitar player, this 17-year-old kid. And we jammed with him and there was actually a Bay Area guy named D. H. Peligro, who played with the Dead Kennedys, he was in our band for a short while [in 1988] – a great drummer. And yeah, it really was a new opportunity and John gave us so much and he’s someone that I love so deeply.”
- Flea, Alternative Nation
'Riot' - Dead Kennedys
17) Rick Buckler (The Jam / Time UK / The Highliners)
"There was some really great drumming going on at that time, people like Ian Paice with Deep Purple, John Bonham with Led Zeppelin, Paul Hammond with Atomic Rooster. They were all a big influence on me. I knew I couldn’t play that way – there was no way I could be as good as Ian Paice [laughs], you know what I mean? But I still loved to listen to what they were playing. And I suppose like most musicians you pull off little bits: I like that — I’ll have a go at that —. You figure out your own way to do them.
Even though these drummers were in what was referred to as progressive rock bands, I still loved the song thing – the three-minute single, which was a lot more engaging than a fifteen-minute rock classic. Even then I thought that was a bit overblown. People started to go back to what I think really matters – a great song from a great band."
- Rick Buckler, Modern Drummer
'Burning Sky' - The Jam
16) Stephen Morris (Joy Division / New Order / The Other Two / Bad Lieutenant)
"He may have been usurped by a drum machine on the notorious introduction of New Order’s biggest hit ‘Blue Monday’, but Stephen Morris is still a hero. As drummer for both Joy Division and New Order, his style adapted from doomy post-punk to danceable new wave, keeping both in the realms of the dancefloor."
- Emily Barker, New Musical Express
'A Means To An End' - Joy Division
15) Jay Dee Daugherty (Mumps / Patti Smith Group / The Roches)
"I was never a great drummer. Never had the chops. My secret was I just hit the damn things harder than anyone else. My influences were Jay Dee Daugherty from The Patti Smith Group, Scott Krauss from Pere Ubu, Dee Pop from Bush Tetras, and Gun Club. And man, Doug Scharin from Codeine has the most beautiful, powerful, minimalist vibe … he takes my breath away."
- David Rat, International Times
'Revenge' - Patti Smith Group
14) Budgie (The Spitfire Boys / The Slits / Siouxsie And The Banshees / The Creatures)
“I started playing when I was 13 or 14 and I did cabaret bands in the North-West of England. At the weekends we’d go out and as a kid you’d be late for school on Monday morning because you’d been out until 3 o’clock with all the old folk. And you had to be careful about the bingo sessions. You did three sets a night – a slow set, a medium-paced set and dance set, faster. It was all the classics, ‘I Can’t Stop Loving You’, Ray Charles, and so I was learning waltz time, medium-paced pop stuff, and then rock’n’roll which was the fast set. But I wanted to be John Bonham. I’d heard pop songs but that was the first serious rock drumming I’d heard.
When two guys knocked on my door and said, ‘You play drums?’ I said, ‘No I don’t. I’m an artist.’ I was at art college, ‘I’m going to be a painter.’ I was at college, I had turned my back on music, David Bowie was out there having his clothes pulled off, I was into Marc Bolan but I had left it behind for a couple of years and these guys said, ‘We’re playing tonight, we’re supporting Siouxsie And The Banshees.’ I went, ‘What’s this?’ I’d heard Blondie’s Plastic Letters and The Clash, the first album, but what was also happening was Kraftwerk. There was electronic music coming from Germany and I found that was becoming a bigger influence. There was this thing, here comes the drum machine, what’s going to happen to drummers? I’d only just learned how to drum properly, or thought I had, and suddenly all this dance music was coming in. It was threatening but it was also, what could we take from that?”
- Budgie, Louder
'Christine' - Siouxsie And The Banshees
13) Brian Glascock (The Strangers / The Gods / Toe Fat / Carmen / Captain Beyond / The Motels)
"Session drummer Brian Glascock is the brother of bassist John Glascock (1951–1979), who Richie Blackmore called " ... a brilliant bass player, the best in the business in rock". Like his late brother, Brian is a master technician on his instrument."
- Colin Treadwell, Drum Art
'Careful' - The Motels
12) Zeeek Criscione (The Shirts)
"We all know about the Ramones, the Talking Heads, Blondie, Television ... the seventies list goes as far as you care. Later, when CBGB’s became establishment, more and even bigger names would grace its tiny stage (bathrooms to the left, downstairs). Beginning in the eighties, the club became in demand as a showcase and a film set, thankfully without losing its social street welcome or basic perspective (no velvet ropes here, just the occasional police barricade). Even Spinal Tap would feel honored to play there. But in the seventies’ Golden Age there was another lively layer, of bands that, for various reasons, didn’t make the household-name grade.
The Shirts (from Brooklyn, as the description went) was one of these, along with the Laughing Dogs, Manster, the Rudies, the Tuff Darts, Mink deVille, the Miamis, Orchestra Luna, the Sorrows and many more who had what it took but didn’t benefit from the right roll of the dice. In many ways, the Shirts’ erratic progress through hope, failure, despair, experiment and success mirrored the experiences of many others at the time, trying to survive while carving a musical identity in what in retrospect looks like a remarkable and special hothouse. And the Shirts tackled it with a basic, honest, earthy family attitude. No artsy posing here. The Shirts were (are) from Brooklyn."
- Mike Thorne, The Stereo Society
'Teenage Crutch' - The Shirts
11) Johnny Blitz (Rocket From The Tombs / Dead Boys / The Tribe / Raw Dog / Highschool Hookers)
"My band Thundertrain was on the ascent in Boston that year. With a couple of singles getting steady airplay, some Marshall stacks and an amazing following of nubile babes, we were headlining clubs all over the northeast. One night we rolled into the Rat in Kenmore Square for the first show of a 4-night engagement. Jim Harold, the owner, told me in his office that the opening band had just driven 700 miles from Cleveland and were down in the dressing room. The Dead Boys.
Neither of us had ever heard of them. Not expecting much, I went down into the basement club and was confronted with an amazing sight. Sprawled out on the stage, over tables and on the floor was the hungriest, skinniest, sickliest looking band I’d ever seen. Dressed in their shiny pants, pointy boots, scarves and mascara they were even cooler looking than my own band. They were eager to meet me. Cheetah Chrome - the lead guitarist introduced himself. He was very familiar with "Hot For Teacher!" -Thundertrain’s latest record. He asked me if they play through our gear. They had driven to Boston in a small car, bringing only their instruments. No roadies. In fact they didn’t even have a bass player. Since they seemed pretty nice, we said sure. Drummer Johnny Blitz sat down at Bobby’s drums and exploded into action. He looked like a punk, but he had a lot of muscle and was a virtual one-man-band. Guitarist Jimmy Zero was mild mannered and resembled actor Christopher Walken. Gaunt and very cool. Turned out he shared my love of monster movies. Jimmy told me he corresponded with Forrest Ackerman, editor of "Famous Monsters of Filmland Magazine". Zero had an amazing collection of monster stuff, including an actual Dracula ring from the Lugosi estate.
Rounding out the crew was frontman Stiv Bators. I found him sitting in the corner of the dimly lit dressing room. Looking intelligent in his reading glasses. He was quietly going over band expenses in a little book. He introduced himself, as "Steve" The name change hadn’t happened yet. It was apparent that he, like myself, was also deeply committed to the pursuit of a "Stones" lifestyle. They had recently changed their band name (from "Frankenstein") and still wore their hair long like all bands did. They were on a quick visit thru NYC and Boston to test the local waters. When Bators hit the stage and the boys launched into the sound check I was taken aback. The mild mannered bookworm and his nice guitarists became the most viscous and jarring thing I’d ever seen on a stage."
- Mach Bell, Glam Punk
'Not Anymore' - Dead Boys
10) Jerry Nolan (New York Dolls / The Heartbreakers / The Idols)
"Hailing from Brooklyn, back when it was still a gang town, Jerry Nolan (1946-1992) was an indisputable force in shaping the look and sound of the city’s biggest glam and punk rock bands. As the drummer for The New York Dolls and The Heartbreakers, Nolan set the pace, crafting the face of hard rock during the 1970s – a distinctive combination that was at once raw, rough and rugged, yet highly dandified and charismatic.
“Jerry saw Elvis when he was really young, back in 1956. It reminded him of the gangs he saw in New York,” says Curt Weiss, author of Stranded in the Jungle: Jerry Nolan’s Wild Ride – a Tale of Drugs, Fashion, The New York Dolls, and Punk Rock (BackBeat Books), which released its Kindle edition yesterday. “For Jerry, gangs and rock and roll were interchangeable. It was a secondary family. He never had a dad; his mother kept divorcing, remarrying, and moving around. The only constant men in his life came through gangs or music.”
Nolan, who had learned to sew and cut hair, created what he described as a “profile,” which allowed him to stand above the crowd. “People thought he was in a band even when he wasn’t,” Weiss notes. But soon enough, he was. He joined The New York Dolls in 1972 after drummer Billy Murcia died of asphyxiation following efforts to revive him after a drug overdose while on tour in England."
- Miss Rosen, Another Man
'Baby Talk' - The Heartbreakers
09) Gina Schock (Edie And The Eggs / The Go-Go's)
"Charlotte Caffey came up with “We Got the Beat” by herself, on the piano, and worried that she’d be thrown out of the band for writing a pop song. Instead, the Go-Go’s recognized a good tune when they saw it, scored a record deal with a small outfit, and began to attract crowds in L.A. as punk died off. Still, major labels turned them down: Girl groups didn’t sell. But Miles Copeland, the founder of I.R.S. records, manager of the Police, and brother of Police drummer Stewart, saw things differently: “All girls? Punks? From L.A.?” He says. “Even if they were crap you would almost want to sign them. But they were good!” The band went to New York City to record Beauty and the Beat and exploit the Macy’s towel department. While making the album, though, Caffey became a full-blown heroin addict. Later, at a rock festival in Brazil, “Charlotte was so out of control that Ozzy Osbourne threw her out of his dressing room,” recalls Gina Schock, “and that’s pretty f***in’ bad.”
A second knockout hit, “Our Lips Are Sealed,” and an accompanying music video made for $6,000 left over from the budget for a Police video launched the girls into the pop stratosphere. “None of us took it seriously. We wanted to get arrested and get that on tape,” says Belinda Carlisle. So everyone jumped in the Electric Fountain in Beverly Hills and frolicked mightily, but no one paid any attention. The thrown-together video became a mainstay of early MTV, and Carlisle’s ability to smile and sing at the same time signaled that the Eighties would be like the sunny spring after an endless winter. Thirty-eight years after the Go-Go’s did it, they remain the only all-female band that played their own instruments and wrote their own songs to make it to the top of the album chart.
The Copeland connection earned the Go-Go’s a critical gig opening for the Police on their world tour, which didn’t work out quite the way anyone planned: One day in Atlanta, Sting came into the girls’ dressing room with a bottle of Champagne to tell them that their album had just surpassed the Police’s Ghost in the Machine on the charts. “They were the greatest opening act of all time,” says Stewart Copeland. “Their songs were so bright that they would just light up the room.”
- Kyle Smith, National Review
'It's Everything But Party Time' - The Go-Go's
08) Lucky Lehrer - (Circle Jerks / Wasted Youth / Redd Kross / Bad Religion)
"Roger Rogerson, our bass player, had dreams. I was a “peripheral visionary.” I could see the future, but only sideways. I thought punk was a sort of a joke that would last a year or so. Not that I don’t love the music! But I saw irony, humor, and a good way to sleep with a lot of weird chicks. I was all in for the party. Most of punk garage bands had novice musicians and I didn’t think the scene would last. Wrong again!
Roger was AWOL, hiding from the Navy. He used a number of aliases, including "Dowding." I highly suggest people buy the book The Prodigal Rogerson by J. Hunter Bennett. In a few short pages they’ll learn the story of our enigmatic bass player in the golden age of hardcore punk."
- Lucky Lehrer, No Echo
'Murder The Disturbed' - Circle Jerks
07) D.J. Bonebrake (The Eyes / X / The Flesh Eaters / The Knitters / Auntie Christ)
"I make funny faces when I play. I had a drum teacher who told me I should sing along when I play, so that's what I did. I get into it. It's kind of like scat singing, like what jazz pianists do. But that's why I think musicians are interesting: they all have funny little things about them that makes them different."
- D.J. Bonebrake, Music Radar
'Riding With Mary' - X
06) Alan Myers (Devo / Swahili Blonde)
"In praise of Alan Myers, the most incredible drummer I had the privilege to play with for 10 years. Losing him was like losing an arm. I begged him not to quit Devo. He could not tolerate being replaced by the Fairlight and autocratic machine music. I agreed. Alan, you were the best - a human metronome and then some. A once in a lifetime find thanks to Bob Mothersbaugh. U were born to drum Devo!"
- Gerald Casale, Twitter
'Fountain Of Filth' - Devo
05) John Maher (Buzzcocks / The Invisible Girls / Flag Of Convenience / Penetration)
"We’re almost 40 years on from our first gig with the Sex Pistols at Manchester’s Lesser Free Trade Hall. Buzzcocks are still talked about here, there and everywhere and cited as an influence by bands old and new. We created some great music and it played an important part in many peoples’ lives.
I got a reminder of that the other day. I have a drum kit set up in the workshop. I was having a blast on it before heading home. A total stranger suddenly appeared at the window. I stopped playing and he shouted: “I love Buzzcocks!” I went outside to have a chat with him. He told me how Buzzcocks had changed his life and did I realise what a difference we’d made? Makes you think about your involvement when someone turns up on your doorstep on a remote Hebridean island and feels the need to express their feelings like that! What I’m saying is I think I’ve finally come to terms with the fact I was a part of something very worthwhile that continues to resonate. I can now admit to myself and others, I’m proud to have played a part in it.
Also, my enthusiasm for playing drums has been fired up again. Initially it was the 2012 Back to Front reunion shows that got me back behind the kit and since then I’ve continued playing and finally got involved in a couple of projects that have seen me back in the recording studio."
- John Maher, Louder Than War
'You Say You Don't Love Me' - Buzzcocks
04) Stewart Copeland (Curved Air / The Police / Animal Logic / Oysterhead / Gizmodrome)
"I’ve created a Stewart Copeland playlist in case you want to follow the references below :
- Signature Hi-Hat Intro Fills - If you listen to “Shadows In The Rain”, “Every Little Thing She Does Is Magic” and “One World (Not Three)” the exact same hi-hat fill is played on each song. When something works, use it!
- Use of Delay - I don’t know any other drummer who, before Stewart Copeland, had the brilliant idea of using delay effects on their drums with such deceptive results. Check out the infamous “Walking on the Moon” (especially after 3.14..he goes absolutely nuts!) and the intro of “Regatta de Blanc”. Also, on “The Other Way Of Stopping” if you like delay on toms.
- Displacement - If there is one thing that makes Copeland stand out from any other drummer, it’s his way of displacing the beat. The way he creates “illusionary” drum patterns is out of this world. In “The Bed’s Too Big Without You” listen how he leaves beat one empty. He plays on beat 2 and 4 the rim click and then he accentuates beat 3 with the kick, creating a different kind of movement to the whole song.
- Ride Cymbal and The Use of Accents - You definitely know Stewart Copeland is in the house when you hear him playing accents on the bell of the ride cymbal. He rarely plays straight 8th of 16th notes both on the hi-hat or the ride. He always uses accents to spice up the groove underneath of what’s going on around him. For this, check out “Contact” or the outro of “Message in a Bottle” (from 3.43 onwards)
- FLAMtastic - If you want to learn how to play anything by Stewart Copeland, then learn how to play flams. Yes, because that’s the “fill” he plays the most on his songs. You can find them usually on downbeats. Very often on beat 4, or if not on each beat, like in the intro for “Driven to Tears” or “Next To You” or in “Roxanne” just before Sting starts singing the first verse.
- Crazy Fills! - Stewart Copeland main characteristic is probably to be able to surprise his listeners with some crazy drum fills. Check out these ones:
“No Time This Time” intro and outro are insane! At around 2.35 on “Voices Inside My Head” Copeland plays a series of crazy snare rolls and crossed rhythms on top of the main groove. In “Man In A Suitcase” 0.16 sounds like a simple drum fill, but the fact that he ends it on a small little splash cymbal, makes everything even cooler! In the first 25 seconds of “Demolition Man” I wished the first verse never started, because Copeland was on fire! Check out also the drum solo in “One World (Not Three)” towards the end, starting at 3.40.
These are just some of the things that I love about this incredible drummer. Even if I tried to emulate his playing I don’t think I could ever get anywhere near, since his energy and unique attitude came out directly through his playing."
- Chris Castellitto, 'Deconstructing The Genius Of Stewart Copeland'
'Roxanne' - The Police
03) Rat Scabies (London SS / The Damned / The Germans / The Gin Goblins / Professor And The Madmen / One Thousand Motels / The Sinclairs)
"New Rose is widely credited with being the song that launched the punk/new wave movement in the mid-1970s, and was covered by the likes of Guns N’ Roses and even Depeche Mode. But it might never have existed had it not been for a perhaps unlikely fanbase: Belgium’s French speakers.
“The group that preceded the Damned was called Bastard, and we could not get gigs or any contracts in the early 1970s in England. Most of the music was so bland that no one in the business in London or anywhere in England was interested in an angry rock’n’roll group called Bastard,” said Brian James.
“We were influenced by Iggy Pop and the Stooges at a time when most rock had gone all weird. One of our band members got a job in 1973 at a recording studio in Brussels so, rather than split up, we all decided to move over with him. We started gigging around Brussels and other parts of French-speaking Belgium, and we won over a cult following. That kept Bastard alive and allowed me to come back to England in the mid-70s and keep my interest in rock music. Indirectly, we have Belgians, French-speaking ones not so much the Dutch speakers, for me eventually writing New Rose. Before Belgium I was on the verge of giving up,” James said.
The appeal of the track spread far beyond Brussels. Even in conflict-torn Belfast, groups like the Damned inspired teenagers such as Paul Burgess to form bands. Burgess, founder of Ruefrex’, drummer and now novelist said: “My God … New Rose! If you were 17 and immersed in music then the energy and defiant insolence of Brian James’s song, set to a three-chord two-and-a-half minute package, was like mother’s milk. It was a perfect storm of rebellion, belonging and purpose where none had existed before.”
James believes the contemporary era of X Factor-style manufactured pop stars and bands who don’t write their own songs calls for another punk-style pushback. “Back in 76, New Rose was a kick up the arse for the music industry. Which is why I am proud of the song and the way it’s getting recognition. This business needs another giant kick up the behind now,” he said.
Vive Le Rock sells 20,000 copies worldwide and is regarded as the biggest punk magazine on the planet. Its owner, Eugene Butcher, said James was a trailblazer. “He was a pioneer of angry guitar rock’n’roll while everyone was singing about dragons and wizards and playing banks of synths. Brian turned up the heat with incendiary guitar riffs. He remains one of the greatest guitar players of the punk era.”
New Rose starts “Is she really going out with him? Ah! I got a feeling inside of me / It’s kind of strange like a stormy sea / I don’t know why, I don’t know why / I guess these things have got to be.” But James insisted it was a never a love song.
“The rush of it – especially Rat Scabies’s drumming at the start and the opening riff – was like the heralding of a new era,” he said. “To be honest, I never thought about the lyrics. I just wrote them down. They were certainly not about a girl as I didn’t have one at the time and love was not on my mind. I suppose the words just fitted the tune. Afterwards I realised the lyrics were about this new era, this new emerging punk scene.”
- Henry McDonald, The Guardian
"We suffered for our art. Now it’s your turn!”
- Rat Scabies
'New Rose' - The Damned
"In 2018, Rat Scabies released his debut solo album, P.H.D. (Prison, Hospital, Debt), a mostly instrumental affair that included a trio of Shinbone-sung tunes. Beyond the enduring power of Scabies’ drumming and wide spectrum of genres, the album totals more than the sum of its parts. Scabies played every instrument on the album.
But it is truly with The Damned and that original pop-anarchic lineup of Scabies, Captain Sensible, David Vanian and Brian James that launched Scabies’ life. Like any truly great rock’n’ roll band (Stooges, Dolls, MC5), they were revered and reviled. The drugs and booze, the urinating at will, the calling out of tired old rock dinosaurs, and so on. The Damned lit the flames with unadulterated chaos, sing-song revelry and reckless abandon. More importantly, they could flat outplay any band, anywhere. Scabies’ Keith Moon, drug-induced rock-star tomfoolery reared, all the way from the drumstool of his burning kit at live shows. But the musicianship stood tall, and Scabies kept a mean and versatile beat."
- Mark C. Horn, Tuscon Weekly
"It’s terrible with all of the sickness and death and sadness. But, on the other side of the coin, I really like the silence of not having sirens and airplanes constantly flying by. The birds are singing and it’s pretty cool. If the pubs were open, it would almost be the perfect existence."
- Rat Scabies addresses the COVID-19 pandemic and British lockdown response at PunkNews
'I Just Can't Be Happy Today' - The Damned
02) Clem Burke (Blondie / Chequered Past / Adult Net / The International Swingers) "MUSIC lovers may claim that certain drum beats have ‘blown their minds’ but now scientists have revealed how drumming can re-shape the brain with positive outcomes for health and wellbeing.
A University of Chichester study has explored what happens to our brains when we learn. The study specifically focused on the networks of the cerebellum which sit below and behind the main structure of the brain and associated with plasticity: the ability to change as the result of experience.
Reference is made to the unique requirements of drumming and, specifically, the physical and mental challenge of playing a set pattern whilst integrating tempo, volume and timing. A better understanding of the physical changes which happen in our brains when we learn could lead to interventions which may have a positive impact on neurological disorders such as autism and dementia.
The investigation is a collaborative venture between iconic Blondie drummer Clem Burke, the University of Chichester, King’s College London and Hartpury University, funded by the Waterloo Foundation. It is part of a ten-year investigation under the name the Clem Burke Drumming Project, which has also explored the health benefits of rock drumming for primary age school children with additional education needs. The findings from the recently study were recently discussed on a Sky Arts documentary, 'My View: Clem Burke'. The importance of the ability of the brain to learn how to synchronise multiple limbs, either working collectively or independently, will be highlighted in relation to future investigations.
University of Chichester senior lecturer Dr Marcus Smith, a Reader in Sport and Exercise Physiology and the co-founder of the Clem Burke Drumming Project, said: “Drumming is a unique activity that is both physically and mentally challenging. It acts as a potent intervention in experimental trials that seeks to provide insight into how humans learn and subsequently behave. Drumming appears to provoke subtle adaptations in sensitive brain structures that have a profound effect on physical capability and psychological behaviour. Following a recent study working with young autistic children aged 12 to 16 years, I was struck by a parent’s comment that her son was able to brush all of his teeth independently, for the first time, because of the increased strength and range of movement he had developed in his wrist since learning to play the drums. Research that makes a difference is important to me. In terms of a therapeutic benefit of drumming there is still much work to be done but the potential benefit for those with neurological disorders, such as dementia, is exciting and will become a focus for future collaborative research projects.”
- University Of Chichester
'Bermuda Triangle Blues' - Blondie
"Yeah. It’s great to play with pretty much our contemporaries and some of the bands that came after us. I mean Devo, they’re all friends of ours from back in the 70s. They used to play at Max’s Kansas City and we used to see them when we played in Cleveland. And over the years, I actually just saw Mark Mothersbaugh at a birthday party for [inaudible 00:03:07] Berry the other day. Yeah, they’re friends. And funny enough, it’s not really been publicized. Echo and the Bunnymen have a new record coming out I think in June and somehow they asked me to play drums on the majority of it, so I recorded that before Christmas with them out in the English countryside. I did the newest Echo and the Bunnymen record that’s not out yet. So yeah, it’s great and it’s great to play and you get to see a lot of the other bands, which is always kind of fun for me."
- Clem Burke, Event Santa Cruz
'I Know But I Don't Know' - Blondie
01) Billy Ficca (Neon Boys / Television / The Waitresses / The Washington Squares / Heroes Of Toolik)
"Tom Verlaine and I, our guitars meshed together immediately. I had studied a kind of classic rock guitar, where you do whole step bends, half step bends. When I was a teenager, I had a friend who knew Jimi Hendrix, and Jimi gave this guy lessons, who passed them on to me, and I met Hendrix and watched him play, so that’s where I was coming from.
Tom played with a completely different style. He used the classical vibrato. It’s technical to describe, but it’s like on a violin: you move your wrist back and forth, the finger doesn’t move, but the pitch goes up and down. I don’t know where he got it. It was more like a sitar player, but that was Tom’s style, this magnificent classical vibrato. He’d never do whole step bends, always micro-bends. But our two styles just suited each other beautifully. Between the two of us, we had all the different guitar aspects you could want. I was playing much more classical rock, Tom was playing his odd, in-between thing. But if Tom would show me something, I could play it.
The next thing was convincing Richard Hell to play bass. Tom couldn’t do it. Richie said, “I’m not a musician. I can’t do it.” When Tom wasn’t around, I asked him what the problem was. He said, “Listen. Playing with Tom is like going to the dentist. Except you’d rather go to the dentist.”
Tom and Richard had tried to do a band before.
I said, “But Richard, you’ve got the look. You look like a combination of Elvis Presley and some movie star. You can learn, we’re going to rehearse a lot.” And the compliments got to him. So then we had three.
I got together with Tom to talk about drummers. I had a couple in mind, but Tom was insistent the best rock’n’roll drummer he knew was a friend of his, Billy Ficca. I was a little miffed he wasn’t willing to try a few drummers, but we called Billy down. Billy was in Boston, and he’d just left his band, so he had nothing else to do, so he came down, and we started rehearsing. Three days into rehearsals, Tom called me aside and said, “I’m about to pull my hair out. I can’t stand it. Billy’s turned into a jazz drummer.”
And Billy was all over the place – but in a good way. I said to Tom, “Look. All the greatest guitarists we know, Jimmy Page, Jeff Beck, Jimi Hendrix – they all had crazy drummers.” The Who had Keith Moon, Zeppelin had Bonham, just down the line. You know, without a crazy drummer, a guitar solo can sound wimpy.
We started rehearsing and we were having a great time. But Tom was already getting frustrated with Richard Hell, because Richard never practiced. That’s one reason why we ended up having weeks of like six, seven days of five-hour rehearsals. Which of course didn’t hurt, but it didn’t make us better, either, between Richard’s lack of skills on the bass – and I loved Richard’s bass-playing, I thought he was like Paul McCartney – and Billy on the drums going nutzoid.
Sad to admit, when Christmastime came, and Billy left for a week to go visit his father, we did audition other drummers behind his back. We tried Clem Burke who wound up in Blondie, we auditioned a couple of people who’d play in The Ramones. And they were great players. But it was rehearsing with them that made us realise that no one fit like Billy. Billy’s playing, I think, is a very strong reason why Television is still thought of as a great band."
- Richard Lloyd, 'Friction : The Making Of Television's Marquee Moon'
“To me, it’s all kind of like dance music. A drummer’s job really is to get people to dance, or to move — or to at least think about moving. Doesn’t matter if I was playing fast folk with the Washington Squares or the weird, kind of ska things the Waitresses would occasionally do. My job was the same. And really, that’s what a drummer’s body does when you’re playing — you’re dancing. The way the limbs are working, the way your body moves across the kit … it’s a dance.”
- Billy Ficca, Modern Drummer
Television in rehearsals in Terry Ork's loft in 1974
"By changing the language of jazz, psych and garage into a mesmerizing journey that was simultaneously raw and hypnotic, 'Marquee Moon' paved the way for every ambitious rock record to follow in the next 40 years. While that all might sound like a formula for an esoteric mess, guitarist/frontman Tom Verlaine, his six-string foil Richard Lloyd, and the indomitable rhythm section of Fred Smith on bass and Billy Ficca on drums could just as easily write catchy songs. The album’s longest track, its title cut, comes across as a sort of sonic response to Verlaine’s old girlfriend Patti Smith and her 1975 solo debut masterpiece 'Horses' in its patterns and rhythms. Otherwise, the record fits in equally well with the Soho free-jazz loft scene as it does with the gyrating punk of CBGB.
“[Jimi Hendrix] is where I got a lot of what I do on guitar,” Lloyd told me when I interviewed him for Jambase about his 2009 solo album, The Jamie Neverts Story, a collection of Hendrix covers.
“I don’t think, either in Television or my own work, that anybody would have spotted a Hendrix influence. But I didn’t want one to show up. When I teach students, I teach them to play more like themselves. You’re gonna have to find your own voice on that guitar. What Hendrix and Velvert [Turner, Hendrix’s only known guitar student,] taught me is very, very important to me. Both of them are gone, and all I have is the memories. And the fact that I was around then, that’s why I feel like I owe them, as a payment of a debt, to cover some of Jimi’s songs, put it out and let some of that influence—that has always been there—finally show itself.”
Finding their own voice was precisely what Television accomplished on 'Marquee Moon'.
The band chose acclaimed English engineer Andy Johns to produce the album on account of his work on such early-’70s classics as Mott The Hoople’s 'Brain Capers' and 'Goat’s Head Soup' by The Rolling Stones. However, according to an insightful and neck-deep interview conducted with Lloyd by Scottish author Damien Love for Uncut, a lifestyle clash with Johns and Television produced studio tension from the outset.
“Andy is a real child of rock ’n’ roll,” Lloyd tells Love. “He was used to being with people who are also rock ’n’ roll, and you can imagine whatever that means in the 1970s. He was used to people who didn’t mind taking it very slack in the studio. You know: you’ve got a 2 o’clock start, and the engineer shows up at 4.30, and the guitarist shows up at 5 and the singer rolls in at midnight. But Television were not like that. We were punctual. And serious.”
“He’d say things like, ‘Is this a Velvet Underground trip? What kind of trip is this?’ ” Verlaine recalled told writer and renowned New York avant-garde musician Alan Licht for the liner notes to Rhino’s 2004 expanded edition of Marquee Moon. “And I’d say, ‘I don’t know; it’s just two guitars, bass and drums. It’s like every band you’ve ever done.’ ” So he said, ‘O.K., I’ll come back after Christmas.’ So he came back and all of a sudden he totally loved the record. He said, ‘Jesus, this is great.’ And he kept comparing all these cuts to all this classic British hard rock.”
Once they got on the same page, Johns and Television created a literal master’s class in the kind of crisp yet sharp production that enhanced the angularity of their rhythms without losing their sense of melody and pop appeal. The only other group who was close to doing what they achieved was Be-Bop Deluxe in the realm of progressive rock. And the inventive ways they captured some of those one-of-a-kind guitar sounds transcend any other production work on any other record in 1977 outside of Fleetwood Mac’s 'Rumours'.
“We wanted to rent a rotating speaker to get the sound for [‘Elevation’],” Lloyd explained. “But the rental people wanted way too much. So Andy came up with an idea. He took a microphone, and while I did the guitar solo to ‘Elevation,’ he stood in front of me in the studio, swinging this microphone around his head like a lasso. He nearly took my f*cking nose off. I was backing up while I was playing.”
- Ron Hart, The Observer
'Guiding Light' - Television
"It would be a stretch to characterize some of the more meditative pieces on Heroes of Toolik’s latest album, Like Night, as dance music. But Ficca’s dance moves across the cymbals on songs like “8 Miles” and “You Will Not Follow” fill the wide-open spaces tastefully, with washes, pings, and sweet overtones lingering and blending nicely with the rest of the ensemble. It’s a top-down approach to drumming that comes from a love of jazz greats like Tony Williams and Elvin Jones. “Not only did those guys swing, but listen to how they played the cymbals,” Ficca says. “It’s beautiful. That’s why I’ve always been really into cymbals. But not smashing the hell out of them. Just hitting a really nice cymbal the right way and letting it fill some space. I think it’s one of the nicest sounds there is.”
- Patrick Berkery, Modern Drummer
"Tom Verlaine has a prediction. This week, as he prepares for the release of his first album ('Television', 1992) with the band Television in 14 years, Verlaine feels sure of one thing. "The record will fail, exactly like the others did", he says.
Commercially, maybe it will. Television - the outfit that helped kick-start the whole CBGB's punk scene in the mid-'70s - saw its previous albums (1977's 'Marquee Moon' and the next year's 'Adventure') flop at the cash register. Aesthetically, though, they loom large. With the intricate, syncopated guitars of Verlaine and Richard Lloyd fighting over a muscular rhythm section (bassist Fred Smith and drummer Billy Ficca), Television's virtuosity stood out in a world of punk minimalists. But the group's history was curt: By the end of the '70s, it was outta here."
- Jim Farber, New York Magazine
Drumming to 'See No Evil'
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Post by petrolino on Aug 28, 2020 22:57:12 GMT
| # i%PUNK TV : 'Orphan Black' ~ A Punk Odyssey |
There's several reasons I enjoy writing extensively on a particular subject like punk, which means so many different things to so many different people. I think the main reason is that I feel I learn a lot more this way. It pushes me to look deeper into peoples' creative work than I might otherwise. If others contribute to the topic being addressed, that's terrific, as I can learn a great deal more.
I enjoy a good number of punk films, or movies with punk characters. I also see a pronounced punk influence upon American films of the 1980s. Despite this, I'm finding it difficult to recall anything punk-related that's affected me in any significant way when it comes to television. I don't recall any great punk tv show from my youth outisde of 'Marmalade Atkins' which was aimed squarely at children.
Apparently, there's a popular Canadian show called 'Young Drunk Punk' which was produced this decade, but I'd not heard of it until I searched for "punk tv" online today. I found the main articles I looked at were voicing much the same thing; that there's plenty of punk movies, but little in the way of punk television. Perhaps the freedoms offered by film were simply too great for anybody to try and mould a punk show on television, I don't know. I'm sure there are some I've not seen or heard of.
Tatiana Maslany in 'Orphan Black'
'Identity' - X-Ray Spex
Fortunately, I bought a television blu-ray box-set some time back that I'd heard touched upon punk subculture and I've recently begun watching it. It's the cyberpunk thriller 'Orphan Black'. From the very first episode, in which small-time grifter Sarah Manning (Tatiana Maslany) is seen wearing a Clash t-shirt ('London Calling'), it's clear there's a strong punk undercurrent to the writing. Sarah's brother Felix Dawkins (Jordan Gavaris) is an artist who makes money as a rent boy and a drug dealer to pay for his loft space, fuelling imagery that's deeply evocative of the 1970s when punks could afford those kinds of living workspaces, pre-gentrification.
Their friends are punks, goths, metalheads and psychobillies and their local haunt evokes the punk bars of old. Of course, everything looks a hell of a lot cleaner as this is a cyberpunk thriller that's been produced for mainstream television, but it's easy to see between the lines. There's also subtle musical and cultural references to enjoy (these arise largely through different clones inhabited by Tatiana Maslany throughout the story).
"I auditioned for it about six months before I booked it, and just fell in love with the character of Sarah immediately. As soon as I read the breakdown for her I was like “Oh wow, who is this girl?” and reading through the script I was like, “I want, I need so badly to play this!” The excitement of playing multiple characters, that challenge made me salivate, I was so hungry for it. You don’t ever get that kind of challenge as an actor. To play six to 10 different characters is just a fantasy. I dreamt about it, panicked, pestered my agent. I did four auditions altogether, the last was a network test and chemistry read with Jordan (Felix), and got to play five different characters with little pieces of costume to help me navigate through them, and it was the most fun and the most terrifying audition I’ve ever done."
- Tatiana Maslany, BBC America
Tatiana Maslany
British Punk Rock Retrospective : The Thatcher Years
A word for Tatiana Maslany. Her work in 'Orphan Black' constitutes one of the greatest pieces of acting I've ever seen on television. She enters the frame as a streetwise career criminal but is soon revealed to be a complex being. Maslany then has the task of charting different individual's evolutions from series to series and I think she does this brilliantly.
Ostensibly, this biological horror is about doppelgangers, clones and shapeshifters, but it avoids the sermonising and hamfisted satire of recent horror films like 'Ma' (2019) and 'Us' (2019). Instead, it remains a resolute character piece that's essentially about the human condition and the role it plays in scientific advancement. Maslany establishes herself here as the ultimate new wave chameleon.
"The grand adventure of a set visit is entering a universe where everyone — absolutely everyone — is a pro at playing pretend. They’re admirably adult about it. They drink coffee and sit in chairs and operate machines, as if there weren’t lights so hot that they banish the winter outside, as if it’s perfectly normal for a sweltering interior to look like a dusty, sunbaked facade. Insides become outsides here, as gravel underfoot transforms a soundstage floor into a sandy desert.
But the illusions are particularly vertiginous on the set of “Orphan Black,” the BBC America television show that has the same star many times over. “Orphan Black,” you see, is about a group of persecuted clones, and all of them are played by Tatiana Maslany, a 29-year-old actress who has ridden her multiple roles to cult stardom and critical acclaim. On a recent morning in Toronto, Maslany was wearing a frizzy blond wig and was made up as Helena, the dangerously mercurial Ukrainian clone. Her face was covered in blood and filth. She was not — as far as I could tell — thinking about the Screen Actors Guild Award nomination she received that morning, or (as I was) the circumstances that landed her in the peculiar fishbowl of fame. She was focused instead on butter.
The crew was getting ready to shoot the other half of a two-clone scene they had started the day before, when Maslany was playing Sarah Manning, a street-smart con woman and the protagonist of the show. Helena, by contrast, is a cult escapee with homicidal tendencies and a ravenous, animalistic relationship with food. The director of this episode, David Frazee, and Maslany were working through how Helena’s insatiable appetite would affect her behavior in this scene. There was butter present in the shot, but it was not there to be eaten. Would Helena be able to resist? Even a tiny taste?
“Are you going to lick the butter?” Frazee asked.
The cast and crew of “Orphan Black” labor painstakingly over minutiae like this, in the service of a much grander contemplation (or, perhaps, demolition) of female televisual archetypes. The show’s premise allows Maslany to portray a bewilderingly diverse set of stock characters — the punk-rock con artist, Sarah; the shrewish suburban housewife, Alison Hendrix; the geeky stoner, Cosima Niehaus; the Ukrainian psychopath, Helena; the icily aloof career woman, Rachel Duncan; the pill-popping cop, Elizabeth Childs; and many others — encompassing almost every trope women get to play in Hollywood and on TV. (Maslany’s legions of adoring fans call themselves #CloneClub on Twitter and contend that the credits on “Orphan Black” should say “Tatiana Maslany” nine or more times, once per clone.)
In its subject matter, “Orphan Black” broods on the nature-nurture debate in human biology, but in its execution, the show cleverly extends the same question to matters of genre. What does the exact same woman look like if you grow her in the petri dish of “Desperate Housewives” or on a horror-film set in Eastern Europe? What about a police procedural? The result is a revelation: Instead of each archetype existing as the lone female character in her respective universe, these normally isolated tropes find one another, band together and seek to liberate themselves from the evil system that created them.
By structuring the story around the clones’ differences, “Orphan Black” seems to suggest that the dull sameness enforced by existing female archetypes needs to die."
- Lili Loofbourow, 'The Many Faces Of Tatiana Maslany' (articled published at The New York Times, April 2, 2015)
Tatiana Maslany & Jake Gyllenhaal
Tatiana Maslany speaks with Seth Meyers
I still have a couple of series of 'Orphan Black' left to watch which I'm excited about, but assuming it doesn't fall off a cliff towards the end (a la 'Game Of Thrones'), this show will easily join my other 2 favourites seen from the past decade, 'Banshee' and 'Magic City'. The scientific narrative is cleverly spun from an imaginative, open-ended premise that roots the unravelling of its kaleidoscopic web of intrigue in themes that are universal. The story doesn't always cut to where you expect it to go, nor does it cut to the characters expected. It has to be technically assured to pull off its premise and I feel it's better than that, it's pretty dazzling.
"I started out as a dancer as a kid; I’ve been dancing since I was 4. So performing was always part of what I was. I don’t know if it I enjoyed the response I got from people or if I liked having an audience, but there’s something in me that wanted to perform. I transitioned into theater and acting when I was about 9, community theater and musicals, being, like chorus-kid-number-78 or whatever. But I just loved it. As a kid you just crave attention, and early on I just felt it was so cool and fun to play around and have people clap for me. But eventually I grew up and fell deeper into it. About 7 years ago I moved to Toronto and kind of took control of it, and realized there’s a depth to this art form, and a reach, and a chance for expression and creation and telling story about human nature and all the contradictions that we are as people. Now I’m really obsessed with characters, I’m really interested in people and I love playing different kinds of people, learning about them and defending them or understanding them better. There’s something in it that’s much better than the attention."
- Tatiana Maslany, BBC America
Identical "Sestras"
'Abstract Nympho' - Chrome
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Post by petrolino on Sept 6, 2020 0:01:52 GMT
Cyberpunk Cinema
George Lucas' 'THX 1138' (1971) was a major influence on the science-fiction film subgenre cyberpunk. John Carpenter's science-fiction crime thriller 'Escape From New York' (1981) was a major influence on cyberpunk cinema and in many ways he's the godfather of the subgenre. A year later came Ridley Scott's science-fiction thriller 'Blade Runner' (1982), an adaptation of a novel by Philip K. Dick. Pioneers of cyberpunk fiction like William Gibson, Rudy Rucker and Bruce Sterling were influenced by science-fiction authors like Dick, Michael Crichton, Harlan Ellison and cyberpoet Roger Zelazny. Wes Craven originally conceived 'The Hills Have Eyes' (1977) as a science-fiction piece set in the future, but for budgetary reasons, he made significant changes; some ideas dropped were later explored in Joe Gayton's spin-off 'Mind Ripper' (1995). Craven went on to make science-fiction films like 'Chiller' (1985) and 'Deadly Friend' (1986) which were embraced by cyberpunk fans. 'Searching for a story to film, Wes Craven began looking up "terrible things" at the New York Public Library. While going through the library's forensics department, Craven learned of the legend of Sawney Bean - the alleged head of a 48-person Scottish clan responsible for the murder and cannibalization of more than one thousand people. What interested Craven in the legend was how, after Bean's clan was arrested, they were tortured, quartered, burned and hanged. Craven saw this treatment of the Bean clan by supposedly civilized people as paralleling the clan's own savagery. Craven decided to base the film on the legend. Another major inspiration for the project was Tobe Hooper's The Texas Chain Saw Massacre (1974), one of Craven's favorite films. Bloody Disgusting's Zachary Paul says that both films center on a group of vacationers who are "stranded in the wide open nowhere and must protect themselves against a tightly knit family of cannibals" and feature an archetypal "gas station of doom". Like The Last House on the Left before it, the film drew influence from the work of European directors such as François Truffaut and Luis Buñuel.
Other inspirations for The Hills Have Eyes were Craven's neighbors and family, on whom the Carters where modeled, the director's nightmares, and John Ford's The Grapes of Wrath (1940). The original script was titled Blood Relations: The Sun Wars and was set in New Jersey during 1984, several years in the future. As producer Peter Locke's girlfriend, Liz Torres, often performed in Las Vegas during this period, Locke saw a lot of desert landscapes as the film was being written, and suggested that Craven set the film in the desert. Due to budgetary constraints, the film was written to have few roles and be set in few locations.'
- 'The Hills Have Eyes' at Wikipedia
"The story of Hansel and Gretel, taken from the fairy tale collection of the Brothers Grimm, can be read as a crisis of survival. With no help from their parents or friends, Hansel and Gretel must free themselves from slavery and ultimately defeat the evil witch. This fairy tale shows us the detours and successful strategies on the way to a final goal, be it eternal happiness or — in the case of a company — economic success. It also shows that the will to change and master a situation must come from oneself, not from others.
For the family of Hansel and Gretel, life itself was a crisis. They were preoccupied with pure survival, with having enough to eat. The stepmother proposes a solution that goes far beyond anything that might be deemed normal: she wants to abandon the children in the woods so there will be two fewer hungry mouths to feed. The father, distressed but too weak to fight back, acquiesces. The monstrous decision is made. The following day, the stepmother carefully and calmly carries out her plan."
- Veit Etzold, Boston Consultancy Group
'Hansel & Gretel'
'Forbidden Zone' - Oingo Boingo
Canada has produced cyberpunk titans like David Cronenberg ('Videodrome' & 'eXistenZ'), James Cameron ('The Terminator' & 'Terminator 2 : Judgement Day'), Christian Duguay (the 'Scanners' series & 'Screamers') and Vincenzo Natali ('Cube' & 'Cypher'). Dutch filmmaker Paul Verhoeven has realised cyberpunk visions on screen for decades, notably with 'RoboCop' (1987) and 'Total Recall' (1990), though there are visual shards in several other films he's directed. Peruvian filmmaker Luis Llosa made the cyberpunk staple 'Crime Zone' (1988) and drew from cyberpunk imagery in comic books when creating the visual design of 'The Specialist' (1994). Russian filmmaker Slava Tsukerman made 'Liquid Sky' (1982) in America and it's a textbook example of a film embraced by cyberpunk fans more for its punk credentials than any clear cyber aspects. Italian filmmaker Marco Brambilla made 'Demolition Man' (1993) in America which is the reverse as it has clear cyber elements but goes light on the punk. British director Danny Cannon also deserves a mention for bringing 'Judge Dredd' (1995) to the big screen. "I am a bestselling author of romance and erotica with a passion for romantic lesbian erotica and much naughtier monster erotica. I also specialize in writing interactive pick your adventure style erotica that allows readers to explore their own desires."
- Amanda Clover
'Hot Carbon : Tales Of A Cyberpunk Futa Girl' by prolific monster & elf erotica author Amanda Clover
Science-fiction writer Michal Crichton deserves a mention as he was an accomplished filmmaker in his own right. 'Looker' (1981) and 'Runaway' (1984) are key works. The great neon-lit crime thrillers of the 1980s from filmmakers like Abel Ferrara, Walter Hill and Alan Rudolph carried stylistic similarities with Crichton's genre work. "Scarlett’s voice, whenever you hear her voice, it just takes you to that place. She really is to me the cyberpunk queen.”
- Rupert Sanders, Comic Book
Scarlett Johansson
Kathryn Bigelow, Brett Leonard, Albert Pyun and Fred Olen Ray are among cyberpunk cinema's true pioneers. Bigelow directed 'Strange Days' (1995). Leonard pushed the boundaries of cyberpunk technology with 'The Lawnmower Man' (1992) and 'Virtuosity' (1995). Pyun established and cemented his status with audacious genre features like 'Vicious Lips' (1986), 'Cyborg' (1989) and 'Nemesis' (1992). Ray's essential contributions to the subgenre are 'Cyclone' (1987), 'Alienator' (1989) and 'Droid Gunner' (1995). Steve De Jarnatt ('Cherry 2000' & 'Miracle Mile'), Stuart Gordon ('Fortress' & 'Space Truckers'), David Heavener ('Deadly Reactor' & 'Outlaw Prophet'), Richard Pepin ('Cyber Tracker' & 'Cyber-Tracker 2') and David Prior ('Future Force' & 'Future Zone') have included strong cyberpunk elements in their science-fiction thrillers. In Pepin's 'Cyber Tracker', there's a scene in which the Tracker is scanning a robot and his search history includes the robot model, THX 1138. Artist and musician Roberto Longo was plucked from the underground to helm 'Johnny Mnemonic' (1995), an adaptation of a story by William Gibson that showcases Henry Rollins in a supporting role. Four years later, the Wachowski sisters hit it out the park with 'The Matrix' (1999). They've since delivered the intriguing science-fiction mystery 'Cloud Atlas' (2012) though the less said about the 'Matrix' sequels the better. I shall continue watching 'Orphan Black' which definitely has some cyberpunk elements, including the casting of Matt Frewer who portrayed cyberpunk figurehead Max Headroom in the early 1980's ... Scoring 'Forbidden World' (1982) - Susan Justin
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Post by petrolino on Sept 12, 2020 23:12:30 GMT
Strict Punk Principles, Shifting Political Landscapes And International Film Markets
Cyberpunk art and cinema stretches far beyond the established parameters of America's entertainment industry. It's become a global phenomenon in the digital age and cyberpunk cosplay is growing in popularity. Its rise was concurrent with the growth of punk-influenced political cinema which drew from original literary tracts. Genre filmmakers picked up on different facets of punk culture that could be worked into their films.
I'd like to consider a few national film industries that I feel have benefited greatly from punk, outside of America and the United Kingdom which housed the largest punk movements of the 1970s.
“One of the inaccuracies around punk is that it’s a reaction to Margaret Thatcher and Ronald Reagan, but punk starts before those regimes take power in the mid-1970s. Punk did become a reaction to neoconservative rule. It felt necessary at the time to provide a social resistance against some of those aspects against neoconservative policy, but had longer-lasting effects, as well.”
- Andrew Blauvelt, curating the punk art restrospective 'Too Fast to Live, Too Young To Die : Punk Graphics, 1976–1986' at the Museum of Arts and Design in New York in 2019
'The Origins Of Cyberpunk 1948 - 1989' (2019, Documentary - Indigo Gaming & Shalashaskka)
{"Let's take a journey back to the 1980's and beyond, to discover the origins of the Cyberpunk movement, in literature, cinema, television, video games, comics and more! In this documentary miniseries, we will discover the wonders of Cyberpunk, dating back to the 1940's, all the way through 1989, with each successive episode taking on a new decade."}
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10 National Film Industries
10) Ireland
Ireland has a vibrant punk scene and Celtic punk is as popular as any form of punk flourishing today. Despite this, I don't recall seeing much in the way of Irish punk cinema. This could be to do with the political situation, or perhaps because some of the most prominent Irish punks boarded boats and relocated to London. I can't remember if 'Rawhead Rex' (1986) would qualify as it's been so long since I've seen it. It's based on a story by Clive Barker. But from my own perspective, including Ireland does serve to remind me that I'd like to see the documentary 'Shellshock Rock' (1979) which Thurston Moore listed among his top 10 punk documentaries at the British Film Institute.
'Is this the UDA, Or is this the IRA,
I thought it was the UK ...'
- Sex Pistols, 'Anarchy In The UK' (1976)
"In 1976, punk took the United Kingdom by surprise and for one brief moment challenged many of the cultural and social assumptions of British society, shocking public opinion and causing an outbreak of moral panic in its wake. In Northern Ireland people were preoccupied with other problems. 1976 was the year when internees of the Maze prison started a blanket protest after losing their status as political prisoners; the Shankill Butchers prowled the streets of Belfast in search of Catholic victims; a mother decided to establish the Peace People organisation after witnessing the deaths of three children, run over by a fugitive IRA member. In 1976, a total of 297 people lost their lives because of the conflict. All the news reports about Northern Ireland that year seemed to indicate that it truly was Anarchy in the UK."
- Timothy Heron, The Irish Times
Stephen Rea in 'Angel' (1982)
09) Italy
I've not noticed much in the way of punk in Italian cinema. The one exception is the horror genre which sometimes features punks as bait. Working-class Italians in cities like Rome, Milan and Turin typically gravitated towards hardcore punk bands who railed against the nation's corrupt institutions.
Bettina Ciampolini in 'Demons' (1985)
08) Ukraine
Journalists often write about the emergence of punk in Moscow, Russia and its connection there to poetry and protest. You can chart the impact of music in Lviv, Ukraine which has strong artistic traditions. Psychedelia, heavy metal and hardcore punk are part of the modern tapestry that makes up the city.
It's worth noting that many of the great Soviet film directors were born in republics other than Russia. Alexander Dovzhenko, Grigori Kozintsev and Aleksandr Ptushko are three master filmmakers from Ukraine. Myroslav Slaboshpytskyi's extraordinary experimental picture 'The Tribe' (2014) is the culmination of underground punk filmmaking in Ukraine and one of the finest films of the last decade. It's shot in Kiev.
Hippies in Lviv
Yana Novikova & Grigory Fesenko in 'The Tribe'
07) Mexico
Several of the punk bands that formed in California in the 1970s had Latino or Chicano musicians within their ranks, including the Bags, the Brat, the Go-Go's, Los Illegals, the Nuns, the Plugz and the Zeros. Naturally, there was a direct line down to Mexico and it didn't take long for punk to break out in Mexico City where Dangerous Rhythm and Size ruled the roost.
Hailing from Mexico City, horror filmmaker Ruben Galindo Jr. has links to the punk scene and this comes through in the imagery in movies like 'Cemetery Of Terror' (1985), 'Don't Panic' (1988) and 'Grave Robbers' (1989). His work has attracted a cult following on the punk scene.
Maria Rebeca & Erika Buenfil in 'Grave Robbers'
'The Wolf' - The Brat
06) Hungary
Hungary's punk subculture was the source of all manner of subversive materials during the final throes of Sovietisation. While punk was present in other nearby cities such as Bratislava in Slovakia, Prague in Czech Republic and Warsaw in Poland, the movement's cultural centre behind the iron curtain could be found in Budapest.
Filmmaker Bela Tarr has connections to the punk scene. Perhaps the defining cinematic work is Janos Xantus' 'Eskimo Woman Feels Cold' (1984) which stars Marietta Mehes and features a number of other musicians in acting roles.
Marietta Mehes
05) Australia
You'd expect punk to play a major role in Australian cinema as the country produced beloved bands like the Birthday Party and the Saints.
The 'Mad Max' franchise was helmed by George Miller and its post-apocalyptic landscapes are populated by rogue punks. 'Centrespread' (1981) is icy, new wave erotica about the art of photography. The action feature 'Dead End Drive-In' (1986) is one of Quentin Tarantino's favourite movies and it carries a strong punk vibe.
Natalie McCurry in 'Dead End Drive-In'
04) Spain
The punks of Madrid are well-known throughout Europe. The death of General Francisco Franco in 1975 ended years of suppression and artists could finally break down the walls of censorship. In doing so, they went a bit crazy, creating artworks that seriously pushed the boundaries in terms of explicit content. Punk was the perfect catalyst for change at the perfect time.
Spain's most famous living filmmaker, Pedro Almodovar, came up on the punk scene. His early work is indebted to the scene and it dominates 'Pepi, Luci, Bom And Other Girls Like Mom' (1980). His contemporary Bigas Luna also had links to the punk scene. They both knew musician Alaska who even had her own surreal punk show on television, 'The Crystal Ball'.
Comedians capitalised on the popularity of punk too, including legendary funnyman Andres Pajares who often worked alongside comedians Fernando Esteso and Antonio Ozores. My favourite of Mariano Ozores' genrebusting comedies are from this period including 'The Bingueros' (1979), 'The Energetic' (1979), 'The Erotic Masked' (1980), 'I Did Rocky III' (1980), 'The Blower' (1981), 'Magic Witches' (1981), 'The Prick' (1981), '¡What A Joy To Be Divorced!' (1981), 'Shake Before Use' (1983), 'The Worker' (1983) and 'La Lola Takes Us To The Orchard' (1984). Having appeared in most of them, Pajares collaborated with director Ramon Fernandez on the punk comedy 'The Donor' (1985) and Juan Ignacio Galvan on 'The Pregnant' (1987) which co-stars punk performer Carmen Grey.
"Part of what makes Pedro Almodovar's films revolutionary is that the storylines tend to orbit around a cast of strong women and members of the LGBT community. As is the case in fascist regimes, the Franco rule was intransigently patriarchal; women played a supporting role for husbands and children. "In Spain," historian Ricardo García Cardel writes, "feminism arrived late, and it arrived poorly." To cast flawed, highly sexual, ambitious women in his films was risky; to make films featuring men in drag was self-destructive.
It's no coincidence that Almodovar's early work is heavily imbued with Spanish new wave and punk-rock culture. As his films progressed, they became increasingly sophisticated and complex, musically speaking. The music in his films, as co-host Felix Contreras notes, has always functioned as another character unto itself. Almodovar picks musicians who, like his characters, are vibrant, imperfect and larger than life. He famously rescued legendary Mexican singer Chavela Vargas from alcoholic oblivion; he has sustained a decades-long love affair with tragic queen of Latin soul La Lupe, and more recently he worked with legend-in-the-making Concha Buika."
- Jasmine Garsd, National Public Radio
Alaska in 'Pepi, Luci, Bom and Other Girls Like Mom'
Alaska in 'The Crystal Ball' 'Abracadabra' - Alaska
03) France
Punk is an intrinsic part of French culture which always weaves new ideas into the fabric of the arts. Even filmmaker Eric Rohmer, who leaned against the use of non-diegetic sound, cast punk icon Elli Medeiros in the romantic comedy 'Full Moon In Paris' (1984). A group of young stylists was responsible for pushing cyberpunk to greater cinematic extremes. This included Jean-Jacques Beineix, Jean-Pierre Jeunet, Luc Besson and Leos Carax whose groundbreaking work came to exemplify the stylistic film movement known as "cinema du look".
Thuy An Luu & Richard Bohringer in 'Diva' Isabelle Adjani in 'Subway' Marie-Laure Dougnac in 'Delicatessen'
Elli Medeiros in 'Full Moon In Paris'
02) Germany
Punk in Germany is similar to punk in France in that it's omnipresent. This is reflected in the work of Rainer Werner Fassbinder, Ulli Lommel, Wim Wenders and Uli Edel, to name a few. Edel filmed Christiane Vera Felscherinow's autobiographical book 'We Children of Zoo Station' (1978) as 'Christiane F' (1981) which was scored by David Bowie and Jurgen Knieper. Today, Germany is at the forefront of d.i.y. digital filmmaking. Horror filmmaker Jochen Taubert once made shoddy, low budget works that I feel were best forgotten but he's developed into one of the nation's leading directors in more recent years, achieving success with 'The Return Of The Forklift Drivers' (2013), 'Play My Limb Until Death' (2014), 'Dead Or Alive' (2015), 'Juliet & Romeo : Love Is A Battlefield' (2017) and 'The Pope's Daughter : We Come In The Name Of The Lord' (2020). In stock company player Alina Lina, he also has Europe's leading cinematic punk icon to call upon.
Also worth seeing are the recent low budget films of cinematic philosopher and provocateur Roland Reber who's similarly improved as he's gained experience. I'd recommend Reber's existential seriocomic excursions 'Angels With Dirty Wings' (2009), 'The Truth Of Lie' (2011), 'Illusion' (2013), 'Taste Of Life' (2017) and 'Cabaret Of Death' (2019).
The Kitties in 'Cabaret Of Death'
Alina Lina in 'The Pope's Daughter : We Come In The Name Of The Lord' Shooting on location with Alina Lina
01) Canada
'O Canada! O Canada!
O Canada! We stand on guard for thee,
O Canada! We stand on guard for thee.'
I've already mentioned Canadian directors in the post I made about cyberpunk so I won't repeat myself. You can also see Canadian punks in other films I've mentioned on this thread, from 'Class Of 1984' (1982) to 'Breaking The Rules' (1985).
I'll add three more movies to the mix that revel in punk ideas and imagery; Rene Bonniere's comedy 'Perfect Timing' (1986), Jean-Claude Lauzon's thriller 'Night Zoo' (1987) and Rafal Zielinski's drama 'Fun' (1994).
Lynne Adams in 'Night Zoo'
Renee Humphry & Alicia Witt in 'Fun' 'It's The Evil' - White Lung
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Post by petrolino on Sept 18, 2020 23:25:32 GMT
Microshock Cinema, Digital Versatile Discs & The Indie Horror Revival
'Plantlife' - Autolux
---
American Horror (2000 - 2020)
25 Franchises
1) Species (1995 - Roger Donaldson) / Species II (1998 - Peter Medak) / Species III : (2004 - Brad Turner) / Species : The Awakening (2007 - Nick Lyon)
2) Scream (1996 - Wes Craven) / Scream 2 (1997 - Wes Craven) / Scream 3 (2000 - Wes Craven) / Scream 4 (2011 - Wes Craven)
3) I Know What You Did Last Summer (1997 - Jim Gillespie) / I Still Know What You Did Last Summer (1998 - Danny Cannon) / I'll Always Know What You Last Summer (2006 - Sylvain White)
4) Mimic (1997 - Guillermo Del Toro) / Mimic 2 (2001 - Jean De Segonzac) / Mimic : Sentinel (2003 - J.T. Petty)
5) Wishmaster (1997 - Robert Kurtzman) / Wishmaster 2 : Evil Never Dies (1999 - Jack Sholder) / Wishmaster 3 : Beyond The Gates Of Hell (2001 - Chris Angel) / Wishmaster 4 : The Prophecy Fulfilled (2002 - Chris Angel)
6) Blade (1998 - Stephen Norrington) / Blade II (2002 - Guillermo Del Toro) / Blade : Trinity (2004 - David S. Goyer)
7) The Blair Witch Project (1999 - Daniel Myrick & Eduardo Sánchez) / Book Of Shadows : Blair Witch 2 (2000 - Joe Berlinger)
8) Lake Placid (1999 - Steve Miner) / Lake Placid 2 (2007 - David Flores) / Lake Placid 3 (2010 - Griff Furst) / Lake Placid : The Final Chapter (2012 - Don Michael Paul)
9) The Erotic Witch Project (2000 - John Bacchus) / Erotic Witch Project 2 : Book Of Seduction (2000 - John Bacchus) / Witchbabe : The Erotic Witch Project 3 (2001 - Terry M. West)
10) Final Destination (2000 - James Wong) / Final Destination 2 (2003 - David R. Ellis) / Final Destination 3 (2006 - James Wong) / The Final Destination (2009 - David R. Ellies) / Final Destination 5 (2011 - Steven Quale)
11) Killjoy (2000 - Craig Ross Jr.) / Killjoy 2 : Deliverance From Evil (2002 - Tammi Sutton) / Killjoy 3 (2010 - John Lechago) / Killjoy Goes To Hell (2012 - John Lechago)
Killjoy's Psycho Circus (2016 - John Lechago)
12) Goreface Killer (2002 - Jason Matherne) / Goregasm (2007 - Jason Matherne) / Grimewave (2013 - Jason Matherne)
13) Wrong Turn (2003 - Rob Schmidt) / Wrong Turn 2 : Dead End (2007 - Joe Lynch) / Wrong Turn 3 : Left For Dead (2009 - Declan O'Brien) / Wrong Turn 4 : Bloody Beginnings (2011 - Declan O'Brien) / Wrong Turn 5 : Bloodlines (2012 - Declan O'Brien) / Wrong Turn 6 : Last Resort (2014 - Valeri Milev)
14) Saw (2004 - James Wan) / Saw II (2005 - Darren Lynn Bousman) / Saw III (2006 - Darren Lynn Bousman) / Saw IV (2007 - Darren Lynn Bousman) / Saw V (2008 - David Hackl) / Saw VI (2009 - Kevin Greutert) / Saw 3D (2010 - Kevin Greutert)
15) Boogeyman (2005 - Stephen Kay) / Boogeyman (2007 - Jeff Betancourt) / Boogeyman 3 (2008 - Gary Jones)
16) The Gingerdead Man (2005 - Charles Band) / Evil Bong (2006 - Charles Band) / Gingerdead Man 2 : Passion Of The Crust (2008 - Silvia St. Croix) / Evil Bong 2 : King Bong (2009 - Charles Band) / Evil Bong 3 : The Wrath Of Bong (2011 - Charles Band) / Gingerdead Man 3 : Saturday Night Cleaver (2011 - William Butler) / Gingerdead Man vs. Evil Bong (2013 - Charles Band) / Evil Bong 420 (2015 - Charles Band) / Evil Bong : High 5 (2016 - Charles Band) / Evil Bong 777 (2018 - Charles Band)
17) Hostel (2005 - Eli Roth) / Hostel : Part II (2007 - Eli Roth)
18) Bikini Bloodbath (2006 - Jonathan Gorman & Thomas Edward Seymour) / Bikini Bloodbath Car Wash (2008 - Jonathan Gorman & Thomas Edward Seymour) / Bikini Bloodbath Christmas (2009 - Jonathan Gorman & Thomas Edward Seymour) / Bikini Bloodbath Shakespeare (2013 - John B. Reed)
19) Hatchet (2006 - Adam Green) / Hatchet II (2010 - Adam Green) / Hatchet III (2013 - BJ McDonnell)
20) See No Evil (2006 - Gregory Dark) / See No Evil 2 (2014 - Jen Soska & Sylvia Soska)
21) Halloween (2007 - Rob Zombie) / Halloween II (2009 - Rob Zombie)
22) Laid To Rest (2009 - Robert Hall) / Chromeskull : Laid To Rest 2 (2011 - Robert Hall)
23) Porkchop (2010 - Eamon Hardiman) / Porkchop II : Rise Of The Rind (2011 - Eamon Hardiman)
24) The Hospital (2013 - Tommy Golden & Daniel Emery Taylor) / The Hospital 2 (2015 - Jim O'Rear & Daniel Emery Taylor)
25) Death-Scort Service (2015 - Sean Donohue) / Death-Scort Service Part 2 : The Naked Dead (2017 - Sean Donohue) / Taste Me : Death-Scort Service Part 3 (2018 - Chris Woods)
Suzi Lorraine
'Swan Song' - Giant Drag
---
FILMS
Bless The Child (2000 - Chuck Russell)
Bruiser (2000 - George Romero)
The Convent (2000 - Mike Mendez)
Crocodile (2000 - Tobe Hooper)
The Doorway (2000 - Michael B. Druxman)
Drainiac! (2000 - Brett Piper)
Hollow Man (2000 - Paul Verhoeven)
Lost Souls (2000 - Janusz Kaminski)
Pitch Black (2000 - David Twohy)
Psycho Beach Party (2000 - Robert Lee King) Scary Movie (2000 - Keenen Ivory Wayans)
Shriek If You Know What I Did Last Friday The Thirteenth (2000 - John Blanchard)
Sideshow (2000 - Fred Olen Ray)
Supernova (2000 - Walter Hill)
What Lies Beneath (2000 - Robert Zemeckis)
Ruby Larocca, Linnea Quigley & Victor Bonacore
The Attic Expeditions (2001 - Jeremy Kasten) The Forsaken (2001 - J. S. Cardone)
Ghosts Of Mars (2001 - John Carpenter)
Horror Vision (2001 - Danny Draven) Mulholland Drive (2001 - David Lynch)
Night Of The Groping Dead (2001 - Rich Hillen)
Session 9 (2001 - Brad Anderson)
Shredder (2001 - Greg Huson)
Tina Krause
Angel Blade (2002 - David Heavener)
Bubba Ho-Tep (2002 - Don Coscarelli)
Bundy (2002 - Matthew Bright)
Cabin Fever (2002 - Eli Roth)
Demon's Kiss (2002 - Brad Sykes)
Demon Under Glass (2002 - Jon Cunningham) Despair (2002 - Mark Baranowski)
Eight Legged Freaks (2002 - Ellory Elkayem)
FeardotCom (2002 - William Malone)
Flesh For Olivia (2002 - William Hellfire)
Ghost Ship (2002 - Steve Beck)
Mummy Raider (2002 - Brian Paulin)
The Rats (2002 - John Lafia) Runaway Terror (2002 - Mark Baranowski) Satan's School For Lust (2002 - Terry M. West)
Silk Stocking Strangler (2002 - William Hellfire)
Slaughter Studios (2002 - Brian Katkin)
They (2002 - Robert Harmon)
Danielle Harris
Cheerleader Autopsy (2003 - Stu Dodge)
Cheerleader Massacre (2003 - Jim Wynorski)
Delta Delta Die! (2003 - Devin Hamilton)
Dr. Jekyll & Mistress Hyde (2003 - Tony Marsiglia) Expendable (2003 - Mark Baranowski)
Flesh For The Beast (2003 - Terry M. West)
The Hazing (2003 - Joe Castro)
King Of The Ants (2003 - Stuart Gordon) Leeches! (2003 - David DeCoteau)
Love Object (2003 - Robert Parigi)
Lust For Dracula (2003 - Tony Marsiglia)
Screaming Dead (2003 - Brett Piper)
Vampire Vixens (2003 - John Bacchus)
The Witches Of Sappho Salon (2003 - Tony Marsiglia)
Erica Duke
Bite Me! (2004 - Brett Piper)
Club Dread (2004 - Jay Chandrasekhar)
Dawn Of The Living Dead (2004 - David Heavener)
Frankenfish (2004 - Mark A.Z. Dippe)
Ghost Game (2004 - Joe Knee)
The Halfway House (2004 - Kenneth J. Hall)
The Hazing (2004 - Rolfe Kanefsky) The Machinist (2004 - Brad Anderson) Orgasm Torture In Satan's Rape Clinic (2004 - William Hellfire)
The Rockville Slayer (2004 - Marc Selz) Sin By Murder (2004 - Mark Baranowski)
The Sisterhood (2004 - David DeCoteau)
Toolbox Murders (2004 - Tobe Hooper)
Wilderness Survival For Girls (2004 - Kim Roberts)
Erin Brown (Misty Mundae)
'Death Dreams' - The She's
Bikini Girls On Dinosaur Planet (2005 - William Hellfire)
Cry_Wolf (2005 - Jeff Wadlow)
Cursed (2005 - Wes Craven)
The Devil's Bloody Playthings (2005 - William Hellfire)
The Devil's Rejects (2005 - Rob Zombie) Edmond (2005 - Stuart Gordon) The Exorcism Of Emily Rose (2005 - Scott Derrickson)
Hostel (2005 - Eli Roth)
House Of Wax (2005 - Jaume Collet-Serra)
Mortuary (2005 - Tobe Hooper)
The Naked Monster (2005 - Wayne Berwick & Ted Newsom)
Pervert! (2005 - Jonathan Yudis)
Shadow: Dead Riot (2005 - Derek Wan)
Shock-O-Rama (2005 - Brett Piper)
The Skeleton Key (2005 - Iain Softley)
2001 Maniacs (2005 - Tim Sullivan)
Venom (2005 - Jim Gillespie)
Sarah Michelle Gellar
Abominable (2006 - Ryan Schifrin)
All The Boys Love Mandy Lane (2006 - Jonathan Levine)
Behind The Mask : The Rise Of Leslie Vernon (2006 - Scott Glosserman)
Big Bad Wolf (2006 - Lance W. Dreesen)
The Breed (2006 - Nicholas Mastandrea)
The Covenant (2006 - Renny Harlin)
Dark Corners (2006 - Ray Gower)
Dark Ride (2006 - Craig Singer)
The Devil's Den (2006 - Jeff Burr)
An Erotic Werewolf In London (2006 - William Hellfire)
The Gravedancers (2006 - Mike Mendez)
The House Of Usher (2006 - Hayley Cloake)
Knight Of The Peeper (2006 - Jose Sombra)
The Lost (2006 - Chris Sivertson)
The Marsh (2006 - Jordan Barker)
Nightmare Man (2006 - Rolfe Kanefsky)
Satanic (2006 - Dan Golden)
Stump The Band (2006 - JoJo Henrickson & William Holmes)
Turistas (2006 - John Stockwell)
Whispers From A Shallow Grave (2006 - Ted Newsom)
The Woods (2006 - Lucky McKee)
Eliza Dushku
Black Devil Doll (2007 - Jonathan Lewis)
Buried Alive (2007 - Robert Kurtzman)
1408 (2007 - Mikael Hafstrom)
I Am Legend (2007 - Francis Lawrence)
Left For Dead (2007 - Christopher Harrison)
The Mist (2007 - Frank Darabont)
The Rage (2007 - Robert Kurtzman)
Skin Crawl (2007 - Justin Wingenfeld)
Solstice (2007 - Daniel Myrick)
Splatter Beach (2007 - John Polonia & Mark Polonia)
Splatter Disco (2007 - Richard Griffin) Stuck (2007 - Stuart Gordon) Through The Night (2007 - Insane Mike Saunders)
The Wizard Of Gore (2007 - Jeremy Kasten)
Zombie Cheerleading Camp (2007 - Jon Fabris)
Elissa Dowling
Bad Biology (2008 - Frank Henenlotter)
Bitten (2008 - Harvey Glazer)
Blood And Sex Nightmare (2008 - Joseph R. Kolbek)
Bonnie & Clyde Vs. Dracula (2008 - Timothy Friend) Dark Reel (2008 - Josh Eisenstadt)
Demon Divas And The Lanes Of Damnation (2008 - Mike Watt)
Frat House Massacre (2008 - Alex Pucci)
The Happening (2008 - M. Night Shyamalan)
Legend Has It (2008 - Jason Bolinger & Insane Mike Saunders)
The Midnight Meat Train (2008 - Ryuhei Kitamura)
Mirrors (2008 - Alexandre Aja)
Monster From Bikini Beach (2008 - Darin Wood)
Parasomnia (2008 - William Malone) The Ruins (2008 - Carter B. Smith)
Sea Of Dust (2008 - Scott Bunt)
Slumber Party Slaughterhouse : The Game (2008 - VARIOUS)
Spring Break Massacre (2008 - Michael Hoffman Jr.) Transsiberian (2008 - Brad Anderson)
Untraceable (2008 - Gregory Hoblit)
Wicked Lake (2008 - Zach Passero)
Mena Suvari
Bikini Girls On Ice (2009 - Geoff Klein)
Blood Night : The Legend Of Mary Hatchet (2009 - Frank Sabatella)
Drag Me To Hell (2009 - Sam Raimi) Faces Of Schlock (2009 - VARIOUS)
Grave Danger (2009 - Jim Haggerty) The Haunted World Of El Superbeasto (2009 - Rob Zombie)
The House Of The Devil (2009 - Ti West)
Infestation (2009 - Kyle Rankin)
Malibu Shark Attack (2009 - David Lister) Mister Dissolute (2009 - Mark Baranowski)
Nine Dead (2009 - Chris Shadley)
Orphan (2009 - Jaume Collet-Serra)
Pandorum (2009 - Christian Alvart)
Run! Bitch Run! (2009 - Joseph Guzman)
Skull Heads (2009 - Charles Band)
Sorority Row (2009 - Stewart Hendler)
Spirit Camp (2009 - Kerry Beyer)
Strangers Online (2009 - John Huckert)
Terror Overload – Tales From Satan's Truck Stop (2009 - Brant Johnson, Kevin Myhre & Jason Stephenson)
The Unborn (2009 - David S. Goyer)
Witchmaster General (2009 - Jim Haggerty)
Zombieland (2009 - Ruben Fleischer)
Tiffany Shepis
'Love Is' - Dude York
Black Swan (2010 - Darren Aronofsky)
From The Inside (2010 - Jim Haggerty) The Last Exorcism (2010 - Daniel Stamm)
My Soul To Take (2010 - Wes Craven)
Nude Nuns With Big Guns (2010 - Joseph Guzman)
President's Day (2010 - Chris LaMartina)
Red, White & Blue (2010 - Simon Rumley)
Shutter Island (2010 - Martin Scorsese)
Stake Land (2010 - Jim Mickle)
The Taint (2010 - Drew Bolduc & Dan Nelson)
Lauren Lakis
Chillerama (2011 - VARIOUS)
Climb It, Tarzan! (2011 - Jared Masters)
Creature (2011 - Fred M. Andrews)
Dear God No! (2011 - James Bickert)
The Disco Exorcist (2011 - Richard Griffin)
Drive Angry (2011 - Patrick Lussier)
The Innkeepers (2011 - Ti West) The Orphan Killer (2011 - Matt Farnsworth)
Raymond Did It (2011 - Travis Legge)
Red State (2011 - Kevin Smith)
The Sex Merchants (2011 - John Niflheim)
Shark Night (2011 - David R. Ellis)
Shriek Of The Sasquatch! (2011 - Steve Sessions) Swamp Shark (2011 - Griff Furst)
The Thing (2011 - Matthijs Van Heijningen Jr.)
The Victim (2011 - Michael Biehn)
Witch's Brew (2011 - Chris LaMartina)
The Woman (2011 - Lucky McKee)
You're Next (2011 - Adam Wingard)
Sarah Nicklin
The ABCs Of Death (2012 - VARIOUS) Bad Kids Go To Hell (2012 - Matthew Spradlin)
Creeper (2012 - Matthew Gunnoe)
Dark Shadows (2012 - Tim Burton)
Girls Gone Dead (2012 - Michael Hoffman Jr. & Aaron T. Wells)
Inhuman Resources (2012 - Daniel Krige)
Kiss Of The Damned (2012 - Xan Cassavetes)
The Lords Of Salem (2012 - Rob Zombie)
Murder University (2012 - Richard Griffin)
Prometheus (2012 - Ridley Scott)
Play Hooky (2012 - Frank S. Petrilli)
The Raven (2012 - James McTeigue)
Scream Park (2012 - Cary Hill)
Sinister (2012 - Scott Derrickson)
The Sleeper (2012 - Justin Russell) Slice (2012 - Terence Muncy)
Vamps (2012 - Amy Heckerling)
When Death Calls (2012 - Jim Haggerty)
Zombie A-Hole (2012 - Dustin Mills) Kaylee Williams
Axeman (2013 - Joston Theney)
All Cheerleaders Die (2013 - Lucky McKee & Chris Sivertson)
Babysitter Massacre (2013 - Henrique Couto) Bath Salt Zombies (2013 - Dustin Mills) Blood Slaughter Massacre (2013 - Manny Serrano)
Bunni (2013 - Daniel Benedict)
The Cemetery (2013 - Adam Ahlbrandt)
The Conjuring (2013 - James Wan)
Die Die Delta Pi (2013 - Sean Donohue & Christopher Leto) Easter Casket (2013 - Dustin Mills)
Frankenstein's Hungry Dead (2013 - Richard Griffin) Horns (2013 - Alexandre Aja) Ghost Shark (2013 - Griff Furst)
The Green Inferno (2013 - Eli Roth) Night Of The Tentacles (2013 - Dustin Mills)
Ooga Booga (2013 - Charles Band)
Rapture-Palooza (2013 - Paul Middleditch)
Return To Nuke 'Em High Volume 1 (2013 - Lloyd Kaufman)
The Sacrament (2013 - Ti West)
Skinless (2013 - Dustin Mills)
Slink (2013 - Jared Masters)
Izzie Harlow & Henrique Couto
After School Massacre (2014 - Jared Masters)
Annabelle (2014 - John R. Leonetti)
Big Driver (2014 - Mikael Salomon)
Call Girl Of Cthulu (2014 - Chris LaMartina)
Camp Massacre (2014 - Jim O'Rear & Daniel Emery Taylor)
Cheerleader Camp : To The Death (2014 - Dustin Ferguson)
Club Lingerie (2014 - Jared Masters)
The Coed And The Zombie Stoner (2014 - Glenn Miller)
Deadly Punkettes (2014 - Jared Masters)
Deadly Weekend (2014 - Jason Sutton)
Don't Blink (2014 - Travis Oates) Ghoulish Tales (2014 - Brad Twigg)
A Good Marriage (2014 - Peter Askin) The Guest (2014 - Adam Wingard)
Haunted House On Sorority Row (2014 - Henrique Couto)
It Follows (2014 - David Robert Mitchell)
Jailbait (2014 - Jared Cohn)
Lost After Dark (2014 - Ian Kessner) Naughty, Dirty, Nasty (2014 - Chris Woods)
Scarewaves (2014 - Henrique Couto)
The Sins Of Dracula (2014 - Richard Griffin)
666 : Kreepy Kerry (2014 - David DeCoteau)
Starry Eyes (2014 - Kevin Kölsch & Dennis Widmyer)
Stonehearst Asylum (2014 - Brad Anderson)
Teenage Slumber Party Nightmare (2014 - Richard Mogg)
Varsity Blood (2014 - Jake Helgren)
The Voices (2014 - Marjane Satrapi)
Zombie Pirates (2014 - Steve Sessions)
Sarah French (Scarlet Salem)
'Bad Idea' - The Paranoyds
Alone In The Ghost House (2015 - Henrique Couto)
Badass Monster Killer (2015 - Darin Wood)
Ballet Of Blood (2015 - Jared Masters)
Bastard (2015 - Powell Robinson & Patrick Robert Young)
Dangerous People (2015 - Garo Nigoghossian)
Fangboner (2015 - Nathan Rumler)
The Fappening (2015 - Sean Weathers) Flesh For The Inferno (2015 - Richard Griffin)
Knock Knock (2015 - Eli Roth) Milfs Vs. Zombies (2015 - Brad Twigg)
Other Halves (2015 - Matthew T. Price)
Scouts Guide To The Zombie Apocalypse (2015 - Christopher B. Landon)
Secret Santa (2015 - Mike McMurran)
Seven Dorms Of Death (2015 - Richard Griffin) $kumbagz (2015 - John Miller)
Tales Of Halloween (2015 - VARIOUS)
Sara Paxton
All Girls Weekend (2016 - Lou Simon)
All I Need (2016 - Dylan K. Narang)
Cannibal Claus (2016 - Sean Donohue) CarousHELL (2016 - Steve Rudzinski) Chaos A.D. (2016 - Chris Woods)
Chupacabra Territory (2016 - Matt McWilliams)
Don't Breathe (2016 - Fede Alvarez) Fiendish Fables (2016 - Brad Twigg) Frankenshark (2016 - Bill Zebub)
Frankenstein Created Bikers (2016 - James Bickert)
The Horde (2016 - Jared Cohn)
Hunters (2016 - Adam Ahlbrandt)
Lights Out (2016 - David Sandberg)
Little Dead Rotting Hood (2016 - Jared Cohn)
The Love Witch (2016 - Anna Biller)
Model Hunger (2016 - Debbie Rochon)
Night Of Something Strange (2016 - Jonathan Straiton)
Plank Face (2016 - Scott Schirmer)
She Wolf Rising (2016 - Marc Leland)
Sorority Slaughterhouse (2016 - David DeCoteau)
Terrifier (2016 - Damien Leone)
Tonight She Comes (2016 - Matt Stuertz)
Sadie Tate
Aliens Vs Titanic (2017 - Jeff Leroy)
Bad Kids Of Crestview Academy (2017 - Ben Browder) Big Hair, Long Lashes (2017 - Jared Masters) Get Out (2017 - Jordan Peele) House Skark (2017 - Ron Bonk) Killer Campout (2017 - Brad Twigg) Land Shark (2017 - Mark Polonia) Locked Up (2017 - Jared Cohn)
Mother! (2017 - Darren Aranofsky)
Party Night (2017 - Troy Escamilla)
Return To Return To Nuke 'Em High Aka Vol. 2 (2017 - Lloyd Kaufman)
Space Babes From Outer Space (2017 - Brian Williams)
Jessica Cameron
Amazon Hot Box (2018 - James Bickert)
The Executioners (2018 - Giorgio Serafini) Ghoul Scout Zombie Massacre (2018 - Eric Eichelberger)
Alyss Winkler, Brian Papandrea, Allison Maier & Ellie Church
Art Of The Dead (2019 - Rolfe Kanefsky)
Crossbreed (2019 - Brandon Slagle)
Earth Girls Are Sleazy (2019 - VARIOUS)
Girls Just Wanna Have Blood (2019 - Anthony Catanese)
The Hart-Break Killer (2019 - Sean Donohue)
Slaughterhouse Slumber Party (2019 - Dustin Mills)
Haley Madison
Clown Fear (2020 - Minh Collins)
Naked Cannibal Campers (2020 - Sean Donohue)
Carmela Hayslett (Roxsy Tyler)
'YFLMD' - Giant Drag
---
Global Horror (2000 - 2020)
1 Franchise
[Rec] (2007 - Jaume Balaguero & Paco Plaza) / [Rec]² (2009 - Jaume Balaguero & Paco Plaza) / [REC] 3 : Genesis (2012 - Paco Plaza) / [REC] 4 : Apocalypse (2014 - Jaume Balaguero)
Alina Lina
Head Wound City at Bedrocktoberfest
---
FILMS
Deep In The Woods (2000 - Lionel Delplanque)
Faust : Love Of The Damned (2000 - Brian Yuzna)
Ju-On : The Grudge (2000 - Takashi Shimizu)
Sacred Flesh (2000 - Nigel Wingrove)
Brotherhood Of The Wolf (2001 - Christophe Gans)
Cradle of Fear (2001 - Alex Chandon) Dagon (2001 - Stuart Gordon)
Kannibal (2001 - Richard Driscoll)
The Others (2001 - Alejandro Amenabar)
The Barber (2002 - Michael Bafaro)
Dark Water (2002 - Hideo Nakata)
Darkness (2002 - Jaume Balaguero)
Fallen Angels (2002 - Ian David Diaz)
Wolfhound (2002 - Donovan Kelly)
A Tale Of Two Sisters (2003 - Kim Jee-Woon)
Creep (2004 - Christopher Smith) Decoys (2004 - Matthew Hastings) Dracula 3000 (2004 - Darrell Roodt)
Frost (2004 - Domink Alber)
House Of Voices (2004 - Pascal Laugier)
Romasanta (2004 - Paco Plaza) Rottweiler (2004 - Brian Yuzna)
Beneath Still Waters (2005 - Brian Yuzna)
Cello (2005 - Woo-Cheol Lee)
The Descent (2005 - Neil Marshall)
Feed (2005 - Brett Leonard)
Forest Of The Damned (2005 - Johannes Roberts)
Fragile (2005 - Jaume Balaguero)
Man-Thing (2005 - Brett Leonard) The Nun (2005 - Luis De La Madrid) Wolf Creek (2005 - Greg McLean)
Black Christmas (2006 - Glen Morgan)
Cold Prey (2006 - Roar Uthaug) 5ive Girls (2006 - Warren P. Sonoda) Sheitan (2006 - Kim Chapiron)
Silent Hill (2006 - Christophe Gans)
Sukeban Boy (2006 - Noboru Iguchi)
When Evil Calls (2006 - Johannes Roberts)
Exte : Hair Extensions (2007 - Sion Sono)
Sick Nurses (2007 - Piraphan Laoyont)
Tokyo Gore Police (2007 - Yoshihiro Nishimura)
Book Of Blood (2008 - John Harrison)
Credo (2008 - Toni Harman)
Donkey Punch (2008 - Olly Blackburn) Gutterballs (2008 - Ryan Nicholson)
The Legend Of Harrow Woods (2008 - Richard Driscoll)
Love Exposure (2008 - Sion Sono)
The Machine Girl (2008 - Noboru Iguchi)
Martyrs (2008 - Pascal Laugier)
Ogre (2008 - Steven R. Monroe)
Red Mist (2008 - Paddy Breathnach)
RoboGeisha (2009 - Noboru Iguchi)
Splice (2009 - Vincenzo Natali)
Triangle (2009 - Christopher Smith)
Vampire Girl Vs. Frankenstein Girl (2009 - Naoyuki Tomomatsu)
Zombie Women Of Satan (2009 - Warren Speed)
Lullaby (2010 - Juliusz Machulski)
Monstro! (2010 - Stuart Simpson)
Mutant Girls Squad (2010 - Noboru Iguchi)
Psychosis (2010 - Reg Traviss)
Rabies (2010 - Aharon Keshales & Navot Papushado)
Tucker & Dale vs. Evil (2010 - Eli Craig)
Macarena Gomez
'Bonfire' - Magik Markers
Deadball (2011 - Yudai Yamaguchi)
Guilty Of Romance (2011 - Sion Sono)
Inbred (2011 - Alex Chandon)
Sleep Tight (2011 - Jaume Balaguero)
Strip Mahjong : Battle Royale (2011 - Makku P. Foeva) Tomie : Unlimited (2011 - Noboru Iguchi)
The Wicker Tree (2011 - Robin Hardy)
Zombie Ass : The Toilet Of The Dead (2011 - Noboru Iguchi)
The ABC's Of Death (2012 - VARIOUS)
Dead Sushi (2012 - Noboru Iguchi)
Dracula 3D (2012 - Dario Argento)
The Facility (2012 - Ian Clark)
Fresh Meat (2012 – Danny Mulheron)
The Girl From Nowhere (2012 - Jean-Claude Brisseau)
Slasher House (2012 - MJ Dixon)
Strippers Vs Werewolves (2012 - Jonathan Glendenning)
The Tall Man (2012 - Pascal Laugier)
Three's A Shroud (2012 - VARIOUS)
Tower Block (2012 - James Nunn & Ronnie Thompson)
Truth Or Dare (2012 - Robert Heath)
The Return Of The Forklift Drivers (2013 - Jochen Taubert)
Under The Skin (2013 - Jonathan Glazer)
American Burger (2014 - Johan Bromander & Bonita Drake)
Chocolate Strawberry Vanilla (2014 - Stuart Simpson)
Devil's Tower (2014 - Owen Tooth)
The Editor (2014 - Adam Brooks) Girlhouse (2014 - Jon Knautz & Trevor Matthews)
Play My Limb Until Death (2014 - Jochen Taubert)
The Quiet Ones (2014 - John Pogue)
Dead Or Alive (2015 - Jochen Taubert)
Deathgasm (2015 - Jason Lei Howden)
The Devil's Woods (2015 - Anthony White)
Even Lambs Have Teeth (2015 - Terry Miles)
The Lure (2015 - Agnieszka Smoczynska)
Secret Santa (2015 - Mike McMurran)
Tag (2015 - Sion Sono)
Tale Of Tales (2015 - Matteo Garrone)
Female Zombie Riot (2016 - Warren Speed) The Limehouse Golem (2016 - Juan Carlos Medina)
Peelers (2016 - Seve Schelenz)
Sneekweek (2016 - Martijn Heijne)
We Are The Flesh (2016 - Emiliano Rocha Minter)
Juliet & Romeo : Love Is A Battlefield (2017 - Jochen Taubert) Revenge (2017 - Coralie Fargeat)
Necrologies (2018 - Fabien Chombart, Guillaume Defare, Nathalie Epoque, Francois Message & Alexis Wawerka)
The Pope's Daughter : We Come In The Name Of The Lord (2020 - Jochen Taubert)
Kyrie Capri Mayberian Sanskulotts at Kepler Studios
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Post by petrolino on Sept 26, 2020 22:37:11 GMT
Shortboard Thruster : Surfing On The A-Frame
Blondie, the Ramones, the Cramps, the B-52's and the Dead Kennedys are among the many punk bands that have utilised surf rock techniques in their music. Surf punk has been called "a revival of the original surfing sound" and it's true there's a strong connection. Agent Orange recorded covers of 'Miserlou' (a folk song from the east Mediterranean reinvented by surf rock pioneer Dick Dale), the Bel-Airs' 'Mr. Moto' and the Chantays' 'Pipeline'.
"It wasn’t long after the invention of rock ’n’ roll that artists started making their own styles of rock, including the reverb-heavy surf rock, made most popular by Dick Dale and later, the Beach Boys."
- Alyssa Quiles, Alt Press
Surf Punks
'The Dummies' - Surf Punks
The pioneers of what might be called "pure surf punk" included the group Surf Punks who formed in Malibu, California, and Insect Surfers who originated in Washington D.C. which is technically landlocked. Insect Surfers opened for the B-52's in 1979.
"One of the best things about Surf Punks is they were exactly what they said they were. In the late 1970s, the Malibu band aimed to apply the no-frills surfer ideal to punk in the same way the Beach Boys had applied it to rock 'n' roll in the 1960s. It was a novel idea, for sure. But, for a time at least, it succeeded, even if the Surf Punks story was weird and fragmented.
Adding to Surf Punks' unlikely premise was the fact that co-founder, producer, and drummer Dennis Dragon was the younger brother of "Captain" Daryl Dragon of the soft-rock duo Captain & Tennille. In another odd twist, both Dragon brothers had played with the Beach Boys themselves.
Fronted by vocalist Drew Steele, Surf Punks self-released an album in 1979. It was later picked up by Epic, who issued it as My Beach the following year. Punk's first wave was already dying out, and the band moved to indie Restless/Enigma for the 1982 follow-up Locals Only. Then, they disappeared for six years."
- John Bergstrom, Pop Matters
Insect Surfers
'Up Periscope' - Insect Surfers
One of the most dedicated surf rock bands is Man Or Astro-Man? who draw heavily from punk music. They apparently released a split 7" single with Chrome in 1996 but I've not heard it.
Californian Super Surfer ~ Jennifer Aniston
'Told You So' - Paramore
- - -
Noseslide Grind : Skating To The Death Wobble
Around the same time that surf punk broke through, skate punk emerged as a major musical movement. Skate punk went on to become a global phenomenon whereas surf punk has remained a niche market. Suicidal Tendencies are one of the more innovative skate punk bands, blending thrash metal with hardcore punk to fashion an arresting hybrid. Suicidal Tendencies were formed in Venice, California which had a strong skate punk scene and was also home to Excel. As surf punk gripped the west coast, some of the leading skater punks could be found inland where they were spread across the south-west. The seeds of subgenre pioneers JFA (Jodie Foster's Army) were planted in Pheonix, Arizona though they also had links to California's punk scene.
“I decided to start a record label because I could see the future of punk.” Doug Moody, still laser-sharp well into his 80s, is the founder of Mystic Records, a California-based label that released early albums, singles and compilation tracks from many of the bands that would become synonymous with the skate-punk movement of the 1980s – bands like JFA, Suicidal Tendencies, Ill Repute, RKL, DRI and Dr. Know.
“I decided to record 500 bands, and they came from all over, everywhere, even Holland,” he says. “The trick for Mystic was to give a voice to people who wanted to tell the world how they felt. You can only capture that before you have the responsibilities of bills and children.
"Most of the bands were between the ages of 16 and 18. That’s when you have the vehemence, the drive to tell the world what you really think. I saw myself in these kids, and that’s why I started Mystic.”
Moody made his fortune in the 50s and 60s, recording soul and R&B acts on his Philadelphia-based labels Herald and Ember, including some early work with influential country and blues guitarist Lightnin’ Hopkins.
“When I moved to the US from England,” he says, “the only people that would accept me were black. So that’s the kind of music I recorded. The people that played this music were dirt poor, they’d come in with holes in their trousers, and with hand-me-down instruments.
"Fast forward to the 1970s, when I started recording punk bands for Better Youth Organization in California, and I saw the same things – kids with holes in their clothes, and with hand-me-down instruments. They were poor. It was like the 50s all over again. And I knew they were all skateboarders, because they would come into the studio with their skateboards.”
One of these early skate bands was Dr. Know. Brandon Cruz was their first singer, although he left the band before their more well-known ‘crossover’ era, and the frontman recounts how a bunch of scruffy, angry skateboarders started an entire musical movement.
“We were all skaters before we were punkers,” he says. Cruz was from a Los Angeles suburb called Oxnard, which quickly became ground zero for skate-punk. “In Oxnard, where Aggression, Ill Repute, Dr. Know and Stalag 13 all came from, we surfed year round and skated in empty pools when it didn’t rain.
In 1975 or 1976, this was before punk rock, they built a skate park in Oxnard, and all the guys from Venice would come up to skate there. Some of the guys from Venice included Jim Muir and his little, little brother, [future Suicidal Tendencies frontman] Mike Muir. We all skated, and we all skated to heavy metal and southern-fried rock back then.”
The following year, however, the musical landscape changed radically. “The summer of ’77 I came back from England, and there was a band from Moor Park called the Rotters. They started playing, and by 1978 they were playing high school parties, and we would go and crash the parties.
We heard those guys playing, and we said, ‘Oh, we can do that.’ The guys in Aggression were a few years older, so all us guys that would later be in Ill Repute and Dr. Know, we just sat and watched to see how they did it. Then we all sorta came together at my mom’s house. That’s where our guitar player Ismael coined the term “Nardcore”, and it all sorta got going from there. The band started in late ’79, and it really got going by 1981.”
“The original name for the music we put out was thrash, or skate-thrash,” says Doug Moody. “Punk music was Exploited, Discharge. The bands coming from England, and the bands that copied them were punk bands. The stuff we were producing was an original form of Californian music, thrash, or skateboard punk. It originated here.”
The movement was aided by the emergence of LA hardcore bands like Black Flag, The Circle Jerks and the Adolescents, bands that were fast and raw, which replicated the feel of skating. Soon, skate-punk bands starting cropping up all over California and, indeed, the rest of the country. Arizona’s JFA (or, as they were more formally known, Jodie Foster’s Army) are one of the longest running. Lead singer Brain Brannon recounts the early days of the scene.
“You had bands in Orange County and LA, you had Oxnard, which is central California, you had skate-punk coming out of San Francisco, like the Drunk Injuns, San Jose had a big scene. They were sprouting like weeds. It was going on all over. It wasn’t really a movement until Thrasher magazine started putting it all together. Thrasher was a really big catalyst in helping everybody join together. With it you can find out what town has what band so you can hook up and tour, go to their spots to skate and hang out.”
At the same time skate-punk began developing as a loosely-knit but far-reaching community, a per nicious influx of gangs crept into the LA skate-punk scene. The most notorious were the Suicidals, known as much for their low-slung bandanas as their propensity for brutality. Venice Beach skate thrashers Suicidal Tendencies were, naturally, at the eye of this particular hurricane. Their shows became so violent that by 1983, they could no longer even play in Los Angeles.
“Suicidal blew up ridiculously huge”, says Brandon Cruz. “A lot of the East LA guys delved really deep into the gang lifestyle, to the point where you couldn’t even refer to them by their real names anymore, they had all these nicknames and stuff. Back in the 80s, punk rock gang fights were, at the worst, somebody with a stick.
"They were fistfights. But after a while, people were getting jumped for no reason, and it just got stupid. The violence in that scene is legendary, but it was brutal to be a part of. I’m a small guy, but I got punched a bunch of times at gigs by people where I didn’t know who they were or what I’d done. It was like a random thing.”
As if random face-mashings weren’t enough, around 1983-1985, a strange new influence crept into skate-thrash: heavy metal. Seemingly overnight, scores of once-staunchly anti-metal punk bands began to add scorching lead-guitar solos and wailing vocals into their songs.
It was a like some sort of lead-infused virus, and it claimed an impressive roster of skate-friendly punk bands, including Dr. Know, DRI, Suicidal Tendencies, Corrosion Of Conformity, Septic Death, Agnostic Front, SSD and many others. Brandon Cruz was one of the few purists who refused to ‘go metal’.
“I don’t know how it happened,” he shrugs. “I just remember in 1983 hearing the initial rough versions of songs that were going to be on our Plug-In Jesus record and looking at our guitar player Kyle and realising, ‘Wow, he’s growing his hair out and listening to a lot more Motörhead and Black Sabbath lately,’ and this isn’t what I thought we were going to do."
- Ken McIntyre, Louder
Suicidal Tendencies
'Tapping Into The Emotional Void' - Excel
Big Boys and the Dicks both played in Austin, Texas and were a key influence on the Red Hot Chilli Peppers' funk-fuelled sound. Together they recorded a joint album, 'Big Boys & The Dicks -- Live At Raul's Club' (1980), which is now enshrined as a skate punk classic. There were countless hardcore bands active in cities like Dallas, Houston and San Antonio that pretty much sounded the same, but several bands in Austin sought to add groove to their frenetic thrash.
"Skateboards and the cinema are no strangers. They’ve had a relationship stretching back more than 50 years. One of the earliest examples is Skaterdater, a 15-minute short with zero dialogue. It’s a classic boy-meets-girl story soundtracked by the surf rock group Davie Allan and the Arrows, which was released way back in 1965.
Skating or ‘sidewalk surfing’, as it was known back then, was almost lost to history as a passing fad until the 1970s saw the invention of the polyurethane wheel, which allowed riders to hit bigger and tougher terrain. Soon, skaters such as Tony Alva and Jay Adams, members of the legendary Z-Boys skate crew, were pushing all previous boundaries, and photographers and filmmakers were keen to capture their exploits on camera. This resulted in a 70s spike of skate-based films, including Freewheelin’ (1976), Skateboard (1978) and Skateboard Madness (1980).
Narratively shaky, these were essentially cinematic vehicles for skaters to showcase their skills and tricks. The budgets were low but the enthusiasm behind them was enough to give the new genre traction, leading to the release of an increasing number of skate-inspired films. Before long, more mainstream movies began to have central characters who were skaters, as the skateboard became emblematic of youth identity or rebellious unconventionality."
- Tom Jones, The British Film Institute
Robert Rusler & Pamela Gidley relaxing on set during the filming of 'Thrashin' (1986)
'Institutionalized' - Suicidal Tendencies
The great legacy of skate punk is the world-conquering bands it's inspired. NOFX, the Offspring, Green Day, Pennywise and Blink-182 are just some of the rock groups that owe a huge debt to the skater scene. What was perhaps most shocking however, were the rabid levels of machismo fostered in skate punk circles. At times, it seemed like hardly any women were active within any of the major bands.
"Skate punk is something taken seriously in the desert. We're always looking to finish an argument about what constitutes a good slab of skate punk wax. Phoenix has a long history with both skateboarding and the music most closely associated with it. Skate punk (or skate rock, which many see as interchangeable terms), is any music created by skateboarders and/or a provider of the sufficient inspiration to risk life and limb on four wheels and a deck of wood.
Local heroes Jodie Foster's Army (JFA) debuted in 1981 and are considered by some to have started the whole thing. However, JFA actually does have peers that predate the Phoenix quartet in terms of first gigs and recordings so we won't coronate them as the original skate punks just yet. For many of the progenitors of the genre, the sound is equal parts of the following bands: The Sonics, The Ventures, The Who (specifically the early '70s Isle of Wight-era Who), Black Sabbath, Ramones, and Devo.
The popularity of skateboarding on a national and international level has grown steadily since the mid-'80s, but it has been a popular sport in our "but it's a dry heat" corner of the globe since the 1970s. It is also safe to say we no longer need to preface the word "sport" with "alternative" or "extreme" in 2015, as skateboarding finally has matured enough to no longer be seen as a fad or anomaly in the sports world. To put it in perspective in another way, we're just a little over a year away from having a 40-year-old skate shop in greater Phoenix, as Scottsdale's Sidewalk Surfer will celebrate its ruby anniversary in 2017."
- Tom Reardon, Pheonix New Times
JFA
'Blatant Localism' ~ JFA
No Doubt were an accomplished rock group who married ska punk with skate punk to create their own unique sound and aesthetic. Vocalist Gwen Stefani at times seemed like a lone voice in the wilderness. When the class of the 2000s emerged with strong record sales, there were again hardly any women active on the scene. As such, Canadian skater Avril Lavigne (she surfs too) became a figurehead for the movement, as did songwriter Hayley Williams who fronts influential rock band Paramore.
Californian Collegiate Skateboarder ~ Jodie Foster
'Hard Times' - Paramore
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Post by petrolino on Oct 17, 2020 23:46:17 GMT
Rodeo Clowns : Sun, Sin & Sand
There are American punk tracks from the 1970s that have clear country music stylings. Bands like Suicide and the Voidoids were influenced by rockabilly music and the Cramps pioneered psychobilly music. It's hard to overestimate the impact the Cramps had on the music scene as they came to spearhead an entire movement. The fact they held roots in California, Ohio and New York was an essential ingredient as it made them the ultimate 1970s punk band in certain respects.
"Social Distortion may have gotten their start in the late 1970s Southern California punk scene, but the band’s musical lineage and influences go much further back (and spread further out) than the punk landscape. The group’s singer and leader Mike Ness recalls being shaped by a rich, roots-heavy musical upbringing.
“Around the house, my father liked country and my mother was more rock & roll,” Ness tells Rolling Stone Country. “I remember a lot of Johnny Cash, the Dillards and Buck Owens. Country music was just always in the background and I absorbed all of it. Also, this was in the period of the folk revival, so we had that big Smithsonian box set [The Anthology of American Folk Music] where I distinctly remember hearing the Carter Family for the first time. Their tones and that style of music really resonated with me as a kid. Early on, I wanted Social D to be the Carter Family with electric guitars.”
Inspired by the Sex Pistols and punk’s no-rules approach, Ness channeled that unruly inclusivity to mix punk with the roots music he had grown up loving, seeing a distinct connection between the styles. “To me, the main shared characteristic between the two of them is that they’re both working-class genres that deal with working-class issues in an honest way,” says Ness, who recently produced the traditionally styled country singer Jade Jackson’s debut Gilded. “Whether it’s Billie Holiday or Howlin’ Wolf or Johnny Cash, they’re singing about real-life things and that’s what punk is – a dissatisfaction with the status quo and wanting to honestly sing about it.”
- Will Hodge, Rolling Stone
Far Out Fables Presents 'Punk Rock Mouse And Country Mouse'
'Pony Dress' - The Flesh Eaters with John Doe & Exene Cervenka
In California, X were hardcore pioneers of country punk, which came to be known as cowpunk. Several members of the band were politically conservative (something common in country circles), drummer DJ Bonebrake was a master of railroad rhythms and guitarist Billy Zoom played "country cartwheels" as well as heavy punk riffs. The Blasters formed in 1979 and branded their roots-based music as "American Music". Members of X and the Blasters formed the Knitters in 1982, a folk-infused cowpunk band whose name is a play on the Weavers. Members of both groups also played with the Flesh Eaters, a California-based punk unit conducted by poet Chris Desjardins.
Country & western fanatics Social Distortion arrived on the scene in 1978. Cowpunk act Rank And File was formed in 1981 by former members of the Dils and the Nuns.
"Brothers Chip and Tony Kinman, foregrounding harmonies that were hardly close — imagine an inordinately dry Johnny Cash up against a washer-womanly blushing violet — trade in the class-warring of L.A. punk troupe the Dils for sagebrush pop rock as schooled in Ennio Morricone as Merle Haggard. On later records, they took themselves too seriously, but on this debut, hooky ditties like “Amanda Ruth” and “The Conductor Wore Black” win out. Secret weapon: former Nun and future adult-alternative hero Alejandro Escovedo on guitar."
- Chuck Eddy, SPIN
X
'The World's A Mess, It's In My Kiss' - X
The Gun Club formed in 1979 and are now seen as progenitors of cowpunk. Their raw psychobilly sound was tribal in nature and dominated by distortion when they performed live. The Paisley Underground also emerged in California around the turn of the decade, a nostalgia-drenched art movement that drew heavily from baroque pop and psychedelia. Bands like Green On Red (originally from the punk scene in Tucson, Arizona) and the Long Ryders drew heavily from psychedelic country rock.
"Many, many years ago a friend put me on to the Gun Club saying that it was one of his favorite lesser known bands. Six or seven years into listening to them on a semi-regular basis, they've really grown on me, especially their 1982 album Miami. I was reading an issue of SPIN last year and Chuck Eddy wrote a short piece about the lesser known genre of cowpunk, which I have to say was new term to me.
To put it briefly, cowpunk is a genre of music from the UK and later the US during the early post-punk period where musicians drew influence from country music while maintaining punk's rawer edges. Other notable acts from the genre include Long Ryders, Meat Puppets, and X.
What is crazy to me is the influence this music would have on the music that follows it, but also how little it's talked about today. The Psychobilly genre ran parallel to Cowpunk in terms of timing, but both were influential on Social Distortion - I am personally not a fan of theirs, but their influence on refined pub punk / hard rock is pretty wide-reaching. It's hard to imagine if there would have been a Beck without the groundwork of cowpunk in Los Angeles. Though I don't consider Los Lobos as part of this scene, I'm sure they got around more because of it. Without Los Lobos, there probably wouldn't be a Graceland by Paul Simon, and there would be no Vampire Weekend, etc. I can't imagine a world without The Cramps - it would simply be an alternate reality."
- Ukilla Cosby, Reddit
The Bangles
'Mr. T Luv Boogie' - Screamin' Sirens
Cowpunkettes Screamin' Sirens portrayed the She-Devils in Max Tash's punk comedy 'The Runnin' Kind' (1989), which took its name from a song written by sister and brother Diane 'Boom Boom' Dixon and Gary Dixon, who was married to Fur Dixon of the Cramps. Punk poet Pleasant Gehman, Rose Flores (Rosie And The Screamers), Casey Gomez (the Pandoras), Boom Boom Lafoon (Keith Joe Dick And The Goners), Genny Schorr (Backstage Pass) and Annette Zilinskas (the Bangles & Blood On The Saddle) were all members of the Screamin' Sirens at one time or another.
"For the past 15 years, I’ve been booking, hosting and performing at Sleepless Nights, an annual Gram Parsons tribute held in San Francisco. I’ve come to learn that Parsons fans have different reasons for loving the guy. Some appreciate how he influenced the Byrds and the Rolling Stones. Others are drawn to his wild ride through life, and death – after his untimely passing at age 26, Parsons’ road manager stole his casket from the airport and set his corpse ablaze in the Joshua Tree desert. And there are other fans who believe he invented country rock. What still excites me today about his recordings are all the rabbit holes he gave us to explore. Digging through his discography led to my personal discoveries of Emmylou Harris, Tom T. Hall, Dan Penn, Judy Henske, Fred Neil, George Jones, Buffy Sainte-Marie and the Louvin Brothers.
A few years after getting into the country artists who influenced Parsons, I started reading about some of the bands that Parsons inspired. This eventually led me to the subgenre of country punk. What’s country punk? Well, it’s not quite the Supersuckers, nor is it someone’s dad wearing that shirt of Johnny Cash flipping off the camera. Country punk (or cowpunk) is so much more than that. Like a lot of underground music, country punk had its origins origins in the late ‘70s and early ‘80s. At its foundation, much of this stuff is punk, post punk, power pop, new wave or rock with some of that Los Angeles-born, “Paisley Underground” guitar jangle. Needless to say, the subgenre gets its name from incorporating salient elements of country twang, blues tones and rockabilly rhythms. It should also be noted that country punk predated the whole Americana/alt country scene by a decade. But it totally seeded the soil of such roots rockers as Uncle Tupelo, Wilco, Son Volt, Whiskeytown and then Ryan Adams, Neko Case, Drive-By Truckers and almost everyone else who has ever combined twangy guitars with distortion pedals. Nobody really knows who the first country punk band was, but the movement sparked when underground musicians began discovering and sharing classic country records. This inspired bands and artists who were looking to try something different from the neon MTV trappings of the ’80s.
Any true underground music tribe has its own companion film. The punks have Suburbia. The mods have Quadrophenia. Goths have The Hunger. Cowpunks have Border Radio. Borrowing its title from a Blasters song, this 1987 indie film has been added to the Criterion Collection and features such staples of the subgenre as John Doe, Dave Alvin and Rank & File’s Tony Kinman. It also boasts a cool country punk soundtrack including the Gun Club, X, the Flesh Eaters, Chuck Prophet’s old band Green On Red and Tex & the Horseheads. Border Radio is a great opportunity to hear some essential country punk."
- Eric Shea, Pandora
Belinda Carlisle & Pleasant Gehman
'People Ain't No Good' - The Cramps & The McMartin Preschool Choir
In England, Elvis Costello took an interesting career course. Costello's debut album featured backing from Clover, an American group who'd moved from psychedelia into country rock. Several members of Clover formed the band Huey Lewis & The American Express in 1979, which mutated into Huey Lewis And The News. For Costello, Clover ensured a track like 'Alison' sounded like an authentic country ballad, while rockers like 'Miracle Man' and 'Blame It On Cain' delivered a plentitude of country twang.
Costello formed the Attractions for his second album, 'This Year's Model' (1978). The Attractions included bassist Bruce Thomas (Quiver) and drummer Pete Thomas (Chilli Willi And The Red Hot Peppers) who were seen as old timers on the punk scene (much like Jet Black of the Stranglers and Andy Summers of the Police).
"WARNING : This album contains country western music and may cause offence to narrow minded listeners."
- Elvis Costello
A billboard advertising 'My Aim Is True' by Elvis Costello
'Watermelon Man' - The Gun Club with D.H. Laurence Jr (Debbie Harry) & Chris Stein
Subgenres like jazz punk, punk funk and folk punk are harder to qualify and even harder to quantify as these elements run throughout rock music. On top of that, punk was about experimentation, so nothing was off limits. In America, for example, Blondie ('Once I Had A Love'), the Patti Smith Group ('Redondo Beach'), Television ('The Fire') and Pere Ubu ('Laughing') were utilising reggae rhythms as the bedrock of original compositions. In the U K, reggae played an even greater influence and the ska punk movement (centred around 2 Tone Records) ran alongside the punk movement.
Blondie brought disco into the mix when their jagged set favourite 'Once I Had A Love' mutated into the more sophisticated pop punk anthem 'Heart Of Glass'. Blondie were instrumental in popularising rap punk too, thanks to Debbie Harry's unusual vocalising of 'Rapture'. Punk is also credited as being the source of the electropop duo "new wave" movement, a synth pop facet that was built upon a "keyboard-singer" band set-up sparked by the early innovations of Suicide.
Folk punk, also known as rural punk, or rustic punk, is a tricky one to nail down. Lots of punk groups incorporated folk into their music and it was a driver behind the work of the Patti Smith Group and Television. Moving into the 1980s, there are key albums in the evolution of folk and punk including 'Nurds' (1980) by the Roches, 'Murmur' (1983) by R.E.M., 'Secrets Of The I Ching' (1983) by 10,000 Maniacs, 'Violent Femmes' (1983) by Violent Femmes and 'The Doghouse Cassette' (1985) by Throwing Muses. Cowpunk and rustic punk are rural patches' kissin' cousins.
'Folk punk is a genre of music that combines elements of folk and punk rock music. There are two distinct types of folk punk. The first is artists like The Knitters - punk music musicians who play in a traditional folk style. There are also modern artists who perform acoustically in the folk style, this is the "riotfolk" genre.'
- Urban Dictionary
'Like A Bad Girl Should' - The Cramps
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Post by petrolino on Nov 14, 2020 23:35:02 GMT
My Top 12 Punk Guitarists (Ranked)
# "The Figurehead" : Johnny Ramone (Tangerine Puppets / Ramones)
"The influence of the Ramones on the global music landscape over the past 40 years is immense. For many fans, the Ramones are a religion, and for even more, it’s a lifestyle. I had the opportunity to experience the depth of this firsthand by performing the songbook alongside Marky Ramone, the drummer of the classic Ramones lineup. I had to learn a lot about Johnny Ramone’s incendiary, raw guitar style, as well as how to create a rhythmically relentless wall-of-sound.
For many guitarists, playing Ramones tunes appears incredibly easy. How hard could it be to play four-chord songs? Nearly every guitar player thinks they can play any song from the repertoire, until they have to do it. But like many specialized areas, first impressions can be deceiving: It requires precision to get Johnny’s parts exactly right.
It’s definitely anti-punk to analyze, theorize, and reverse-engineer such a figure of punk-rock culture, but I don’t care. Let’s look at key characteristics of Johnny’ style and technique through the lens of rhythm, harmony, and lead.
The first thing you’ll notice when observing Johnny Ramone is his incessant use of downstrokes. Nearly all of the Ramones’ signature guitar sound stems from this technique. During my audition with Marky Ramone, one of our first interactions went something like this:
“Can you play downstrokes?”
“Yes!”
“Can you play downstrokes for 90 minutes?”
In short, if you’re not playing downstrokes all the time, you’re doing it wrong. You need the crunch, the attack, and the fullness that alternate strumming and upstrokes just can’t provide. And the songs are fast. Very fast. They are much faster than the studio recordings. (Listen to Loco Live—the tempos are insane!) Playing downstrokes that fast, that long, and that hard can be very taxing for your wrist and arm, so proper technique and posture is essential to develop speed without cramping up.
The key to playing fast downstrokes is to keep your arm relaxed and strum with the least amount of tension possible. Let your arm fall down naturally along your body. Play standing up and wear your guitar very, very low. From there, the wrist will do the work. Not only does it look cool (and that’s highly important), it’s also the most ideal and natural position to achieve optimal speed and endurance.
The second most noticeable element of Johnny Ramone’s guitar style is the use of full barre chords. A common misconception about Ramones songs is that they’re almost exclusively made of power chords, but if you listen closely, you’ll hear full chords played across all the strings. Sometimes, the fretting hand will mute the low or high string depending on the chord position being used. Attack all six strings as much as possible to give fullness to the sound. Use big movements, rather than smaller and more economical motion. Forget about finesse: The secret ingredient to the guitar sound is a physical, full-body approach to playing, fueled by passion, intensity, and attitude. Sling your guitar low, play hard, play fast, and play wide. Because the parts are so repetitive, make sure to stretch your wrist and arms before and after playing, and to warm up into the high speeds."
- Aurelien Budynek, Premier Guitar
'Questioningly' - Ramones
12) D. Boon (The Reactionaries / Minutemen / Nig-Heist)
'D. Boon’s name has survived as one of the greatest punk guitarists despite his band, the Minutemen, only being active for five years prior to his untimely death. They were political revolutionaries, encapsulating the core ethic of punk and alternative rock but never being bound by a particular style. It’s the numerous elements that guitarist and vocalist D. Boon incorporates into his playing that really sets him apart, building elements of free jazz, folk and funk into their California punk sound. D. Boon breaks down the walls between genres like no other punk player, yet he’s often overlooked because of the Minutemen’s firmly cult status.
Dennes Boon was in 1958 in San Pedro, California, meeting future band-mate Mike Watt at an early age. The two grew up together, with Boon soon taking up the guitar and Watt picking up the bass. They were influenced by bands like the Who when they first got started, but they soon became immersed in the sounds of punk acts like Richard Hell and the Voidoids and the Germs. After enlisting the help of another friend on drums, the trio took off to play the Sunset Strip circuit in LA before signing to Black Flag’s label.'
- Punk Guitarists.com
'Viet Nam' - Minutemen
11) Greg Hetson (Redd Kross / Circle Jerks / Bad Religion / Punk Rock Karaoke)
"My dad was an audiophile vinyl junkie. He was into folk music and classical music and opera mostly. He would always take me to record stores, so I grew up with music playing in the house. I enjoyed most of the stuff and I picked up on the early FM freeform, super liberal, anti-war, protest stuff. That was the stuff that caught my attention as a kid. It was late ‘60s and early ‘70s."
- Greg Hetson, Juice
'Coup D'Etat' - Circle Jerks
10) Billy Zoom (X)
'X were the first punk act out of LA that was really taken seriously by critics and fans all across the US. They’re another band who broke the traditional punk mold, by fusing it with elements of blues, rockabilly and country. Although they shared the LA punk scene with other landmark acts like Black Flag, they stood out from the pack thanks to the impressive guitar work of Billy Zoom, who still holds his weight as one of the best guitarists in the history of punk. As a musician, you can pick something up from his distinctive style – which incorporates plenty of techniques such as hammer-ons – and his use of minor chords in his songwriting.
Billy Zoom (real name Ty Kindell) was the son of a musician, and he developed a wide-ranging taste from a young age. He’s a multi-instrumentalist, having picked up the banjo, accordion, violin, clarinet and saxophone alongside the guitar. Out of the nine instruments he knew how to play, it was the guitar that he really settled with. After playing in numerous R&B and soul acts, he found a role in several rockabilly bands before hearing the Ramones and deciding to apply his guitar style to the punk genre. He answered an ad and joined X in the mid-70s.'
- Punk Guitarists.com
'I Must Not Think Bad Thoughts' - X
09) Brian James (Bastard / London SS / The Subterraneans / The Damned / Tanz Der Youth / The Lords Of The New Church / The Dripping Lips) & Captain Sensible (Johnny Moped / The Damned)
"Well I just see what we played as a continuation of genuine Rock ‘n’ Roll. We had an attitude that had been missing for a long time. In the ‘60’s there were bands like The Yardbirds, the Stones and The Kinks and they all started with a groove that made me want to pick up a guiatar and play. Then there was the British Blues scene with John Mayall, Clapton and Peter Green and everyone was also looking to America and the Delta for influences like BB King and Freddy King; there was just so much emotion in that music. It was real and that was the sort of thing that really inspired me when I was starting out.
But then we had ‘Flower Power’ and it all just got too folky and lazy for my liking. Then it got worse with Prog Rock where emotion seemed to go out of the window completely and it seemed like you needed a bloody university degree to play it. Then we had that Tin Pan Alley nonsense of Glam Rock where song-writers and producers were running the show with bands being told what to sing and how to dress. It seemed to me that music had lost touch with the street. There was no dirt or nitty gritty and the only bands at the time I thought were worth bothering with were those like The Pink Fairies, they had a really good spirit. The real stuff was in the States as far as I was concerned, the New York Dolls, Velvet Underground, MC5 and The Stooges – they were my heroes, the beginning of what was ‘Punk’, or what came to be known as ‘punk’ anyway.
Someone took me to see the Pistols at a party and they played a Stooges song and I just thought “wow”! I was in a band called Bastard and we just couldn’t get a gig anywhere. We moved to Belgium where people were more relaxed and more into that sort of music. I just remember when I saw The Pistols thinking they were the perfect band for The Damned to make our debut with, they were a great band in the early days."
- Brian James, Louder Than War
'Problem Child' - The Damned
08) Frank Infante (Sniper / Blondie) & Chris Stein (The Stilettoes / Blondie)
“I was probably 11 or 12, and I was wandering around in Brooklyn in about 1961 and I heard electric guitar notes coming out of a gas station. I still remember the moment. It was very haunting – it sort of struck me, you know? After that, I got my first guitar – a Harmony single-pickup, double-cutaway kind of thing that my parents bought for me. I was never a very technical guitar player, I was always a very emotional guitar player, like BB King or something, as opposed to Yngwie (Malmsteen)! Improvement was an ongoing process. I would go for a few years and then I would sort of plateau, then it would lift up again. I’m impressed nowadays how quickly I can learn something and have it stay in my head with muscle memory, but I’ve been playing for 50 years, so I guess it just becomes what it is.”
- Chris Stein, Music Radar
'Slow Motion' - Blondie
07) East Bay Ray (Cruisin' / Dead Kennedys / The Killer Smiles)
"East Bay Ray, who was born in Oakland, California, in 1958 as Raymond Pepperell, is a punk icon. His band, the Dead Kennedys, launched what critics call the second wave of American punk and defined the sound of hardcore. Their music was aggressive, defiant, and the polar opposite of the synthesized cheese popular in the ’80s.
Their influence was immediate, too, spawning armies of copycats, and is still felt a generation later. Classic bands like Slayer, newcomers like Deafheaven’s Kerry McCoy, and many others cite them as a primary influence. Their controversial name and radical politics got them a lot of attention, but their legacy is their great songwriting and high-caliber musicianship. The Dead Kennedys spent countless hours crafting songs, perfecting arrangements, sculpting tones, modding gear, and nerding out in the studio. And their solid work ethic and professionalism stood in stark contrast to the mediocrity so prevalent in DIY punk.
The Dead Kennedys took their art seriously and were anything but one-dimensional. They played hardcore — East Bay Ray can rifle through quick successions of distorted power chords with the best of them—but they were much more than that. Spaghetti-western twang, slapback echo, and unorthodox clean tones were also integral to their sound. East Bay Ray toured with a vintage Echoplex, although he kept it in the rear of the stage on his amp and away from diving moshers. And he crafted a tone that had much more in common with ’60s surf than the sounds usually associated with punk and heavy metal. His diverse influences include his father’s collection of swing and delta blues 78s, Merle Haggard, the Ohio Players, and the music his mother listened to.
“My mother was into things like the Weavers, Pete Seeger, and Frank Sinatra,” he says. “And my father took my younger brother and I to see Lightnin’ Hopkins — we were too young to drive. We also had him take us to see Muddy Waters, who we’d learned about through the Rolling Stones.”
In 1986, when the Dead Kennedys called it quits — at least until reuniting with a new singer in 2001 — East Bay Ray stayed busy recording and producing. He played on Sidi Mansour, an album of Algerian Raï music by vocalist Cheikha Rimitti that also features Robert Fripp and Flea. He was involved in projects with groups like Hed PE, Frenchy and the Punk, Pearl Harbor, Skrapyard, and many others. He’s featured on Amanda Palmer’s “Guitar Hero” and recorded with Killer Smiles, his collaboration with Skip (aka Ron Greer, also the singer in the current DKs incarnation). He will be back on the road with the Dead Kennedys this summer."
- Tzvi Gluckin, 'Forgotten Heroes : East Bay Ray'
'The Man With The Dogs' - Dead Kennedys
06) Paul Weller (The Jam / The Style Council)
"It had fallen out of fashion, but the Rickenbacker, with its Swinging Sixties, Carnaby Street vibe, not to mention its unique jangly chime, was the obvious choice for The Jam.
The guitar company was founded in Los Angeles by a Swiss tool and dye maker Adolph Rickenbacker - a distant cousin of the celebrated First World War flying ace Eddie Rickenbacker. In the early 1930s, Adolph developed the first commercially successful electric guitar, a cast aluminium Hawaiian model.
It was three decades later, however, that the brand became famous, with a series of thin, hollow-body electrics designed by a German emigrant, Roger Rossmeisl, whose father was also a guitar maker. Initially marketed as the Capri series, the guitars featured a novel construction in which a solid body was partly hollowed-out from the rear, the electronics were installed, and then a wooden back was fitted. The German heritage is evident in the Teutonic design: "cat's eye" sound holes, triangular markers and recessed top carve. With its plain cosmetic appearance, the twin pickup 330 (which initially retailed at a modest $259.50) was the workhorse of the full-size range, while the more rounded 360 was a more upmarket version costing $50 more.
By the mid-1960s, Rickenbacker was in the enviable position of having its instruments in the hands of all three of the guitar-playing Beatles. John Lennon's three-quarter-sized model 325 was bought in Hamburg in 1960, while Paul McCartney acquired his left-handed 4001S bass (later used on Sgt Pepper's Lonely Hearts Club Band) in 1965.
As a result of the Fab Four's endorsement, numerous other Beat-era bands adopted the brand. Gerry Marsden (Gerry and The Pacemakers), Hilton Valentine (The Animals), Denny Laine (The Moody Blues) and the Kinks bass-player Peter Quaife all played Rics at one time or another. Roger McGuinn of The Byrds cites George Harrison's use of a Ric 360-12 as the reason he abandoned his acoustic in favour of a Rickenbacker 12-string - in the process giving birth to the folk/rock movement. But after The Beatles, the most visible proponent of the brand was The Who's Pete Townshend - although he was, of course, as famous for smashing Rickenbackers as for playing them.
The arrival of Jimi Hendrix and the advent of blues-based rock spelled the end of the line for the jangly pop sound of the Sixties. Heavier sounds required new gear and so Rickenbackers and amplifiers such as Vox AC-30s were cast aside in favour of Gibson Les Pauls and Marshall Stacks - until they became as much part of The Jam's image as the spray-paint logo, bowling shoes and target insignia.
Although arguably not the most versatile of guitars, Rickenbackers possess a unique, jangly chime that can't be duplicated on any other guitar; think of the celebrated opening chord to The Beatles' "A Hard Day's Night", or the introduction to The Byrds' version of Bob Dylan's "Mr Tambourine Man". But it is not just their sound that ensures Rickenbackers enduring popularity among players and collectors alike; the Rickenbacker look - the antithesis of metal and heavy rock - immediately conjures up the Swinging Sixties and Carnaby Street cool.
In the wake of Paul Weller, Rickenbackers enjoyed a renaissance in the 1980s, when Susanna Hoffs (The Bangles), Peter Buck (REM) and Tom Petty began using them. More recently, Rickenbackers have reappeared in the hands of musicians in some of the most credible bands around, including Pete Doherty and Carl Barât when they were in The Libertines, Bob Hardy, the Franz Ferdinand bassist, and Chris Urbanowicz of the Editors."
- Paul Alcantara, The Independent
'The Modern World' - The Jam
05) Greg Ginn (Black Flag / Nig-Heist / Gone / Confront James / Mojack)
"There’s something about a Greg Ginn guitar solo. The Black Flag driving force and mainman tore up the rule book with his guitar and his lead breaks are like nothing else. The early eighties LA based hardcore band already had a distinctive sound with Ginn’s dominating sludge rhythm guitar work dominating the songs but when he pealed off for a solo the effect is mesmerising. Where most guitar solos are basically the guitar player w*nking off or the point of the song that needs filling, Ginn cranked the volume and the glorious head f*ck of the rush of electricity. Somehow he made the guitar sound like it was going backwards, the breaks are a flurry of totally unexpected notes that follow no pattern or rules and take you on an intense and weird trip. They are like free jazz, the Greatful Dead, Black Sabbath, psychedelia and a whole host of off the wall influences cranked through the stripped down, aggressive rush of punk whilst inventing hardcore and creating a template for post hardcore - ask Thurston Moore - the true inheritor of the Ginn guitar mangle who even stands on stage and plays in the same shapes as Ginn. You can like Black Flag for a lot of things - the pure aggression, the funny and dark songs, the dark humour of the sleeves drawn by Greg Ginn’s brother, their pile driving aesthetic, their inventiveness and their total lack of compromise but it’s the point in the song when Gregg Ginn just goes off one one when it all comes home to a point of pure genius. Those sick, note splurges, the amazing, dissonant against-the-notes lead stuff that he does mark him out as one of the great guitarists and that’s not even counting his knack for creating the great riffs that are the chassis of the Black Flag songs.
His work aesthetic was legendary, driving the band through six hour rehearsals and endless tours and its this passion and intensity that you can feel in the music that make Black Flag one of the key bands of the period. It’s this total commitment and belligerent genius that gives his music its pure genius."
- John Robb, Louder Than War
'Jealous Again' ~ Black Flag
04) Ivan Julian (The Voidoids / Lovelies) & Robert Quine (The Voidoids)
"By many peoples' standards, my playing is very primitive but by punk standards, I'm a virtuoso. People on the local rock scene in the early '70s treated me very condescendingly. After we played CBGB's in October '76 for the first time, these people respected me. To me, the positive thing about it was we were pulling out these old influences like the Velvet Underground and the Stooges that were gone.
As for a scene, to be thrown in the same category ... Blondie? Talking Heads? The Heartbreakers? The Shirts? It was just a catch-all thing. If you happened to be a band in the town, you were in the right place at the right time. Blondie had the biggest hit and that was a disco song. They're nice people though. There was a social scene but I couldn't really say there was a music scene. It did give people alternatives to disco, the Eagles, Carole King, James Taylor. That's the one thing we all had in common. It gave people a place to play. People could come to New York, play CBGB's and have a contract, like the B-52's who were great.
What came of it? Nothing. What was going on in the '80s? Nothing. It was even worse than the '70s. I never really followed grunge. When I'm at a record store, I walk past all the recent releases and look for an obscure Eddie Cochran or Link Wray release. There are a few people that are really good now. The Pretenders are really great - I think she's really talented. She's from Akron too. I'd like to be on one track with them but I hear she's a perfectionist. J.J. Cale is a real idol of mine. His interviews are the greatest. He had a hit and his manager says 'you got a hit, you gotta tour.' He says 'well, if I got me a hit, why do I have to go out on the road?' I turned Lou Reed onto him and that's all you'd hear from his hotel room - they both had that two chord thing down too."
- Robert Quine, Perfect Sound Forever
'Another World' ~ Richard Hell And The Voidoids
03) John McGeoch (Magazine / Visage / Siouxsie And The Banshees / The Armoury Show / Public Image Ltd / Pacific)
"He was in Howard Devoto's massively influential Magazine; he spent an enormously productive three years in Siouxsie and the Banshees before going on to join ex-Sex Pistol John Lydon in PIL. While John McGeoch's back catalogue is matched by few British guitarists of his generation, his influence continues to reverberate. A host of young bands - from The Strokes to The Rapture - owes something to the myriad of sounds McGeoch pioneered. Equally, he has been credited as an inspiration by U2 and most of the world's biggest rock bands. The Red Hot Chili Peppers' John Frusciante recently said that he taught himself to play "learning all John McGeoch's stuff in Magazine and Siouxsie and the Banshees".
McGeoch was born in Greenock, Strathclyde, but moved in his teens to Manchester, where he immersed himself into the fledgling punk scene. In April 1977, an advert led to a meeting with Devoto, who had just left Buzzocks and was looking to explore new forms of music beyond three-chord punk. McGeoch proved the perfect foil. The young guitarist's memorable riff - a sound like an elastic band building to snap - fuelled the band's classic debut single, Shot By Both Sides, an outsider anthem which reached Number 41 in January 1978 and ushered in the post-punk era. McGeoch featured on the band's first three classic albums, Real Life (1978), Secondhand Daylight (1979) and The Correct Use Of Soap (1980), developing his trade mark of getting guitars to make unusual but powerful sounds. However, he quit the band in 1980, disappointed by the lack of commercial success to match critical acclaim.
McGeoch had already guested with bands such as the Skids and Generation X, but now began moonlighting with Magazine colleagues, the bass player Barry Adamson and the keyboard player Dave Formula in clubland guru Steve Strange's synthesiser band, Visage, formed with members of Ultravox. Although McGeoch saw the band as a joke, smash hits such as Fade To Grey signposted the era of Duran Duran and Spandau Ballet. His next projects would prove equally creatively and commercially rewarding.
After being asked to join the Banshees, McGeoch featured on, arguably, their most enduring albums, Kaleidoscope (1980), JuJu (1981) and A Kiss In The Dreamhouse (1982). The hit singles of the period - particularly 1980s Happy House and Israel - featured some of McGeoch's most spellbinding work, hypnotic circular rhythms conjured from icy guitar notes and echo. However, eventually the stresses of touring and drinking led to a nervous breakdown, and McGeoch found himself in hospital and out of the band.
An unsuccessful tie-in with Skids' Richard Jobson (1984-86) in The Armoury Show was followed by another largely glorious spell with Lydon's PIL, a band he admired greatly - largely because of Lydon's lyrics - and was reputed to have been first asked to join in 1984. Eventually clambering onboard in 1986, he transformed PIL from a left-field, experimental outfit into a provocative, marauding rock band. McGeoch moved to Los Angeles and went on to become PIL's longest-serving member bar Lydon, staying until the band dissipated in 1992.
After his return to England, work on more dance-oriented material with Heaven 17's Glenn Gregory and a projected band, Pacific, with Spandau Ballet's John Keeble, came to nothing. For the first time, the pioneer found himself stranded in another era. He qualified as a nurse in 1995 ..."
- Dave Simpson, The Guardian
"In addition to being a great guitarist, people forget that John McGeoch was also a fantastic saxophone player."
- Kid Creeper, 'Best Of British : London Punk's The Only Punk So Shove It'
Magazine - 'Shot By Both Sides'
"Magazine were also one of my favourite bands and that they came from the same city as me was a marvel. It didn't make any difference to what I thought of their music, but it was definitely a bonus. As a teenager I was very critical at the state of guitar playing and the usual cliché-ridden approach that was either blues rock or prog rock. It didn't mean anything to my generation. In John McGeoch, Magazine had a guitar player who was modern and relevant and interesting, while Howard Devoto was, and still is, one of my favourite ever lyricists.
There is a thought that the first couple of records for many bands are the ones that are considered seminal. As is the case with Wire, I think that when bands break away from their first seminal albums - in Magazine's case that was Real Life and Secondhand Daylight - and they take somewhat of a left turn, it is really interesting. On The Correct Use Of Soap, Magazine did something original and almost ahead of themselves. There is a lot of space on The Correct Use Of Soap and I think it is better than the first two records. The space means that John McGeoch can really stretch out. Songs like 'Philadelphia' and 'Because You're Frightened' are based on guitar-playing that is utterly unique. It is one of those records that you can say that if it came out now, it would still not only be fresh but ahead of the race."
- Johnny Marr, The Quietus
"All the great stuff comes out of inspiration, doesn’t it? A lot of guitarists like to play blues: If you’re going to play blues, dig deep. Try and do something different with it. We were always inspired by people like Sonic Youth — the way they kind of mutilated their instruments, the retuning. We were lucky that post-punk had the golden era of guitarists. People like Johnny Marr, John McGeoch, the Edge — all these people were doing something really, really different and unique, and not necessarily playing the blues."
- Ed O'Brien, Premier Guitar
"My favourite guitarist of all time."
- Siouxsie Sioux on John McGeoch
'I Want To Burn Again' - Magazine
02) Steve Diggle (Buzzcocks / Flag Of Convenience) & Pete Shelley (Buzzcocks)
'The Buzzcocks debut album Another Music in a Different Kitchen, as well as follow ups Love Bites and A Different Kind of Tension helped to establish the Buzzcocks as one of the most important bands of the Punk era. Pete Shelley's songs - melodic, full of energy and lyricism - set the template for much of the rock music that was to come - and the Buzzcocks were a huge influence in early 90's Grunge music. Kurt Cobain was a big fan of the band, and a reformed Buzzcocks supported Nirvana on their last ever tour.'
- Eastwood Guitars
Buzzcocks - 'Love Is Lies'
"I was a conscientious objector to work. Being on the dole was great back then; you could write songs and figure yourself out. You didn’t have much money but money wasn’t in the equation then, you just had big ideas. [Musicians] all seem to have names like Tarquin nowadays. That’s not a very rock ‘n’ roll name, is it?
I had a six-pound Spanish guitar that had been hanging on the wall, and you’d tune it up the best you could but it went out of tune all the time. I learnt how to play “Ode to Joy” on a couple of strings and I think that was the beginning of the little motifs in the Buzzcocks. Had I been like the posh kids in South Manchester whose daddies bought them all the gear and then sold it for a pair of skis or something, then who knows?
I was living in a house share taking acid, as we were all trying to figure out the universe. I think one went into a mental hospital, and the middle-class ones went up to the Himalayas looking for gurus. When they came back, I said, ‘I’ve joined a punk band and I’m sniffing speed. The world has f*cking changed since you were away, and particularly for me.’ "
- Steve Diggle, Huck
'I Believe' - Buzzcocks
01) Richard Lloyd (Television / Rocket From The Tombs) & Tom Verlaine (Neon Boys / Television)
"Tom [Verlaine] plays lead guitar with angular inverted passion like a thousand bluebirds screaming ... he is blessed with long veined hands reminiscent of the great poet strangler ..."
- Patti Smith, The Wonder
Television - 'Elevation'
"I went to see John Lee Hooker in Boston, at the Jazz Workshop on Boylston Street. Back then, I just walked into the dressing room and sat down. Eventually, he took notice of me and he said — he pointed his finger at me, and he said, “And you, young man, what do you do?” I said, “I play guitar.” He said, “Are you good?” I said, “I don’t know.” He said, “No, no, no. You’re great. I can tell. Come over here and I’ll tell you the secret of playing the electric guitar.”
Then he cupped his hands and he whispered in my ear, “Take off all the strings but one and learn the one string up and down and down and up and bend it and shake it until the women go ‘oooo.’ Then put two strings on and learn two strings up and down and down and up.” I went home, but I didn’t take the strings off. I couldn’t afford to take them off — I didn’t have a replacement set. But I did practice what I call vertical knowledge, which is up and down pitch on a single string, a great deal."
- Richard Lloyd, Premier Guitar
'Days' - Television
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