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DOA, Fastbacks take Seattle by storm


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DOA's Joey "Shithead" Keithley, top, and the Fastbacks' Kurt Bloch, below. (All Cat Rose photos)


A stunning pairing.

Like a perfect, medium-rare filet mignon matched with a stellar Syrah red wine ..... DOA and the Fastbacks teamed up for a killer punk rock feast on Friday night at El Corazon in Seattle.

Along with some Cat Rose pics, we've added some brief interviews with fans of the bands.

Let's roll ...

DOA

Shayne Williams from Vancouver, BC, has been a DOA fan for 25 years and first saw them in 1987 in Vancouver:

"(I like the) energy, the message to really question what's around ya. It's intelligent and rebellious and it's just fuckin' enjoyable, man. It's beautiful music and I'm an avid fan.  We heard this might be the last time Joey's playing down here, so I had to check it out."

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DOA bassist Dan Yaremko and Shithead.

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Fastbacks

Hampton Nelms:

"(They) mean a lot to me, they were my favorites for a long, long time. I discovered them in about 1990-1991, and I just kind of came across them one night seeing them at a show here, actually, the night before Thanksgiving at this same club when it was the Off Ramp. The next time I saw them again at the RKCNDY warming up for the Buzzcocks around '91 and then they were just my band after that.

"It's just a great band. They're not trying to fulfill an image or anything. These guys are just kind of music nerds playing music they wanna play. They're just great pop songs and they resonate with me. I've loved them since then and I've never really gotten over them."

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The Fastbacks' Lulu Gargiulo and Bloch.


DOA

Gordon Kelly Jr. has been following DOA since he heard "Hardcore '81" in junior high:

"(I like) the hardcore sound that they've got... it was a kick-ass show, I had a great time. (The message) has always been positive, I've never had to second guess anything I've ever heard out of their music."

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DOA's J.J. Heath

Fastbacks

Zach Jones has been a Fastbacks fan since he was 16-17 years old. He's now 35:

"Honestly, they kind of mean everything, that's my favorite band, even though they're out of my age range. They got me through a lot of finals in college. Even though a lot of the lyrics are depressing, Kim and Lulu's vocals always seem to pick it up and creates an uplifting feel to it. I have little kids and they love them and they recognize the Fastbacks."

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Fastbacks' Kim Warnick, drummer Mike Musberger, Kurt and Lulu.




In closing ... here's Joey, like a true politician, giving this kid a lift.




Bands get heavy, crowd gets buzzed at Tacoma Craft Beer Festival

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Mahnhammer. (All Andy photos)

By Andy

Mahnhammer blew the PA.

Yes, the Tacoma metalists are heavy.

During the break, while the sound crew at yesterday's Tacoma Craft Beer Festival scrambled around the infield area of the Cheney Stadium baseball field and nervously plugged cords together and hoped for the best, someone in the crowd uttered the dreaded two words.

From the mouth of the buzzed guzzler: "Hammer Time!"

Red-haired singer Hembree bowed his head, shook it a few times and seemed to reply, "You did NOT just say that, dude."

So, the PA came back to life, Mahnhammer got the attendees drunk with their pounding tuneage and all was well in beerfest land again.

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The Plastards


Aside from Cat sampling some tasty brews (I was the designated driver on this day), we appreciated the songs of Mahnhammer, of course, The Plastards (Tacoma old-school punk) and our buddies the South Sound Bureau Chiefs (mighty Seattle-area rock).

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South Sound Bureau Chiefs.





Funny moment of the day: Following The Plastards' cover of the Misfits' "Ghouls Night Out," one 1950s greaser-type guy rushed the stage and suggested the band play some Dead Kennedys. Someone behind him cried out for Black Flag (what about FLAG? ha ha) and "Six Pack!"

Sorry, buddy, but the closest you got to that was a refill or 10 of your 5.5-ounce taster glass. Prost!



Cosmic Psychos vs. Communist Eyes: double victory


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 Cosmic Psychos, top, Communist Eyes, bottom (All Cat Rose photos)


Wednesday night punk rock... why not, right?

Sure, it was a "school night" and work deadlines were looming, but when the rock is available, you gotta grab it, we say.

Our buddies in Communist Eyes and Aussie goofballs the Cosmic Psychos took center stage at Barboza in Seattle and put beer-soaked shutters over the outside world for a few hours. Knock back a few drinks and shake it loose a little bit, ya know?

Cat Rose pics:

COSMIC PSYCHOS










COMMUNIST EYES





X and Blondie: Summer's-end delight at Marymoor Park in Redmond, WA

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Exene Cervenka and DJ Bonebrake of X and Clem Burke of Blondie, bottom. (All Cat Rose photos)





By Andy

X -- and Cat Rose.

For the first three songs of X's stellar set at Marymoor Park in Redmond, WA last Tuesday, Cat was allowed to shoot the band up front, with nobody in her way. Hell, she was practically the fifth member of the band!

Since X is one of her favorite bands of all time, it was an honor, to say the least.

Exene Cervenka, John Doe, Billy Zoom and DJ Bonebrake blasted through their 16-song, 45-minute set covering all aspects of their career. "Your Phone's Off the Hook, But You're Not" was first and "Devil Doll" capped off the set with Eddie Vedder from Pearl Jam joining the band for some back-up vocal action. (Vedder also sang on "The New World" earlier in the set.)

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Doe... and then Doe with Vedder and Cervenka with the Pearl Jam man.





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Zoom and Bonebrake action.







Unfortunately, for headliner Blondie, Cat was required to shoot from the soundboard for the first three songs only.

Nevertheless, Blondie was in fine form, as well, kicking off with "One Way or Another" from, let's face it, their best album "Parallel Lines," right? I wore out my 8-track tape of that album in 1978, and it was one of my mom's favorites, as well. She proudly sports a T-shirt with the album cover on it, which Cat and I bought her for Christmas a few years back!

Debbie Harry and crew hit all their high points like "Heart of Glass,""Rapture,""Call Me" and more during their 105-minute set. Her voice was a bit ragged in spots, but she held her own and kept the crowd entertained.







Original guitarist Chris Stein was there... and what can you say about drummer king Clem Burke? He simply shreds, even if he was playing behind a Plexiglas "cage" because they were recording the gig, so that keeps the instruments from bleeding into each other.

It was weird seeing Burke drum on a big stage. Lucky us have seen him obliterate the skins in a small venue (The Comet Tavern in Seattle) with Magic Christian, where we were practically touching the drum kit, and later he drummed at a medium-sized spot (El Corazon in Seattle) with Glen Matlock and Hugh Cornwell's bands.

Burke wasn't hiding behind a wall of Plexiglas during those gigs. Speaking of the Plexiglas, it could have used a round of Windex on it for that streak- and smudge-free shine.

Burke had the last say on this night, as well, after a lady fan with striped-pants jumped on stage and gave Harry a kiss on the cheek and a hug before bowing down to the singer.

"Hey, who the fuck is she?" Burke wailed as laughter erupted.





For a full review, check out this link:http://www.redmond-reporter.com/entertainment/224499901.html

Flag/TSOL at the Paradise in Boston (not LA)

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Flag's Chuck Dukowski in Boston. (All Al Quint photos)

By Ed Nystrom

“Good evening - we are not Black Flag..........we are Flag..........”

A familiar, distinctive voice and presence said with a combination of sarcasm and disgust sprinkled with the undertone of ridiculousness – what else would you expect from Keith Morris?

The difference between the Flag show on Sept. 20 and the Black Flag show on June 13 was these guys were ready to have fun and bring it – and they did. Not that Black Flag disappointed – Ron was amazing – it was just that Ginn has a certain anti-aura that I cannot explain.

But this is a review of the Paradise show – obstructed view and all -  which had TSOL! Jack and Ron Emory – are you kidding? The unique guitar sound which cannot be duplicated – listen to “Dance With Me”.  Also – listen to the first EP – that is SoCal Punk Rock. And opening with "World War III" set the tone. They played all my favorites and Jack’s banter cannot be matched. I went with a buddy from work who lived the good old days in NY and needed to see Keith. But he kept commenting that Jack looked happy. I think he and Ron are happy to just be alive and they mentioned that – half joking…I relate…

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TSOL's Jack Grisham.

“It’s not my imagination…” opened the Flag set and it was full throttle from there - Keith, Bill, Chuck, Dez with Stephen Egerton in Ginn’s spot.

Random notes: Keith rules on his and Ron’s songs – the underappreciated Dez was amazing on his and Henry’s tunes when he filled in. I have come to appreciate Dez as a frontman – "Six Pack,""American Waste,""Thirsty and Miserable,""Spray Paint" have his name all over it.

Chuck came out in his now trademark turquoise pants, yellow/black/white checkered shirt and red bucket hat. Don’t let that fool you – once the bass was strapped on, he didn’t want to stop, showing his trademark restlessness between songs.

Dez was off to the side (unfortunately without his hat) as he likes it, but stepped up as the frontman, while Keith took a break or 2, and delivered.

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Dez Cadena, top, and Stephen Egerton.



Egerton mimicked the sound and brought his own style to lead guitar. Granted – Ginn’s sound is hard to match – but given the circumstances, he provided what all Black Flag songs need – and there was nothing missing!

Then there was Bill. The consensus within my small group was that Bill is legendary and you need to watch. My buddy Daniel, who has been around, raves about Bill, yet can be too cool to get excited. I knew he needed to see this and when I gave up my perch on the balcony, which had a beeline view to Bill, Daniel didn’t move – staying glued on the legend. Billy’s style has mellowed a little with age, but there were glimpses of the past where his hands got a little higher and the facial expressions matched the roar.

I needed to see this to complete the Black Flag singer experience. I had the good fortune to see Keith as the Circle Jerks frontman a few times (like at the Starwood with TSOL opening – are you kidding!), but never saw him perform "Nervous Breakdown,""Fix Me,""I’ve Had It" and "Wasted" (I was so heavy man, I lived on the strand). The journey has come full circle.

Oh yeah – let’s not forget the encore – ending with Dez singing "Damaged." It was not the "Damaged" that went on, and on, and on…for an eternity. It was a quick 3-4 minutes – but we are a little older, aren’t we?

The Evens kick off tour in Seattle at the Vera Project


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Ian MacKaye and Amy Farina. (All Cat Rose photos)


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By Cat and Andy

Who says you can't rock a baritone guitar?

... while sitting on a stool, in a mellow setting with a pair of lamps on stage and a drummer, who not only beautifully sings but pounds the skins pretty tough, as well.

That's The Evens for you: Ian MacKaye and Amy Farina, guitar and drums, respectively, who poured on a ton of soft to loud vocals and insightful messages into their Fugazi-esque tunes. Once you've settled in to watch this duo, you're locked in -- there's no turning back.

Last night, Washington DC's MacKaye and Farina took center stage at The Vera Project in Seattle on the first night of their seven-date West Coast tour.








An appreciative crowd was on hand, including Pearl Jam's Eddie Vedder. When MacKaye started frenetically strumming his guitar at the start and bobbing his head and lurching his body back and forth, Andy told photographer Cat: "He's going off!" Vedder looked our way and nodded in approval.

Speaking of MacKaye's chair, it was almost as if his pants were sewn to it. As much as he seemed to want to rise from it and kick it away during intense moments, MacKaye clung to that chair as if he had vowed to stay faithful to it. At one point, the chair tilted forward and we thought he might fall, but he tightened his left leg to steady himself while not missing a beat.








Catching up with Kraut's Doug Holland


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Kraut's Doug Holland in 2011. (Konstantin Sergeyev photo)
By Andy

What were you up to at age 18?

You could have been twirling your pencil during high-school classes or putting your grubby hands in the popcorn bin while toiling away at a movie-theater job.

You definitely were not fucking opening for the Clash.

Doug Holland and his Kraut comrades did just that, people, at Bonds in NYC on June 11, 1981.

"Faith, pestilence and persistence got us that gig...We only had been together for three months!" Holland wrote in an email to me recently. He added that the band placed its three-song, four-track demo in the right hands and the punk-rock gods shone down upon guitarist Holland, bassist Donny Cowan (22), singer Davey Gunner (15) and drummer Johnny Feedback (13).

(I guess I could have led in with 'What were you up to at goddamn ages 13 and 15!?'... you get the point -- let's move on.)

Holland added a few more priceless morsels to the Clash scenario...

"Donny...was banging the chick in charge of...no, no, no...He had a fine relation and she was a great asset. Not only did she get us in every night, she gave Mick Jones our demo...which Mick loved! He asked, 'Are they Nazi?'...NO!!!...'Sure! put them on the bill.' The show was the first time ever anyone of us played in front of people. It was all a dream...One that will stay in my heart forever."

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Early Kraut: From left to right, Feedback, Gunner, Holland and Cowan; positions reversed below.
(Tom Marcelino photos)


And the good fortune kept rolling Kraut's way.

A year later, the band hammered out a set of its anthemic punk tunes like "All Twisted,""Kill for Cash,""Don't Believe" and "Unemployed" in an opening slot for two graduates of the punk Class of 1977 -- former Sex Pistols Steve Jones and Paul Cook and The Professionals in Boston.

Holland reminisces: "We were one of N.Y.'s top punk bands, so when it came up for a chance to play with The Professionals (!!!), we were as dazed as when we opened for the Clash!...And now Steve and Paul? It was really great! Steve and I hit it right off!!! He knew I was still at almost 19, still not manly yet! And he treated me like his little bro! He liked my playing. And there are times when jokes he had told me come up, and I still laugh out loud."

Jones remained tight with the Kraut boys and played guitar on "Kill for Cash,""Sell Out" and "Onward" on the band's album "An Adjustment to Society," released in 1982. Jonesy also strapped on his guitar alongside Kraut at a handful of live dates.

Kraut's tunes struck a chord with me, and Holland is proud of them, as well. They still resonate with him 30 years later: "They were an artwork of music! They were a porthole into what was going on in the world in our tongue. They will last the test of time."

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From the TSHIT collection.

Another feather in Kraut's punk cap was shooting a video for "All Twisted" ... and it ended up on people's fucking TV screens.

Holland: "The 'All Twisted' vid was shot in NYC, sometime '82. It was a deal to get on someone's reel to show they make videos. It was a new concept -- Everyone was on it. So, Don Cowan knew the person who paid to shoot 'All Twisted' for his reel and ours!! What came after was the story: MTV picked it up in light rotation. First independent punk band on MTV!"

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From the TSHIT collection-- "fan club" stuff from the '80s.


Next up for Kraut was the "Whetting the Scythe" record (1984), which featured more rock-styled songs to some people's dismay, but in my mind, the band still packed a punch and the songs were just as vital as before. It was during this time frame that I saw Kraut live for the only time at the Concert Factory (former legendary Cuckoo's Nest) in Costa Mesa, CA, with Channel 3 in 1985... it was a blast!

I hand the baton back to Holland: "After 'Adjustment,' I started to write more melodic songs. And what I really wanted was to let my freak flag fly!

"The Cro-Mags were getting it together when I was on tour with Kraut..Great tour!...But, as they say, sometimes -- or all the times -- you go with your instinct. I told my bros about me wanting to move. I told them, 'You guys are my brothers. I need to cut my teeth right now! So, use my name, use my songs, get another git player and move on. You have my respect.' (Holland joined the Cro-Mags in 1985.)

"But, we were working on a third album with songs already in the can. So, Don met Chris Smith (ex-Battalion of Saints) one night and asked him, 'Would ya like to play with Kraut?'...Smith jumped on that move like a lion on a gazelle!!!...Shame only months later, Chris Smith slipped and fell in a bathtub of water and drowned ... That was the last move for Kraut."


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Holland with the Cro-Mags. (From Doug Holland archives 2000)

Kraut's latest move will be sharing the stage once again with Channel 3 on Oct. 17, 18 and 19 in Philly, Brooklyn and Long Branch, NJ.

"CH3 are our West Coast brothers!" Holland said. "It is always an honor to play and laugh and have a great time with great guys! otherwise stoked!" (Channel 3's Mike Magrann shares his wild and woolly experiences with Kraut below.)

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Top: Gunner with Calum Mackenzie in 2011; bottom: Gunner and Holland with Gerry White in 2011.
 (Konstantin Sergeyev photos)


Along with Holland and Gunner, their two new Kraut colleagues are Calum Mackenzie on bass and backing vocals and Gerry White on drums.
                                                                                                                                             
"Don And John are living a non-punk rock life with family. They will always be brothers to Kraut and Kraut's goings-on," Holland said. (All the original members played a reunion gig in 2002 at CBGB's during the "New York Thrash" reunion and recorded a live album to mark the event. And nearly 30 years after their first gig, Kraut opened for Stiff Little Fingers on June 3, 2011 in NYC.)

So, it's only fitting for Holland to close out by sharing some stories about Kraut's beginnings all those years ago.

With a love of punk and rock in his bones, Holland -- who hung out at NYC clubs like Max's Kansas City, Mudd Club and CBGB's at age 15 -- began leaning toward forming his own band:

"Disco was a plague! ... And rock had one name: "Kansasjouneystyxforeignerboston." Dude!..When your American head is broken open by Jimi Henderix, Black Sabbath, Motorhead, Thin Lizzy... I thought, it's time to make my own moves. The kids from the block were lost! Except a chosen few...

"I had met Don Cowan through friends. I met Johnny Feedback from a schoolmate. And Davey Gunner was best buds with Feedback. So, I wanted to put Kraut together. It was late '80, I had started to write tunes. It was the right time: The yippees were dragged down and disco was dying.

"We got along really fast -- It was fresh air! We did some Ramones tunes, Sex Pistols, Clash, then I started to bring out the songs I'd been working on the last two years. And the drummer of 13 years old, Johnny Feedback, clicked with me. When I came up with a tune, he was right there...So was Davey and Donny."

Here's the "All Twisted" video:




... And some words of wisdom from the lips -- err, fingertips -- of CH3's Mike Magrann:

We first met up with the Kraut boys winter 1982. It was our first stay on the East Coast and those mismatched roommates Jack Rabid and Doug Holland graciously allowed us to crash at their apartment on the Lower East Side.

New York City, and especially those dodgy alphabet city streets, weren’t the cleaned up hipsterville they are today. It was a scary, nasty place…. in other words, fun!

We had the best tour guides in the world in Doug and Davey Gunner, who showed us around the dark alleyways and dive bars of the area. Doug was also working behind the bar at the legendary A7 club as well, so we would start every morning leaving the joint in morning light. We played half a dozen times in the city that first trip, multiple shows at CBGB’s and A7, as well as doing shows with the mighty Kraut in Baltimore and Boston as well.  In short, we fell in love with the city, and I often think it was because we met up with Kraut that first jaunt that we hold such fond memories of the place.

Over the years we stayed tight with the Krauts. They would come out West for a tour together, we would go back East. On our long 1983 Summer tour, at one point we sat in moldy motel rooms in Calgary, talking on the phone to the fellas as they splashed around in my Mom’s pool back in Cerritos, the fuckers! But that’s what our relationship was and remains: tight as family.

And so these last few years, while we were out riding the Old School wave with every other goddamned punk band from the '80s, we always wondered why Kraut wasn’t out there with us. Davey and Doug lost connection for a bit, Donny and Johnny went on to other things. But we always kept in touch, and every trip back to The City wasn’t complete unless we at least visited and had a drink or three.

But our last trip back, 2010, we got the boys out for a gig in New Jersey, and were blown away! They hadn’t lost a step, Davey belting out the lyrics as if he were still the bratty 18-year-old Bowery Boy. Doug by his side, grooving down low with the tobacco Les Paul, all the sound and fury right there again.

And so it is a thrill for us, back together with the guys for a weekend coming up. We’ll tell the same old stories, make fun of each others’ accents, and toast to the years gone by and those yet to come!





Revisiting Red Hare: Live and loud in Seattle


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Red Hare's Joe Gorelick, Shawn Brown and Jason Farrell rage in Seattle. (All Andy photos)

Red Hare graced our blog with an interview in June, and now they're back starring in photos that Andy snapped at their stellar gig supporting Coliseum last night at the Highline in Seattle (Deadkill and Heiress opened). They blazed through their "Nites of Midnite" tunes plus Swiz's "Nine" -- killer.

Regular photographer Cat Rose took the night off, but Andy and our friend Scott were out in full force in her absence.

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Dave Eight on bass.


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Orange Goblin's Millard and his top gigs: Sabbath, Floyd and beyond

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Orange Goblin's Martyn Millard in Seattle. (All Cat Rose photos)



By Andy

Martyn Millard -- that man with the crazy long hair.

Most of the time when he's banging his head on stage as the bassist for raging UK metalists Orange Goblin, you can't see the face that lies beneath that cascading mane.

Our blog once honored him with a gold medal for headbanging: "The way that Millard flies his locks about makes it look like he has his own personal wind machine on full force," Cat Rose wrote.

When Orange Goblin hit Seattle on Oct. 12 at the Highline, I tracked Millard down for a conversation about the top gigs he's attended and played.

Take it away, Martyn.

Sabbath with Ozzy and crew

The Black Sabbath reunion in '97 in Birmingham. There were two shows, and it was like the first time they played together in Christ knows how long, like 20 years. It was that one moment when you're just like, 'This is it, man --THIS IS IT!' Because Sabbath hadn't done anything together for so long, and to get the four of them on stage and hearing them songs which you'd grown up with and loved and they're such an influence... Orange Goblin were still quite a young band then, and we'd only been going three or four years, and just to hear them songs, it was like, 'Wow!'

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Joe Hoare and Millard, top; Ben Ward, middle; and Chris Turner, bottom.





Mind-blowing Pink Floyd

I saw Pink Floyd twice, both of them blew my mind. I saw Floyd when I was 12 at Wembley Stadium, in 1987 at the 'Momentary Lapse of Reason' tour. My dad took me. I knew who they were, and my dad was into Sabbath and Floyd and Yes and all this prog stuff, Atomic Rooster and stuff like that, so he said, 'You're going and I'm taking you.' And he kind of marched me in almost. Wembley Stadium, there's a soccer pitch, and they had a dog track to race dogs, and then a wall where the seating were. He took me in and stood me on the wall, I was only 12, and said, 'I'll see you afterwards.' And it blew my mind, it really was just incredible.

I saw Floyd again in '94 on the 'Division Bell' tour and it was just unbelievable. (In London at Earl's Court Arena.)




Wild thrash, death metal

When I was 16, I saw the Gods of Grind tour: it was Carcass, Entombed, Confessor, Cathedral... and we got to know Cathedral very well, obviously. It was like nothing I'd ever seen or heard. I was kind of going that way into the death metal scene, it was like natural progression. Goblin used to be a five piece, and Pete, our guitarist, he left in 2002, we went to school together, so we grew up and we progressed into Maiden and Slayer and Metallica and onto death metal. (The gig) was chaos because what sticks in my mind is on that stage at Astoria Theater -- big stage, big cinema-- it was a stage-diving free-for-all, which I'd never seen and I've never seen since. And, of course, that's the first time you stage dive. Stage diving itself is pretty much potluck, as you stand there waving at people to catch you, which is pretty naff. I think I've done it a few times--- nah, not for me.

Thinking about it now, some of the early thrash shows I went to as a young teen were just mind-breaking. I saw Metallica at Wembley Arena in 1990, so I was 15, so that was major.

Soon after that was the Clash of the Titans tour: in the UK, it was Slayer, Megadeth, Testament and Suicidal Tendencies, and that was pretty special.

There's been thousands... I've seen so many awesome bands. They are the ones (gigs) that jump straight to my mind. We've been lucky enough to play a bunch of shows where you're like, 'Wow!'








Laying down the bass with Orange Goblin 

There's a bunch of different shows for different reasons, which are always great.

We grew up just near Wembley in London, all of us worked at the Wembley Arena in the bars, serving pizza and beer and stuff. And then to go back a couple years later and be supporting Alice Cooper and Dio in that arena (in 2000) and you kind of feel like, 'Fuck!' Dio was awesome, such a lovely, lovely man. He'd come out of his way everyday and come and say hello and hang out and have a beer (during the 10-day UK tour).

That show that we got signed, Lee Dorian signed us on at Rise Above Records, we were supporting Electric Wizard. It was supposed to be in a bar, but the gig got canceled and then it got moved on the day, so there were signs up saying, 'Gig's now here.' There were probably like a hundred people in a bar (in Camden), and they said, 'Yeah, we'll put it on.' I remember playing that show and going, 'Yes!.' It was before even Chris our drummer joined and we was Our Haunted Kingdom then, it wasn't even Orange Goblin (they immediately changed their name when they got signed). That kind of sticks out as one of those where we kinda knew we'd done OK and we knew Lee was there to see us.

We played Hell Fest twice, a big festival in France, and both of them shows were incredible. Like 8,000 to 10,000 people just going wild. Deafening... that roar from 10,000 people coming back at you-- just like breath-taking.

They're very few and far between, them festival shows. We play in clubs like this in front of 150, 200 people-- this is how we like it. We would take playing to more people, but this is how it is--- so we embrace it. The last two shows, we played in Portland last night and Eugene, Oregon, the night before -- the vibe has been so cool. We thrive on this sort of stuff.






Welcome to Holy Grove's metal lair

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Holy Grove in action. (All Cat Rose photos)

Yes friends, the strip mall rocked last Saturday night.

Flights Pub in Everett, WA was the spot... surrounded by a fabric store, a discount mart, a barber shop, a Thai restaurant -- you get the picture.

There weren't any to-go boxes, shopping bags or hair cuts on the docket for us. We were present to bang our heads to the walloping metal anthems of Holy Grove, our pals from Portland. Also on the bill were Witchburn and Suction.

The Grove consists of vocalist Andrea Vidal, bassist Gregg Emley, guitarists Sam Boggess and Trent Jacobs and drummer Craig Bradford. Check 'em out at: http://holygrove.bandcamp.com/album/demo-2012

Cat Rose pics aplenty:











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Holy Grove: Metal Champions

Happy Halloween! ... Zombie style

Death Became Seattle Last Night

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Bobby Hackney of Death. (All Cat Rose photos)

By Andy

Bobby Hackney tilted his head back, allowing his long, braided hair to dangle and sway a bit. The Death bassist/vocalist then closed his eyes, raised his left fist in the air and looked upward.

Hackney passionately told the crowd that his deceased brother David's spirit was with us last night at the band's sold-out gig at Chop Suey in Seattle.

And it was a wild one.

The trio -- consisting of Bobby, his other sibling Dannis on drums and David's successor Bobbie Duncan on guitar -- ripped through songs off its albums, "For the Whole World to See" and "Spiritual, Mental, Physical," recorded in Detroit in the 1970s and finally released in 2009 and 2011. They also slotted some new tunes into the mix as the crowd went off just as hard as the band. It was a roughhouser of an evening -- in a very, very good way -- up front for most of the show, but Death also slowed it down in spots to give us a breather before turning us loose again to match the band's energy.

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Duncan, top, and Dannis Hackney, below.






Rock, punk... whatever you wanna call it ... is Death's calling card and they unleashed their tunes with verve last night.

Our ears are ringing, our voices are shot and our bodies are sore this morning, but that's OK. It feels just right.














** Check out the film "A Band Called Death"

** Death has a new single, "Relief" and "Story of the World," out on TryAngle Records


Die Kreuzen's 'Cows and Beer' is coming back at ya in April

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Dan Kubinski at the Roadburn Festival in Holland. (Cat Rose photo)

By Andy

Record Store Day just got a whole lot cooler.

And if there ever was a slab of vinyl that should be massively celebrated, it's certainly Die Kreuzen's rip-roaring, paint-peeling "Cows and Beer" 7-inch EP. It severely and pleasurably gave my ears a beating back when it was first released in 1982 through Version Sound.

Six songs, 6 minutes and 24 seconds … "Hate Me,""Pain,""Enemies,""In School,""Think for Me" and "Don't Say Please."

You could play that thing about nine times continuously in an hour — and you'd still want to revisit it again… and again and again! It's safe to say that my friend John's vinyl copy of "Cows and Beer" got a workout that summer as we sat in his Redondo Beach, CA bedroom and soaked up the intense tunes.

And now it's Beer City Skateboards and Records' turn to bring "Cows and Beer" back to the public's ears with an official re-release in special remastered 7-inch and 12-inch deluxe editions on April 19, 2014.



According to a Beer City press release, the new release will feature much improved sound quality and will be pressed on four different colors of vinyl.

"We are doing this because we want to squash the bootleggers," said Die Kreuzen singer Dan Kubinski in the press release. "For years, they have been putting out inferior-quality bullshit and ripping off our fans. We want to give our fans a very clean, crisp, loud-and-heavy version of 'Cows and Beer.' Billy Cicerelli from WMSE did the remastering  — and man, did he do an awesome job! His new version blows the doors and windows off of any other, including the original Version Sound release."

Circerelli remastered the recordings from the original reel-to-reel tapes at Hi-Top Studios, Milwaukee, Wis. Lacquers for both vinyl editions will be cut at Lucky Lacquers by Dave Eck, a seasoned industry veteran based in Middleton, Wis.

The new edition will feature the original lyrics and liner notes, plus new liner notes and photos from '82.

As a bonus, the 12-inch version will include a comic book from the masterful hands of Brian Walsby, who has drawn countless punk record covers, fliers and released a handful of books over the last 30 years.

When John and I finally got to see Die Kreuzen in the flesh at the Cathay De Grande in Hollywood in 1984, Walsby was there, too, journeying from his home in Simi Valley.

It was a chaotic and stellar show for the ages, to say the least.

Cat and I caught the Die Kreuzen guys last April at the Roadburn Festival in Tilburg, Netherlands, and it was another dominant gig from the Milwaukee crew of Kubinski, Keith Brammer on bass, Jay Tiller on guitar and Erik Tunison on drums. (Herman Egeness played guitar on "Cows and Beer," but has handed over guitar duties to Tiller.)

So, thank you Die Kreuzen and Beer City for putting this record back in people's hands again. Let the face-melting resume.

Jerry A. and Poison Idea are still the 'Kings of Punk' / Interview


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Poison Idea's Jerry A. in Seattle. (All Andy photos, except where noted)
By Andy

Who knows what the person who coined the phrase, "There's a first time for everything," was thinking about.

Certainly not what I experienced on a recent Friday night.

Jerry A. from Poison Idea and myself are standing face to face in the backstage bathroom at El Corazon in Seattle. He smiles and sits on the edge of the shower tub and drains the last drops of his Pabst Blue Ribbon tall-boy can. He turns to face the toilet, knocks the seat down and offers me a resting place in what now is presumably his office — just like The Fonz in "Happy Days."

So this is where we're doing the interview, I thought. I chuckled to myself, stared at the friendly, beefy vocalist for Portland's legendary, incendiary punk band and began to poke through my list of questions. (I actually wrote them out beforehand, another first; I don't know why, I guess I was expecting to be intimidated and wanted to keep my thoughts on track.)

Twice during our interview, people knock on the bathroom door, peek in and then turn back, giving us our privacy.

After we finish, Jerry A., 49, and I walk out the door and various band members in the adjoining room laugh about us doing the interview in there.

"Ah, we were just fuckin'," Jerry A. sarcastically says with a smile and rise of one eyebrow. He pats me on the back, bids me farewell and I'm on my way back down the stairs en route to tell my tale to Cat and our friends.

Here's what we gabbed about before the Poison Idea gig with the Dwarves, Toxic Holocaust, Toe Tag and the Insurgence:


--- 'Kings of Punk' is gonna be re-released on Southern Lord coming up... what is it about that album that you think still excites people after all these years?

Well, I had to re-listen to it because they gave it to me to write the liner notes, and I really honestly haven't listened to it since it came out. Cuz, I (originally) listened to it and was like, 'Ehh,' it's alright, I thought we just kept doing better records as they came out.

But you go back and listen to this first shit and it stands up to stuff that's still out today. You know, they've got this Hot Topic punk rock shit they call punk rock, because it looks -- whatever -- they say it's more of a uniform than actually pissed off attitude that's mad. (But our) songs are really good, they just hold up.

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'Kings of Punk' album cover from 1986.

--- Are you excited playing those songs nowadays still?

Some of the topics might seem really dated. I've lived and learned. The anger's still there.


--- And (people) still go mad for it. (Some of the crowd) is a new generation of people that obviously weren't there to see you guys the first time around.

Yeah, and that's cool cuz every year there's a new batch of 18-year-old kids. And that's fine, maybe they can relate to something that we wrote about then.

I was taking a bus, actually, to one of our shows. And these guys pulled over, like, 'Hey, we're going to the show, get a ride.' I didn't know who they were and I jumped in the car, and they're playing something, and I go, 'This is fucking good, what the fuck is this?' -- and it was Poison Idea (laughter).






--- I heard that you guys have some new songs in the hopper, is that right?

Yeah, well we just wanted to stay busy. We just spent years just fucking around, having different priorities. Basically cleaned all the drug addicts out of the band, one way or another. Unfortunately, some died, some went to prison, and then the ones who didn't go that way, we just said, 'We gotta get our shit together.' I still drink, one of the guys in the band smokes pot, I think, but this is the priority -- the music's first. And then if you wanna have a drink later, that's fine.

Ever since I was a little kid, I've always wanted this. This music is what makes me happy, it's what wakes me up, so we just wanted to stay busy and we started writing new songs. We got the 'Vegetable' back (on guitar) from 'War All the Time,''Filthkick,''Getting the Fear'--- and he's like, 'Oh, this is great,' and he just came right back where he left off, he's like a big kid.


--- What are you writing about nowadays?

Every song that we have is something that really happened. You can pick any song and I'll tell you the story behind the song. They're little vignettes of personal experiences and what happened. As you grow and learn and stuff, different things in life happen. Some people write books about heartache, mistrust, betrayal, frustration, and it's all there.

I just recently in the last 10 years or so, got into having little dogs. I fucking love dogs, man, they're so loyal, they're cute little things. I might write a song about fucking loyalty, you know? It's just shit that pops up. I'm not gonna write something like, 'Me and You and a Dog Named Boo,' (laughter) but I might write something with the theme.

Just write about what you know -- and if you don't, you're lying. And people can tell.

Unfortunately, we come from a really dark place, and all the songs are really fucking dark because that's what we chose to ensconce ourselves with and live that fucking life. When you do that, shit goes crazy around you.




--- So on that note, 'What Happened to Sunday?' Do you remember what that song was about?

That's just a blackout song from days at a time. One of the last shows we play at Satyricon, we were playing and I woke up behind the drum set. I fucking looked up and I'm like, 'Are we in Texas? Where the fuck are we?' I'm looking around, I didn't know where I was, and we're on stage playing. I wake up, it's like confusion -- that's not good. It's not good in life no matter what you do. But especially, people pay to see this thing? This fucking circus on stage? It's seriously like watching somebody die on stage.

--- Was it just alcohol?

At that time, it was everything, drugs, everything. I went into a fucking coma when I had to stop doing anything for a week, and then I woke up in a hospital and they said, 'You have everything in your system.' They were naming the shit off... everything except marijuana. (They asked) why didn't you have (that)? 'I'm trying to get a job,' and they didn't think that was too funny.

So, I don't do that anymore, because you can't. I haven't done any drugs for 18 months. (He shaped up after an incident in 2012, when he had three toes removed from his right foot as a result of treading on broken glass and slicing the bottom of his foot while drugged out in Portland. His leg swelled up and became infected.)


--- Well, let's go back to a simpler time (laughter), what kind of music did you grow up on as a kid?

Just everything, the rock and roll that was good. I used to read Creem magazine, that was a great publication-- they would tell me all that shit about the Stooges.

I liked rock and roll. My mom said when I was a baby, I was singing Beach Boys shit before I could talk, I was actually doing the harmonies. But I really didn't like the Beach Boys until I got into Brian Wilson years later.

Then, music was not so much escapism, I was a little kid, I was 9, listening to Queen, Roxy Music, Sparks. Stuff like that was glamorous, I could be glamorous in my bedroom listening to this great music. Or I could be heavy listening to Sabbath -- and I was dangerous.

Or when the Ramones came, I actually saw them on their first tour of the West Coast, when I was in seventh grade cuz I was going to concerts all the time. My first concert was Three Dog Night when I was 8 -- and I walked behind the drum set, it was festival seating, and I just was like, 'Wow! This is great!'-- this is when they were heavy. After that, it was BTO, the Doobie Brothers, ZZ Top in the early days. It just piled up and I never stopped going to concerts.

When I left home early when I was 15, because I got into punk rock, then I started scalping tickets to shows cuz that's how I made my money and survived. Invested a hundred bucks in Peter Frampton tickets because I knew it was gonna sell out, and I started selling 'em and got my money back plus my rent -- rent was like fifty bucks.

I think it crashed on Yes in the round. Because I bought all these tickets to Yes, I thought it was gonna (sell out) and I couldn't even give 'em away, man, I was stuck with all these tickets and I went in and I was like, 'No wonder people didn't wanna fucking buy these tickets-- this is horrible.'

I was in a punk band still and I was like, 'This is fucking insane. Time's are changing, man.' I could spend a dollar fifty and see the Wipers, right there, I could stand right next to 'em or I could spend twelve bucks and see Yes in the round -- with lasers!




So punk rock -- just the attitude, the music, the energy, the power. Everything about it woke me up.

At the time I saw the Ramones, I was a huge KISS freak like most idiots at that time were. And I would go to the store and wait for the new KISS record every fucking day, I think it was 'Rock and Roll Over' at that time. It fucking came, and I got it, and I ran home, and I was so excited and I put it on and I sat there and I was just like, 'SHIT! SHIT!' (in disappointment).

I was looking over at my Ramones records and going, 'This is it.' It was the changing of the guard. Overnight, I took my fucking shirt, cut my sleeves off, cut my hair off and that was it. And then started getting the shit beat out of me all the time (roaring laughter) -- for being a fag. But it was worth it.


--- What makes you happy nowadays?

Just being busy, staying alive. Knowing that I'm not on borrowed time, but got another chance. Lot of close calls.


--- What makes you angry?

It's the same shit that always has. The 1 percent of this population running the world. And seeing the kids not eating and homeless, and the system throwing them back to their family and getting abused and getting tormented and having no fucking future and no school and no program to take care of them. And the cycle just keeps getting repeated.

You see this sad, heartbreaking insanity.




--- So if record collectors are pretentious assholes, what do you collect? You mentioned dogs, is there anything interesting, like little glass figurines?

Right before Tom ('Pig Champion' Roberts) died, I was homeless for a couple years. Poison Idea was on hiatus and I'd squat, and I pretty much sold everything. Got divorced from my wife, lost everything. And once I got back on track, I got my shit together and stopped doing drugs, I wanted to start getting all those things again-- I wanted that Finnish punk rock record that I really love, the Lama first album. And then I got the Tex and the Horseheads records that I threw away and I got the Detox record that I wanted.

It was weird, because I always had my Germs singles, even when I was fucking homeless. I had those at my brother's. Me and Charley ('Myrtle Tickner' Nims) the bass player were at a homeless shelter once, and this kid said, 'Hey, we were gonna sell this, but if you would sign it.' They had a fucking 'Feel the Darkness' in their backpack, that was the only CD they had... 'If you sign this, maybe we'll hold onto it.' And I was like, 'Yeah, dude, fucking stay strong, brother, thank you so much.'


--- It follows you ...

It's cool. It's great seeing actual punk rock kids with big Poison Idea things on their back, like fighting with some religious guy on the street. Screaming at him, you know? It's great. I love it. They're full of piss and vinegar, and they should be -- that's what you're supposed to do when you're a kid.

When you're old, you're supposed to collect dogs (laughter) and listen to old punk rock.


--- You can do 'em both, you become more well rounded as you grow older.

Not only collecting that shit, but now I'm getting into crazy shit that I never liked before like Beefheart, his first couple records, and Howlin' Wolf, and all the Chestnut and all the old Sun stuff, the old rockabilly shit, 'Dock' Boggs -- that Appalachia, bluegrass, hillbilly music, whatever you call it.

Music still transforms me. It gives me the same feeling I had when I was 9. I listen to it and it makes me happy. It's like a shower of feeling going over you and it's just so energizing. It saved my life before and it's still keeping me alive.


Rounding out Poison Idea's current lineup, from top to bottom:
Eric 'Vegetable' Olson, Natalie Lucio, Jeff 'The Duck' Walter and Flesh Gordie (photo by Dante Torrieri / Useless Rebel Imaging)






Metal nite in Tacoma: And headbanging for all

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Barefoot Barnacle bassist.
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Czar headbangers.

By Andy -- Cat Rose photos

When people pack tight into the band alcove at O'Malley's Irish Pub in Tacoma, WA, everybody needs to stay alert.

Even the cook.

On Saturday night, four metal outfits had attendees thrashing and headbanging in the small space, which is situated in one corner of the sprawling pub (patrons were shooting pool, chucking darts and hobnobbing throughout the rest of the establishment). We were like a hockey ruffian banished to the penalty box.

It wasn't a bad place to be on this occasion.

So, the cook, you ask? Well, after he prepares meals in the kitchen, he has to carefully walk through the metal crowd to deliver his creations to folks throughout the pub. Many times, I thought a plate of onion rings or a French dip would bite the dust, but the man was obviously a seasoned veteran in avoiding any cuisine crashes.

However, much beer was spilled and one pushing-and-shoving instance during Mahnhammer's set brought the security man away from his door duty and into action to break up the scuffle.

Highlight of the evening was the Czar singer yelling at and flipping off an overhead lamp that inexplicably came on during their set in the semi-dark area. Not sure what he was singing about, but the lightbulb clearly took the brunt of his rants. The soundman came to the rescue, hopped on stage, balanced himself nicely while reaching for the bulb and twisted it out. He received a round of applause.


Mahnhammer







Cleric








Czar




Pee Wee and Barefoot Barnacle



More Cat Rose photos: http://www.flickr.com/photos/61152589@N08/sets/72157637787937425/

Top gig: Dead Kennedys and the Germs, 1978

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Courtesy of oldpunkflyers.tumblr.com

In a new segment, we asked readers to reminisce about their top gigs. The most raging, eye-opening, influential outings that they've experienced. Here we go:


By David Yohn

It was Nov. 1978. I was in the Navy and had just been transferred to Mare Island, north of San Francisco.

I was in love with the Ramones and The Clash and Blondie and Siouxsie and was just digging this new band called the Sex Pistols.

One of my new Navy buddies said he was going to SF to see Dead Kennedys and I said "I'm in!" and went along.

It was my first time at The Mab. The show started out awful. When we arrived, some local band whose name I can't remember opened and really sucked. The club was hot and stinky and dirty. I thought I had made a big mistake.

Then the Germs played a short set that really peaked my attention. I knew of them from reading about them, and even though their set was short and Darby Crash was obviously stoned out of his mind, they rocked.

I had a couple beers and we waited while equipment was moved, then DK hit the stage. FUCK. They absolutely blew my socks off and I became a life-long fan. They played a long set and it was the first time I had seen so much stage diving. The pit was intense.

After that show, I must have seen them perform 100 times in every dive in the SF Bay Area and also at places like The Whisky in LA. I bought everything of theirs I could find.

I was so sad when the Mab closed. Years later, I ended up managing college radio station KSJS in San Jose and we made punk music part of the format. I was able to bring Jello Biafra to do a spoken word performance at San Jose State and took him to Original Joe's afterwards for dinner. He is an intense dude off stage as much as on! But it was the '78 show at the Fab Mab that turned me into a hardcore fan for life.

Ron Reyes' tenure as Black Flag's singer is over

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Ron Reyes with Black Flag in Seattle on July 19. (Cat Rose photo)

Black Flag's recent Australian tour -- titled "Hits and Pits" -- was probably less hits and more pits for singer Ron Reyes, who announced on his Facebook page today that he's no longer a member of the band. (He also gave us permission to relay this information to readers.)

Reyes wrote that on the final date of the tour on Nov. 24 at the Capitol in Perth, Greg Ginn's right-hand man Mike V -- who also sings for Ginn's Good for You -- walked on stage with two songs remaining, took the mic from his hands and told him to leave. He added that Mike V sang the remaining two songs.

While it may have been an odd way to end things, Reyes noted that he feels a great sense of relief that his time in the band is over.

Reyes said he saw the writing on the wall from the outset of the band's reformation in January of this year. Things didn't click fully music-wise and he feels the band fell short in delivering Black Flag-worthy performances.

There's a lot more to the story, like band discord and the whole Black Flag versus Flag thing.

You can read his note on our Facebook page:
https://www.facebook.com/#!/permalink.php?story_fbid=615710081823077&id=203462809714475

One Kim, two Kims gone: Pixies dismiss Shattuck

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Kim Shattuck will no longer be playing with the Pixies. (Sean T. Rayburn)

Here's the deal: Kim Shattuck has been sacked from her duties as the Pixies' touring bass player.

On her Facebook page yesterday, Shattuck wrote: "Super disappointed to learn that my time with the Pixies ended today. Amazing experience. Looking forward to focusing my attention back on the Muffs and our upcoming new album. All the best to everyone."

Shattuck replaced original bassist Kim Deal on July 1 and played her first gig with the band on Sept. 6 in Los Angeles. Shattuck currently sings and plays guitar for the Muffs and previously played bass for the Pandoras (1985-90).

There's no word from the Pixies camp about who will be handling bass duties on the band's upcoming North American tour, set to begin Jan. 15 in Toronto. There are already six sold-out shows on the 33-date tour.

The band recently completed a 17-date, sold-out European tour, which began in Vienna, Austria, on Nov. 1 and finished with a pair of dates at the Hammersmith Apollo in London, England, on Nov. 24-25.

Top gig: Dead Kennedys, Minor Threat, MDC, Zero Boys, The Detonators -- 1982

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From the TSHIT collection.

By Andy

You couldn't have scripted a more stellar Saturday -- or any day for that matter.

Like most summer days of my youth, July 3, 1982 featured a bodysurfing session at the beach, this time in South Redondo with a few pals.

As the waves rolled in over the several-hour session that afternoon, I took my share of nice rides and my body took a pounding copious times, which meant that I was getting the full experience of tangling with the ocean.

Hanging out at the beach was a crucial part of our youth and we never wanted those long days under the sun to end. However, sometimes those days were time-killers as we were filled with anxiety -- nearly jumping out of our skin -- thinking about what the night would bring.

And, oh what a night (thanks Four Seasons) we had in store.

We were finally -- finally! -- going to see Minor Threat, our favorite hardcore punk unit from Washington, DC. They had canceled a previous tour and broken up, but they were back in full force to give the Los Angeles area a dose of ferocious, in-your-face tunes from the Nation's Capitol. We were primed, to say the least.

And, oh yeah, the Dead Kennedys, MDC, Zero Boys and The Detonators were also on the bill. Talk about a blockbuster!

My brother Ed, myself and a few others piled into our yellow Gremlin for the quick ride from our North Redondo home to Torrance, home of the sprawling German shopping bourg Alpine Village, which featured The Barn, our gig spot for the evening.

We knew this place for its baseball batting cages (I once broke an aluminum bat while connecting on a 90 mph pitch there in my senior year of high school) and its cheesy commercials that ran at halftime of the "Soccer Made in Germany" broadcasts on UHF TV. Welshman Toby Charles announced those games, and we always loved the way he pronounced teams like Borussia Monchengladbach and his sayings, like, "He takes another bite of the cherry!" when the player scored a rebound goal. (Cat and I ventured to Germany last April to witness a Monchengladbach match in person -- a dream come true, but I digress...)

Our punk orators on this night would be Jello Biafra, Ian MacKaye, Dave Dictor (MDC), Paul "Z" Mahern (Zero Boys) and Mike Mooney (The Detonators).

Key comments before the bands began had to be, "How the fuck did they get this gig here?" .... and "Who the fuck cares." Right?

So, we had Redondo Beachers The Detonators opening and they tore through songs off their walloping, Stiff Little Fingers-like "Emergency Broadcast Systems" LP. Bassist Bruce Hartnell would take over vocals a year or two later and would act as a mentor of sorts to me during my band Sorex's run.

Next up were the Zero Boys from Indianapolis, Ind., a fantastic, raging punk-pop band that we heard on Maximum RocknRoll's radio show. "New Generation" was the tune we knew and we pushed our way up front to sing along with Paul Z, who I remember sporting black-and-white checkered slip-on Vans -- fuckin' Spicoli-style, man.

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Zero Boys setlist from the TSHIT collection.

MDC were new to us, but it didn't take long for baldheaded Dictor and crew to get the crowd moving with tunes like "John Wayne Was a Nazi,""Corporate Deathburger,""Dick for Brains" and many others from that crucial first LP. I remember some pretty violent slamdancing going on during that set, but our friend Mark managed to sludge his way up front to take some pics. (I don't have access to them now, but I recall them looking cool.)

Minor Threat tore it up, of course. However, this was a rare occurrence when I couldn't weasel my way up front because there were so many people there and no openings for me to make it to the promised land. I watched from the middle of the crowd and dug it, but was also a bit pissed that I couldn't get the full effect of their tunes from the front. Oh, well, but that wasn't the end of the Minor Threat road for me as I saw them three more times on that tour in San Diego, the Valley and San Pedro. Those intimate gigs are highlights of my punk-rock life, for sure.

I've never been a huge DKs fan aside from the first LP, but Jello and his boys always satisfy live. Killer musicianship on stage and pure chaos in the crowd is what you get, and how can you not be stoked on that? I distinctly remember Jello diving into the crowd during one song, and as he was being carried by the sweaty throng, he never missed a word as he passionately sang into the microphone. A job well done.

A few years later, my friend Winston and I hit up The Barn to watch an early morning World Cup soccer match with the local German men. It was an interesting scene as we sat in a small room tucked away upstairs, eyeing the TV and drinking bottled beers.

After the match, I walked around the place and stood near the front of the stage and recalled that evening when Minor Threat came to town.



Top gig: Circle Jerks and TSOL, 1981

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By Andy

Why not dive in head first, right?

You've only got one first punk gig, so you might as well go with the Circle Jerks and TSOL at the legendary Starwood on Santa Monica Boulevard in West  Hollywood.

At age 14, just a freshman in high school, I was primed for some live action from two of my new favorite bands. My brother Ed, two years older than me, had already dipped his combat boots into the sea of punk gigs and he brought me and one of his friends along on this Tuesday night adventure on April 21, 1981.

I've got to admit, I was a bit scared to walk upon this punk terrain, which I'd heard was pretty rough-and-tumble. Would I be welcomed? Would I make it out unscathed?... ha ha

I'd already envisioned the brilliant chaos in my mind while listening to the Circle Jerks'"Group Sex" LP and TSOL's first EP. I was going through with it.

Since it was a school night, we had to convince our parents to let us out of the house. Do you say you're going to a rowdy punk gig in Hollywood? Hell no. You do inform them that you'll be attending a Major League Baseball game pitting the California Angels against the Seattle Mariners at the "Big A" in Anaheim. The M's beat the Angels, 3-0, on that night, and we made sure to catch the score on the radio on the way home in case we were grilled about our evening.

So, we get to the gig, and while we waited for the line to form, some drunk or strung-out guy wearing pink satin pajamas danced out front and was chased around by a handful of punks. If my memory serves me correctly, he was also on the receiving end of a few punches, but nothing too damaging, and he ran away up the alley.

While in line, I noticed one girl with part of her head shaved and bits of hair perfectly forming the Black Flag bars. I pointed it out to Ed, who said to not speak of it because of the Circle Jerks/Black Flag rivalry that was in the air after Keith Morris formed the CJs after leaving Black Flag.

As I took each step toward the front of the line, I was excited and nervous all at once about what would soon happen inside the club.

When we made our way into the tightly packed concert room, I left Ed and his pal on the dance floor (which would soon see plenty of crazy action), and strolled off by myself and stood behind the railing that split the floor in half. Safety, I thought, but not too far away from the bands. I had to ease in to this new world.

TSOL came on and killed it, playing the tunes I dug like "Superficial Love,""World War III" and more. Singer Jack Grisham sported white makeup on his face and was quite the showman: equal parts rage and sarcasm. He taunted the crowd with finger pointing and screams, but later flowed around the stage, offering a silly dance and smile. The anger quickly returned, though, as the band played at a frenzied pace and the crowd bashed along to the beat.

Before the Circle Jerks began, one woman standing next to me asked if I was OK, and I said I was fine. Maybe I looked nervous, who knows?

When Morris and the CJs hit the stage, I was definitely energized. I mouthed the lyrics to myself and patted my hand against my leg, but remained behind the railing. I was amazed at how the band raged while playing so tight. Guitarist Greg Hetson and bassist Roger Rogerson jumped up and down and drummer Lucky Lehrer shredded away with a wild look on his face. Morris had his usual beer in hand and was as manic as I thought he would be on stage -- turns out my grade-school buddy Tony Ford (who often collected the donations at church sporting engineer boots and a leather jacket) was right.

To top off the CJs' set, Ed hopped up on stage, ran across it and dove into the crowd during "Paid Vacation." That was the best part of the gig, for sure -- it was more gnarly than anything Angels' first baseman Rod Carew could achieve that night.

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