As a writer, you generally focus on one particular genre; be it music, politics, art or current affairs.
As a long time sufferer of several chronic illness, Headbangerwoman Karen Graham has also contributed to a few articles to health related websites, and now she has published a book about living with chronic illness, under the pen name Erica Worth.
Earlier this year Denise Matthews, age 57, died of renal failure. She was a recovering drug addict, and at the time of her death she was crowdfunding for a kidney transplant. Many previous years of drug misuse had caused renal failure.
Matthews is likely better known to you as musician Vanity. Though Vanity’s death was fleetingly mentioned in Western media, it was largely ignored.
Matthews was an ex-girlfriend and protegé of musician Prince Rogers Nelson, whose death, unlike that of his ex, was widely reported and cause quite a stir.
He only actually needed one name; PRINCE!
Matthews was a part of the music group Vanity 6. Following minor success as Vanity in 1981 came; drug addiction, a tumultuous relationship with Motley Crue bassist Nikki Sixx, which furthered the drug dependence, and after close calls with death, conversion to Evangelism.
Is it quickly becoming more and more evident that getting religion ain’t gonna help you?
Only 2 months after Vanity died on February 15th 2016; April 21st 2016 saw the discovery of Princes dead body, in an elevator at his home in Minnesota, USA.
The Great Purple one was a Jehovah’s Witness since 1999.
He too was 57.
Today Prince would have been 58.
Headbangerwoman didn’t want to report on the death of Prince while there were rumors abound, preferring to wait until an official statement on cause of death was released. Now a statement has been released, it would appear that an accidental fentanyl overdose was in fact the cause of this early demise.
SO, here we have two people connected by music, beauty, fame and talent. Also connected by religion and drugs. Is this just the worlds cruel play on irony, or just very unfortunate circumstances?
The deaths of the two really do go to show that no matter how succesful you are, how great you look, how much money you have (or don’t in the case of Vanity) how on point and devoted you are, or want to be… Sometimes nothing will save you if addiction takes a hold.
And let’s get this straight. People who are addicted are not generally bad or awful people. Addiction changes the behaviour of a person. Then circumstances change. People become dependant and so the drug becomes the centre of their world. It’s a nasty horrible cycle, and one which sadly, many fail to fight successfully.
Fentanyl is known to be 10 times stronger than heroin. It is a drug that gives short-term relief of pain really well, but it is also known that the dose will become tolerated quickly, requiring an increased dosage soon after being prescribed. Addiction is quick.
Prince was so immensely talented. He could play any instrument he picked up, and effortlessly. He had an astounding voice. Along with his own hits, which include Purple Rain, Cream, When Doves Cry, I would die 4 U and Let’s Go Crazy, he wrote music for other artists, including Chaka Khan, The Bangles, Alicia Keys, Cyndi Lauper and Madonna. He was an actor and an activist. He chose (though not too humbly, his home Paisley Park is immense) to live and work in his native Minneapolis and he never succumbed to the bright lights of Hollywood or artistic climes of New York, like many of his contemporaries. He was flamboyant on stage and yet shy and guarded in his private life. Like many before him, it would seem that he just happened to be a victim of circumstance, availability and possibly greed.
There have been reports that Prince had been suffering with long-term chronic pain issues. If this is the case, it would seem that the people he chose to manage that pain took a quick, easy (perhaps beneficial to their pocket books) yet deadly option in treating him.
No one will ever really know what happened to Prince. Suffice to say, those who were close to him are fiercely protective and will doubtless remain so. Those that wish to, will endlessly speculate and gossip. But that is not the way we do things here.
Prince was, in the eyes of Headbangerwoman; a superb musician and an immensely talented artist. His private life really should be of no concern, and while his death is a very huge loss for the music community, we should remember how brilliant was this man. We will continue to revel in his creativity and his humanity, admire his attempts at being the best person he could be, and not wallow in his (possible)addiction, or his demise.
For decades throughout his life, Prince was put on a pedestal. Let’s just leave him there.
Prince Rogers Nelson June 7, 1958 – April 21, 2016 RIP
KG Headbangerwoman June 7 2016
Everyone is equal.
That has been my long-held belief and the reason I started calling myself a “humanist” in high school. Feminism, for me, wasn’t enough; as the recent re-education surrounding modern Western Feminism (with a capital F) will attest: “Cultural patterns of oppression are not only interrelated, but are bound together and influenced by the intersectional systems of society. Examples of this include race, gender, class, ability, and ethnicity.” Intersectionality, a term coined by Kimberlé Crenshaw in 1989, has in recent years found its way onto the tongues of people of every imaginable background. The fact that I choose personally to extend my inclusiveness in humanism to every living being on Earth — plant, animal, or other — is a broader subject for another conversation entirely. Let it be said, however, that as aware as I am of the immense challenges facing virtually everyone on the planet except for me my cognizance does not negate the tiny niggling instances of disrespectful treatment I’ve encountered as I meander meaningfully through life.
Everyone has a right to tell their story.
Performing in front of an audience is empowering. The energy exchanged between interested parties at both ends of a venue is palpable. A decade ago, I had barely tested the waters of public performance, having only accompanied my partner at a couple of shows. I’d played an organ, a glockenspiel, percussion instruments, and I’d sung backup. On those occasions, I was terrified, like most musicians are when they first step onstage. As months and years crept by I began playing whole sets: song after song of excruciating catharsis as audiences alternately smiled, applauded, looked unimpressed, or ignored the efforts of us musicians. I practiced drumming for several hours every day, eager to escape my myriad day job commitments and hole up in a basement with my instruments. I loved drumming. I loved singing. The terror began to subside as I took ownership of writing every drum part, and began to write my own lyrics and vocal melodies. I helped shape and structure songs, and alternately marvelled and shrivelled at varying audiences’ responses to these substantial pieces of myself. In short, I did what every musician does.
Day after day, I simply went for it.
Something of which I was never aware was my gender or appearance. For years I dressed for comfort, like the majority of sweaty drummers in rock bands might: t-shirt, jeans, sneakers, hair loose, no make-up, and no bra. The early gatherings and concerts we played were populated by folks of every imaginable background, and that felt right. As University campuses and house shows expanded into bars and nightclubs, however, the vibe shifted. I started to feel as though I was being watched closely; perhaps even examined. We’d walk through the door early in the night with our gear ready for sound check, and my presence would be questioned.
“Are you with the band?” A bouncer would inevitably ask this at every show. Sometimes, he’d even hold up his hand to stop me from entering the venue. (95% of the time, door staff are male). “Yes, I’m in the band, Cursed Arrows.” The bouncer would then turn his head to my male partner and band mate. “Is she with you?”
After dealing with the occasionally awkward incredulity of the door and bar staff, we’d go about our business setting up for sound check. Next we’d meet the “sound guy” (99% of the time, sound engineers at the 300+ venues I’ve played have been male). At first I didn’t notice that they’d never acknowledge me. I was too busy setting up my drums. After all, drummers in general are not highly regarded. What caught my attention was the frequency with which they’d fight me on the simplest matters. First they’d be shocked, night after night, city after city, that I was a singer, too. “She just sing back-up?!” Sound guys would yell across the stage to my partner instead of simply asking the woman in question, setting up her drums six inches away. “No,” I’d answer myself. “I sing lead on many songs.” They’d insist on placing and positioning my mic stand for me. As a singing drummer, I obviously had developed a preference for where and how my mic should be positioned. I’d have to ask repeatedly for a monitor near the drums/facing the drums/expelling sound at a volume at which it was useful to me behind the drums. Once again, none of these are unusual problems for a small-time gigging drummer. Yet, something always felt extra presumptuous with most of these guys.
I’d usually check my drums without incident, and they’d have nothing to say about my ability to play. Then I’d check my vocal mic and they’d insist on keeping the level down to background noise, so stuck in their heads was it that I was just the “back-up singer.” I’d come offstage after sets and people would tell me, “You guys were amazing! But I couldn’t hear your vocals,” over and over again. I’d be severely disappointed, but shrug it off. None of us were getting paid well for these shows, and the sound guys rarely took their jobs seriously, at least when I was around.
Yet I began to notice that when I had any requests or expressed any preferences whatsoever as to how the night would go or stage might be set up, I’d be met with pursed lips and a shaking head every time. Meanwhile, the next act on the lineup (80% of the time a band of four males) would make a similar request — say, insisting that they set up their drums side-stage or use their own kit versus the house kit — and nary a word of disapproval would pass the sound guys’ or promoters’ lips. When I informed them of similar changes to setup, usually a very simple statement that I’d be setting my drums up a few inches closer to the front of the stage to facilitate a well-placed vocal mic and my ability to climb back and forth from the front of the stage to my drum stool, I would universally be met with eye-rolls and complaints that I was wasting everyone’s time. Then, when my time was up and we’d sound checked efficiently and exited the stage, I’d consistently overhear the next band setting up. There’d be jovial back-slapping in place of sarcasm and plenty of meandering, elaborate stage plot requests wordlessly fulfilled. Once again, you can usually chalk this all up to being a guitar-and-drums duo (an often derided band configuration) or simply being unknown. Over and over again, dozens of shows later, though, I realized: I’m on a bill with several other two-person bands. I’m the headlining act. The promoter asked my band to headline this show, yet my very simple requests to a) be audible as I sing and b) set up my instruments to my liking are being fought at every turn while the opening acts (virtually always comprised of two males) seem to have no trouble at all taking their sweet time setting up and performing however they please.
Other bands were just as guilty of downplaying the equality of my presence in situations in which it was insisted upon that “all drummers share a kit.” This is by no means unusual, and typically the reasonable assumption. When I’d show up with my own kit and be the exception to the rule — preferring not to use the battered communal kit with broken hardware, punctured batter heads, and an overall inferior sound — I’d be flatly denied the option of using my own drums. More often than not, I’d relent out of what I thought was mutual respect, agreeing to use the shared kit and suffering through a mediocre sounding set because of my decision. After a couple of shows like this, though, I noticed that once again, bands on the same bill would walk in with their kits, insist on using them, not back down, and “waste everyone’s time” setting the garbage kit side-stage while they performed happily under conditions closest to their liking. Then it’d be time for my set and I’d be left with “no time!” to set up my own drum kit. No, I’d have to use the shitty one, or risk infuriating the sound guy, promoter, and any other bands on the bill that night. Something didn’t add up properly.
Fellow drummers liked to run up to me just before I began my set and ask if I needed sticks. Or a drum key. Or “help setting up” my own cymbals or mic stand. To this day, hundreds of shows later, I’ve never noticed men pre-emptively doing this to other male drummers. Not once. (My response to all of these queries, as you may have guessed was “No, thanks. I come prepared.”)
After our sets were over, my partner and I would swallow our exhaustion and satisfaction and quickly get our things out of the way for the next act; such is the hectic life of an independent band without roadies. We have rarely been shown the same respect by bands who perform before us, but it goes without saying that few people mind their manners in such a setting. Our set-times have been cut severely short by opening acts moving at a glacial, remedial pace before, during and after their allotted time. When this has happened, we’ve been shown no mercy; shooed off the stage or unplugged mid-song while miraculously, the bands before and after us are given free reign to go over their budgeted time slot. Finally, after years of this sort of treatment we began asking ourselves and each other: “What, exactly, is going on here? What is different about us?”
Having left the stage as promptly as we could, sweating and lugging our gear backstage my partner has been routinely accosted. Generally he’s met with typical questions: “What pedals do you use?” “Where’d you get thatguitar, man?” or “I love your tone.” Very often, though, the first thing he has heard is: “You guys were great. So, what’s the deal with your…uh…drummer…?” Uncertain at first of what the hell they were talking about, he’d typically just look at the person blankly, frankly wondering what they meant. “She’s foxy! Are you guys siblings, or…?”
Ah. So there it was. These eager dudes, running right past me and up to my band mate, wanted to answer a burning question: is she single? My partner’s concise and honest response — “We’re married” — always cut the conversation short. “She’s a really good drummer, man,” they’d tell him, and he’d agree, and they’d part ways with me standing a few inches away and observing them in amazement. Of course, this is part of being a musician. The people onstage are mysterious; they’re there for a night to pour their hearts out for you and then they disappear. It’s natural to want to know more.
Why, though, has virtually no one ever approached me and asked, “What’s the deal with your guitarist? Are you guys, like, a couple or something?”
Booking shows is another challenging arena for any DIY performer. I took on the brunt of this duty for many years, with my partner’s agreement and involvement, of course. Yet I had to be cautious about letting promoters know which one of us was corresponding with them. On one of our tours from the East Coast through Southern Ontario, I contacted an established promoter with his own venue in my hometown, several months ahead of our tour dates, to ask if he’d be interested in setting up a show with us. He agreed, told me the other two bands who’d be on the lineup, and said he was looking forward to it. I pencilled it in. As the weeks and months passed I followed up to confirm the show and ask if he needed any help promoting it; making posters, etc. He didn’t respond. Finally, three weeks before we left for our tour I sent a final email asking for him simply to confirm that the show was NOT happening. I figured that was the least he could do out of mutual respect.
His response was to contact my partner in a separate email, apologizing that he hadn’t had time to put together the show; thus the show (as we’d rightly assumed) was not happening. Yet he felt the need to complain that he “didn’t like her behaviour” and “didn’t want to work with us again” because I had had the gall simply to follow up on our previously jovial show-booking conversation. He’d ignored two of my messages but chosen to email my male partner instead, effectively asking him to ‘control his woman.’ This type of interaction occurred more than once, until I stopped making it evident which band member was the one sending out booking emails.
By far the least enjoyable aspect of performance, at least when you first start out, is heckling from an audience. Sure, some folks thrive in the midst of confrontation but most musicians would very strongly prefer to simply play their music for people who want to hear it. Once heckling began, and we were the only act attracting such behaviour, I begrudgingly started to believe that it might have something to do with the fact that I’m a woman.
After one of our earliest shows, at a beloved all-ages venue run by friends in Brantford, ON, a young male whom I’d noticed complimenting my partner after our set ran up to me outside the venue and smeared some sort of grease all over the back of my shirt. Not only had he grabbed and touched me against my will, but he’d destroyed the fresh clean shirt I’d changed into after a sweaty performance. Furious, I confronted him moments later and insisted that he apologize. Of course, he refused. I changed tactics and demanded that he pay for the shirt he’d destroyed. Stared down by me and a bunch of my male musician friends, including my partner, the guy just smiled and said, “I’m not paying for your goddamned shirt.”
“Girl drummers suuuuuuuuuuuuuuuck!” a very large drunk man once screamed in between songs years later, at a popular bar in Hamilton, drowning out the sound of appreciative clapping from a couple dozen show-goers.
Once, after a fairly pleasant set at a Toronto dive bar booked by a very well-known and influential show promoter who shook our hands, paid us well, and offered his genuine respect for our talent after the show, I returned home to an email to our band address that read just two sentences long:
“Your band sucks. Break up now, thanks.” I deleted the message, but not before I recalled a particularly smarmy looking dude who’d been standing at the bar earlier that night and had said, “Nice tits” with a smirk when I walked up to ask the bartender for a glass of water. “Fuck yourself,” I’d told him. My memory wanted to piece together who’d despised us enough to write such a note, but consciously, I simply wanted to forget the incident. Clearly, I have not.
At a bar in Guelph, we once opened up for a fellow two piece; a heavy-as-fuck bass-and-drum duo of two very seasoned veteran male musicians. They were loud as anything; twice as bass-heavy as us; it was a rock show. Yet, early on in our set one particular audience member kept screaming,
“You guys are TOO LOUD!!! I CAN’T HEAR MY FRIENDS!” Keep in mind, this guy had paid to be there.
We ignored him, and played on, amused with the rest of the audience, until he walked right up onstage and started staring me down. He tried grabbing my cymbals mid-vibration, so I gave him my scariest look and hit him with one of my drum sticks “accidentally.” He called me a “fucking bitch,” and I kept playing. His intimidation did nothing, so he moved over to my partner and tried to grab his guitar and yell into his mic in between songs, repeating the same mantra about us being “too loud” and him not being able to hold down a conversation. At a rock show. In a dirty old tavern. He got whacked again, this time accidentally, with the neck of a baritone guitar, dropped his beer glass and finally went outside. When we left the venue that night we saw him being coaxed off the side of a building, to which he clung precariously like a delirious squirrel, by police.
During a brief quiet moment as I wailed on my drum kit one night in Halifax, I heard a very distinctly enunciated “TAKE OFF YOUR SHIRT! SHOW ME YOUR TITS!” from the back of the bar. This took place at one of the oldest, most steadfast venues in the city, where we’d performed several times over the preceding four years. I said something into my mic after the song finished about respecting the musicians onstage, and heard male laughter from the back of the room. Always in the shadows.
On one evening, as we were setting up to sound check at a legendary 70-year-old tavern with a capacity of a few hundred, a bar patron walked up to the stage and said with what sounded like syrupy condemnation, “Hey sexy drummer girl! You’re cute.” Then he simply walked away. Without having heard a note of music, or seen what my abilities were as a musician, this man had waltzed all the way from the front of the venue to the stage just to try and make me uncomfortable. I didn’t feel threatened by any means, but after years of comments and smirks and insults and the occasional physical assault, I was done keeping my mouth shut. During our set I quickly recounted what had been said to me during sound check and finished with, “If whoever that was thinks I showed up here tonight so that he could insult me and check out my body, then FUCK HIM. I’m here to perform the songs I wrote for the people who give a shit.” A couple of people clapped hesitantly, mostly the fans who’d come specifically to see us perform. We played a great set and had fun chatting with some kind folks afterward.
Later that night, however, we received a nasty email from the promoter stating that “our band was no longer welcome at any events booked by Such-and-Such Concerts” as we had “failed to promote the show on our Facebook page.” Funny, I thought, I’d been posting about the show online for weeks. Yep, there it was online, plain to see. And we’d gotten a handful of fans out that night, as requested by the promoter. It had turned out better than most of our Toronto shows, so it seemed amiss that we’d be “banned for life” from performing for simply showing up on time, bringing fans, and playing our set whilst keeping to our allotted set time. I smelled bullshit.
Somewhere around 2013, I grew tired of the disrespectful culture in which we found ourselves and we scaled back the number of bar shows we played. This, of course, helped. All ages shows are inclusive of young people, and rarely resulted in as much male-centric bad-mouthing as those that took place in bar settings, however well-attended and appropriate to our music those bar venues tended to be. Alcohol sales result in money for bands, more often than not, so we also unintentionally started making less money. Failing to break even for the first time in years. This is punk rock, we told ourselves, and we followed our hearts.
My instinct told me to write even more of my own songs, and to stand up front. I started playing guitar almost exclusively. Though I still dressed primarily for comfort, I also began to wear makeup at every show (sweat-dripping-eyeliner be damned; I loved it) and keep my breasts covered, either by vests or comfortable bras. I had learned so much from my 7 years as an unassuming singing percussionist. As a seated female drummer, I had appeared subservient to too many observers. I always wanted my lyrics to be heard. I wanted audiences to watch my hands, and my stage moves, not my unintentionally bouncing breasts. After a decade of not giving a shit about abiding by cultural norms, I found a way to subvert them whilst staying comfortable in my own skin. I dressed and wrote punk songs to my liking, and I began to perform standing at the front of the stage, side-by-side with my partner. We were two people with guitars, and while we had always been an equal musical partnership, we finally appeared equal.
Unsurprisingly, people’s attitudes changed. My partner booked a lengthy tour performing at many of the same types of bar venues we always had — with a good percentage of all-ages shows thrown into the mix — and we managed to play show after show with nary a problem from bouncers, sound techs, venue staff, promoters, or other bands. No audience members heckled us, even as we encroached on 50 shows in 50 different Canadian cities. Nobody commented on my body, and males and females alike started coming up to me after our sets and talking to me respectfully about our music.
Was it really that simple?
By standing at the front of the stage and engaging audiences while holding a microphone instead of singing equally heartfelt words from behind the drums, had I really managed to shift everyone’s perception so…perceptively?
Was it all a fluke?
Regardless, I am committed as I go forth in life that doing what I love — performing music — will always meet roadblocks, but they can easily be overcome. Refusing to allow our own stubbornness to trap us in situations with disrespectful people opens up a delicious new world of contentment. I still don’t give a shit what people think of me, deep down. I don’t wear a bra or makeup unless I genuinely want to decorate myself. I continue to show others the respect I have always had for every other person I meet, and I vow to put myself into situations that meet my expectations for personal growth and human connection.
Art flourishes in both agony and ecstasy.
Shitty people don’t deserve my anger; thus they no longer receive it.
I love helping others realize that everyone is equal.
I love playing music, and telling stories.
Every story deserves to be told.
by Pinky Bardo November 17th 2015
Picture by Melissa Mercier
Artists often have more than one string to their bow. Ronnie Wood is an exceptional painter. Leonardo Di Caprio is an Activist. Jeff Ament is not a novice skateboarder.
Well, it just so happens that Art of Dying founder, writer, musician and vocalist Jonny Hetherington, is also a culinary maestro.
Hetherington, for the past year or so; when he has not been on the road, has been developing a line of hot sauce, and with plans to ship this product the world over, a Kickstarter campaign has commenced. Full details are right HERE!
Presentation is clean and simple, and was designed and photographed by Canadian photographer Melissa Mercier, who is based in Vancouver.
Those of you that follow Hetherington or his band Art of Dying, will already be aware of his love for cooking, presenting and eating. Here is your chance to become a part of that experience. Eat it up!
KG Headbangerwoman Oct 22 2015
Musician, and Static X founder, Wayne Static (Wayne Richard Wells), was found dead in his home earlier this week. Static was about to embark on a tour with Powerman 5000, and Drowning Pool.
Static, who was a previous user of drugs, was assumed dead from a drug overdose, after no confirmation of the cause of death were made. However, Static’s wife Tera Wray later disclosed that Static had not been a drug user at the time of death.
An autopsy will show the cause of death.
Picture courtesy of Songkick.com
RIP Wayne Static 1965-2014
KG November 7 2014
Starring Tom Cruise and Alec Baldwin 2012
If Russell Brand could have stuck to one accent or another and the singing had been stronger, deeper and growlier this movie would have been almost perfect. The people portrayed were hilarious. If you already knew who did what, where and with whom it really struck a chord. The costume department could have gone a little more 80’s trash and a little less Country and Western, but on the whole you got the general idea.
Musically, the right songs were in the right places. Warrant, Journey, Poison, Guns N Roses and of Course Def Leppard all showcased.
Without a doubt Tom Cruise is truly THE star of the show. It never matters what project he is given he just steps up to and jumps right over the plate. Amazingly so.
Alec Baldwin will always just be a bonus to any thing he appears in!
If you were around to see this happen for real you really need to give it a watch.
by Karen G October 15 2012
Have you ever wondered whether Athena (born Bass but often known as Lee) was the only chick on the strip in the 80’s not to fuck MOTLEY CRUE?
Well, the Answer is “Yes”, from the horses mouth….. So no more sleepless nights pondering that one.
Also, for the record Athena never had a bowl cut. That is almost a certainty!
Athena does have shiny ball syndrome.
Get your filthy heads out of the gutters people that is not where this article is going…. Well maybe a touch?
Athena admits “I am so easily distracted.”
What a great thing then that the new show Athena will be co-starring in, Ex-Wives of Rock with Susan Blue Britt, Sharise Neil and Bobbie Brown, co-produced by Femme Fatale front woman Lorraine Lewis and Lisa Brucker, is fast paced and changing on a daily basis. “No writers on this show,” the long legged blond share with Headbangerwoman just recently. “It would have been impossible, there were so many different things happening every day. Of course there are things I haven’t even seen yet. There were days the others were there and I was not!” Filming of the first season of the new and eagerly awaited show has now concluded.
Athena is a proud Mom to three children and though she filed on December 31st 2010, she is not yet divorced… that makes her the only ex-wife that does not have the all-important legal document, but it is fairly obvious that she is ecstatic to be well away from her former room-mate.
Her inclusion into Ex-Wives Of Rock, a show that will be brought to Canada by Slice and Tri Con, can only add to the entertainment. Athena is well known for her energy. “I am really very active, always on the go. But I’m also pretty good at lying around in my undies, watching movies and being a lazy-ass too when I can.”
This then could be a surprise that Athena only quit smoking in early 2012. “I was starting to feel it, even walking up a few flights of stairs. Of course watching my Mom sick for so long from smoking, finally made me make the decision to quit. I wanted her to see that I could; that I had. It was such a horrible way to die. I will never ever watch anyone go through that again, OR let anyone who loves me watch that happen to me. You know, I continued to smoke after I was sick with Breast Cancer, how fucking STUPID is that? That’s how EVIL it is. We all seem to think we are indestructible and that it could never happen to us.”
When asked about the Sunset Strip and her personal experience Athena is very candid. “When I was much younger I was out on the strip every night. Because I was a musician I had like thirty big brothers from the other bands we played and hung out, it was great. You really did not have to be all that tough. It was not nearly as hard being a female musician as people made it out to be back then. Of course I didn’t really hang out with my brothers girlfriends or band wives back then. I didn’t need to though. I was out there doing my own thing. I didn’t meet the other cast members of the show until a little after the strip scene and they were pretty much already ex-wives, but we all knew each other for a long time before the show, so we fit in really well. There was definitely no awkwardness on set.”
Athena is hoping for another season of the show and screening in the US too. “I’m up for whatever life throws at me, BRING IT! Once the show airs there will be much more going on. My book is also being completed right now. It was going to be titled Coming In Second, but it wasn’t about being second best, not about feeling sorry for myself because I was the younger child, less famous. It was a personal thing. I realised the public might not realise that, so I have changed it to Girls Don’t Play Drums. My Mom would say it all the time when Tommy (Lee; Musician, DJ, Drummer for Motley Crue and Athena’s older brother by two years) and me were kids. Boy’s drum, not girls!” Seemingly not satisfied with a book and TV show Athena added, “I have a few really cool things I’ve been up to as well, but I have been focusing mostly on the show and my book, but I have some fun surprises coming soon too!”
Athena’s Mom may have been very smart, but fortunately she was wrong about her daughter not being a drummer! Athena has been a part of many successful projects and was the first woman to be nominated best drummer at the LA music awards. Recently she became affiliated with http://www.rockettdrumworks.com/ headed by Poison drummer Rikki Rockett. The company makes made to order, finely crafted, handmade drum kits. Each kit is made specific to requirements, each very individual. You can hear the pride in Athenas voice when the Rikki and his company are mentioned. “Rikki and I have been friends for a long time, he really is the best. It is great how he has managed to have this amazing drum company while keeping up his touring schedule with Poison. The company really is great. Rikki has specialists for each particular job. You can’t just pick them out and go home, they are custom. That is what makes them better than the rest.”
With the entire hectic goings on in her already full and fast paced life, you will probably be surprised to know that Athena is also working out furiously in the gym to get the butt she always wanted. Of course she already has the butt that many guys want…..
Catch up with Athena and her butt on Twitter @Athenamintpatty
Ex-Wives of Rock will air double episodes on Fridays @ 10pm starting August 31st on the Slice Network in Canada
Support Ex-Wives Of Rock by visiting here…. http://www.facebook.com/ExWivesOfRock
AND here…. https://twitter.com/ExWivesofRock
by Karen G and Athena
Jani Lane, long time, on/off, singer with the band Warrant was once asked about being in a Hair Band. His reply was along the lines of; “if you mean do we have hair and are we in a band then yes!”
Sadly, Jani is no longer with us, but the remaining and newer members of Warrant all have a little and in some cases, a lot less hair. Jerry Dixon however has been one of the lucky ones. He still has his flowing locks. “I credit that to my Dad, it’s in my genes” he confesses.
Music too, it seems is in the blood. Dixon and his business partner, Warrant guitarist, Erik Turner are now competing with the big guns that used to control them.
“It’s all about having fun, discovering, helping and fulfilling” is how Dixon, also long time bassist with Warrant, described a day at the record company, Down Boys Records.
What made them make the decision to take the helm on the side of the enemy?
“We were drawn to it after years of getting ripped off and dealing with the frustration that came from dealing with big companies as part of Warrant. You learn to do it yourself. We noodled around with it for probably ten years before we got really serious. For us it is all about giving a chance to those bands ignored by others. Not only do we give them a shot at recording, but we also concentrate on film and TV placement. If you are not cut out to be mainstream you might just be well placed somewhere else. We have to pop a lot of egos, but as a band at this time, if you put all your eggs in one basket you are screwed. We help find your niche. It’s not about being famous!”
As a show of trust in themselves Warrant has put out a couple of projects with the company.
Of course Warrant is still on the lips of the world, putting themselves out there not only on tour, but also in commercials and the like. “Some people would and do laugh at that, but it is great business sense. If a music fan hears the song Heaven on a laundry commercial they are so much more likely to go, after years of not hearing it and purchase a record. TV is just so powerful. We will continue to market ourselves that way, it makes so much sense to us and we’ll take whatever!”
On the road again this summer, Warrant are playing with other bands reminiscent of the 80’s such as, LA Guns, led by Phil Lewis, Trixter, Firehouse, Skid Row and Winger.
“We usually do ten weeks during the summer, but it is not like it used to be,” Dixon sounds a little relieved, “we play a lot of festivals and one offs, there is no six months away, no tour bus. It is mostly just flying in and then out, but that is really tiring, it can definitely mess you up. Of course the shows are all still really great. But it is a different world now.”
On top of all this the band donates to several different charities. How do they spare the time? “At this point we just donate funds. We really need to try and make the time for personal visits, but right now it just doesn’t work, we don’t have the spare time, so we do what we can by making donations. Eric gives to St Jude, Robert became involved with Wounded Warrior because his neighbor is a Veteran and my wife and I donate mostly to animal sanctuaries. What we give is worked out on a small percentage of certain things. We really do wish we could give more time.”
Asked about endorsements, Dixon is very frank. “I suppose there was a day when we would take anything. Fortunately for us we are in a position now, where we can pick and choose. We don’t take it because it’s free and there is a lot of crap out there. I want to be on stage and know that I like what I am playing”
It is well known that Jani Lane was the primary writer for Warrant during the 80’s and 90’s. What does Dixon think happened to the writing process when Lane left the band?
“Writing was Jani’s calling. He would come in and produce things to us that he had written and we would just go with it, he was so good. When he was no longer around for the first time, probably nine years ago we really did wonder what if the songs suck now. I, well we all had to learn the cool, creative part of the business. There is really nothing like it. I personally really enjoy it. We are writing here and there right now, but there won’t be a record until around Summer 2013, it’s slow, what with pre-production, preparation and studio time, it’s all a formality, but it needs to be done.”
For fans that cannot wait watch out at Xmas 2012….
Warrant are currently mixing and editing a live DVD and CD pack which was filmed at M3 and will be the perfect stocking filler for hair or less hair metal fans.
In the meantime, summer festivals in the USA are where these Down Boys go.
TOUR 2012
07 19 12 Warrant & Winger /Waterfest Leach Amphitheater – Waterfest Oshkosh WI Warrant Shows & Events
07 20 12 Warrant, Skid Row & LA Guns AVA Amphitheatre / Casino Del Sol Tucson AZ Warrant Shows & Events
07 21 12 Warrant Freemont Street Summer Concert Series Las Vegas Las Vegas NV Warrant Shows & Events
07 27 12 Cherry Pie Tour: Warrant , Firehouse & Trixter Mohegan Sun at Poconos Downs Wilkes Barre PA Warrant Shows & Events
07 28 12 Warrant Grizzly Rock Lakewood CO Warrant Shows & Events
08 5 12 Cherry Pie Tour Warrant , Firehouse & Trixter + Jukebox Zeros, Frank Hannon of Tesla Sioux Empire Fair | W.H. Lyon Fairgrounds Grandsta Sioux Falls, SD Warrant Shows & Events
08 6 12 Cherry Pie Tour Warrant , Firehouse & Trixter Easyriders Saloon Sturgus SD Warrant Shows & Events
08 18 12 Cherry Pie Tour Warrant , Firehouse & Trixter South Coast Winery and Spa Resort Temecula CA Warrant Shows & Events
08 25 12 Warrant & Firehouse Sweet Corn Festival / Downtown Urbana , IL Urbana IL Warrant Shows & Events
08 31 12 Warrant & Trixter Hampton Beach Casino Ballroom Hampton Beach NH Warrant Shows & Events
10 13 12 Cherry Pie Tour: Warrant , Firehouse & Trixter The Lakeland Center Lakeland FL Warrant Shows & Events
By Karen G
http://www.downboysrecords.com/
WHY?
WHEN YOU HAVE EVERY BIT OF ATTENTION YOU EVER WISHED FOR AND SOME YOU DIDN’T. THE STAGE SHOW IS SPOT ON AND THE THEATRICAL NATURE OF YOUR SHOW IS STILL MAKING TIPPER GORE VOMIT IN HER MOUTH, WOULD YOU NOT SING LIVE?
CAN MARILYN MANSON, SO CALLED SHOCK ROCKER NOT PULL IT OFF IN FRONT OF A LIVE AUDIENCE?
HAND GESTURES FROM THE FRONT MAN SUGGEST HE IS PULLING IT OFF CONSTANTLY.
ONE TOO MANY TIMES IS THE MICROPHONE AWAY FROM HIS MOUTH BEFORE THE WORDS ARE FINISHED AND YET THE SOUND IS STILL COMING FROM SOMEWHERE….
When your fans, the people who put you where you are, where you want to be, spend hard earned cash to see you perform live, that is exactly what they want. Live. It would seem idiotic to presume that the same people would not notice that you are pretending.
No one cares if you hit a bum note or two. They want the experience, the feeling, the spit on their faces. Not some half assed attempt at keeping time with the backing track.
When your music, even the covers, are raucous, hard hitting and contain provocative, gut wrenching lyrics. When your live show compliments this with costume and theatrical cause, why allow this one little thing let you down?
Brian Warner is a well-spoken, smart man. He knows how to work people, he knows how to get what he wants and yet he cannot figure out how to emit noise from his vocal chords into a piece of clever technology, which will carry it to an amplification devise, when he is on stage.
He does it in a studio, why not live?
This is a disappointing find.
Nice arse though!
Karen G 19 June 2012
Thirteen months with no singer would make most remaining band members want to pack up and head off in separate directions.
Not so these dedicated Victoria, BC boys. They settled back with previous singer and guitarist, Sam Edmundson for a little while and then advertised for a new, better looking front man. What they got was a gorgeous front woman, what could be better?
Bassist, Ian Chisholm communicated to Headbangerwoman.com that there was, “No quit talk, no hanging up. Black Hat Villain was going to continue in some form.” So, a pub band it is then? “We were not sure a while ago on what level our devotion was, which route it would take. We just wanted to be out there playing again!”
Back, better and more Villainous than ever, there is even a whisper of being out there possibly including US dates in Washington State and Oregon. For now though, we eagerly await new music in hard form and local BC shows and while we continue that wait patiently, Headbangerwoman.com is proud to bring you an email interview completed by the unassuming and way too sharp; Abe Cox!
Q; There has recently been a new singer announcement, do you care to share?
A; Yup, our new front-WOMAN is Ashley November! She absolutely rips on vocal and is a super cool chick! She fit right in from the first moment we all met her and her dedication to Black Hat Villain is fucking incredible. Sam, Tim, Ian and myself all live in Victoria and Ash lives in Vancouver, so with the ferry and shit, she commutes approximately four or five hours each way on weekends, just to sing in our crappy little band… ; )
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Photograph by Whitney Bragagnolo
Q; On your website you mention new songs. When will they be recorded so we can all have a copy?
A; New songs galore! We’ve got about 8 or 9 brand spankin’ new tunes that almost no one has heard. We demo’d them prior to hooking up with Ashley and we’re super stoked on how they sound, especially after hearing her voice over them. Our plan is to hit the studio and hopefully have something to release for the fall. In the meantime, here’s a link where you can check out a sample of two songs we demo’d in our jam spot;
http://soundcloud.com/blackhatvillain
Q; You appear, as does Headbangerwoman, to have a serious disdain for auto tune and over produced music, be that a band with no musicians, boy bands, Black Eyed Peas and Justin Bieber etc. You do not exhibit overproduction or vocal messing in your music, how do you manage to keep it real?
A; Ok, here’s my daily rant; Yeah, that auto-tuned shit disgusts me. Blatant lip-syncing/backing tracks on all the live shows, also makes me barf in my mouth. Remember when Milli Vanilli tried that shit in the early nineties? They had their Grammy torn outta their grubby little mitts. All these lip syncing artists should be giving royalties to Milli Vanilli. Well one of them overdosed and died, so they can give his portion to me. Apparently they were ahead of their time.
We don’t do any studio trickery or overproduction at all. I’m a firm believer in being able to reproduce your recordings when you play live. To me, there’s nothing that feels like more of rip off than hearing a recording, totally loving it and then seeing the band and they can’t pull it off live. With our last recording, we used the exact same guitars and amps that we play with live, so what you hear on the recording, you hear it live too! Imagine that! We’ll probably do the same thing with this next recording. I can’t tell you how many times people have come up to me after we play and are blown away that we sound exactly the same as the recording; what they say is, “…exactly the same…” but what I hear is, “…10 times better than anything I’ve never heard…” That’s the kind of shit that keeps me humble, keep it up guys!
Q; Who are your major influences and who really pisses you off musically? You can name other people who piss you off by all means.
A; My main influences are pretty much all metal bands. I got heavily into Iron Maiden when I was about eight or nine and that paved the way for the music I listen to today. Right now, I listen to a lot of Gojira, Mastodon & Divine Heresy.
As for the other guys that piss me off; William Hung, David Hasselhoff and traditional Swiss yodeling.
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Q; How is the scene in Vancouver right now for rock bands following the emergence of Art of Dying, who are touring almost constantly?
A; Being from Victoria, I can’t really speak for the Vancouver scene. When we were actively playing Vancouver in 2010, Art of Dying was recording in LA, so we never really heard too much about them. These days, they’re touring constantly, playing huge shows and its rad to see them getting the recognition for all the hard work they’ve put into it.
Q; Are you still with Brian Thompson and Thorny Bleeder? How has that particular brand of management encouraged and helped you?
A; No, we’re not with Brian/Thorny Bleeder any longer. Brian was waaaay ahead of the game with the importance of the whole social media aspect, so that’s how he most influenced us. He had the foresight to see where the music industry was headed in relation to downloading and lack of album sales etc. He really preached about getting on board with the changes, instead of trying to fight a losing battle. Traditionally bands would tour to try to sell albums, he was a huge proponent of giving your music away for free, in order to get people to come to the shows. The whole industry has done a complete 180*.
Q; You have dates coming up in BC. What are you willing to offer the rest of the music listening types in Canada ?
A; We toured British Columbia and Alberta in September of 2010 and every single one of the venues called and begged us to stay away until they could finish the repairs after we blew their roofs and doors off! It’s definitely on our “to do” list again, hopefully before winter sets in (sounds like a line from “Game Of Thrones”). In the meantime, we want to start live streaming our shows and some of our jams, for the people who can’t possibly make it out to see us live. Most of our fan-base consists of hermits, shut-ins and inmates, so…..
Q; Why did it take so long after the retirement of Scotty Tuesday for you to re-collect?
A; After Scott left, there was no downtime, Sam just resumed vocal duties. Sam was the original BHV vocalist before we met Scott. We wrote eight or nine KILLER tunes. The nucleus of the band was still there in terms of the song writing; all the songs, vocal melodies and 99% of the lyrics that you heard Scott sing were already written before we even met him. When it came time to place an ad for a new singer, we uploaded three songs with no vocals, to this new thing they’re calling the internet (I honestly can’t see it catching on) so that anyone who wanted to try out could download the tunes, sing over top of them and send it back. That allowed us to really pinpoint the ones we wanted to have out for a live audition. We wanted to be sure that we found the right fit for the band, instead of just jumping at the first singer that came along. Fuck, am I ever glad we waited; otherwise we never would have met Ashley.
Q; Does the Vancouver weather fuck with your hair?
A; Does the Vancouver weather fuck with my hair? Do you mean does it ask my hair out on a date, light candles & pour wine, then slip it a roofy and raw dog it until the sun comes up? Then, yes, it has done that. Numerous times.
Q; Is ebullient how you would also describe yourself?
A; If by ebullient you mean dead sexy, then yes, ebullient is how I would describe myself, but if ebullient means painfully average, then yup, ebullient is how I would describe myself.
Q; What message would you specifically like to pass on to the fuck wits (Huh, two words) that read this article?
A; If there’s one piece of advice I can give, it’s this one that I just made up; Ok, so you know how when you go to a metal show, there’s always that one fuckin’ hero who yells, “SLAYER!” Well when you go to a Slayer show, DO NOT yell, “SLAYER!” instead, try yelling, “YOU GUYS!” It makes way more sense. Oh yeah, don’t throw rocks at a guy holding a slingshot. It just seems like a bad idea to me.
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It was not discussed, but there is a possibly that Cox could be available with a bouncy castle for hire, at children’s parties in the Victoria region during the summer months, weather permitting. Fees may vary.
New Black Hat Villain live shows can be found HERE
by Karen G June 6th 2012
….where the only pulpit is opposite a stage and is occupied by lighting and sound guys.
The congregation is tattooed, shaven headed, leather clad and holding a beer not a bible.
There are two Preachers present with this particular travelling church.
The very Reverend Ms. Niva Chow and the very very Reverend Mr. Robert Michael Higgins.
For Higgins and Chow to be revered, is probably the least of what should happen, but it is a start.
Not too long ago this formidable pair were in a studio in Joshua Tree, California, USA, recording the now newly released (May 22nd 2012) Hawk vs. Pigeon. The band also worked on the record at their Phoebe Street Studio in Toronto, Ontario, Canada.
This record must have been a pretty easy kill, the name of the cd certainly suggests as much? “Well, I am sure we will be asked about that a lot, but we pretty much already decided on the name of the cd before it was near completion. The fact that we saw just that, a Hawk vs. Pigeon on the last day of recording was a definite sign. We went into the studio with nothing and came out with some really great songs, we were truly blessed.” Tells Higgins. He added; “Had it not been for Brendan Canning, a founding member of Broken Social Scene, who helped me navigate through a difficult time, it would probably not have happened. At the time he was probably the only guy I would listen to and take guidance from.”
Canning, along with Patrick Pentland of Sloan and Dave Catching; Queens of the Stone Age, also make an appearance on the record. Not forgetting Care F and Tony Bleed of Die Mannequin, label/tour mates of Dearly Beloved, who give a punk poke to the track On Better Days.
Dearly Beloved has a new, fresh sound. Not comparable to any other thing, which these days is almost un-heard of. Both Higgins and Chow are lead vocalists and Higgins is at the fore on bass. Unfortunately the music they are producing is not considered mainstream by many music executives. The suits of the Music business like it to sound smooth and easy. Where is Val Doonican when you need him?
“It is too easy now to get someone into a studio and make them sound good, overproduce them and put them out on air. That is what has been happening since the decline of the big record companies in the late 90’s.’’ Higgins is well informed and stays abreast of changing situations in the fickle business of music. He is not afraid to share his truths, which is extremely unusual in such a seemingly cliquey business. One would worry that it is not good for the business of Dearly Beloved, but it is no deterrent for Higgins. “Eric Alper and EOne Music Canada are changing all that. They are putting real music out again. Rival Sons, Die Mannequin and The Cult are all with EOne. Of course we are still hearing new bands out there that sound just the same as someone else.
It is very difficult to disagree with that statement.
Not so un-original are Dearly Beloved. With a heavily bass lead sound and a mix of male vocal and a female vocal that could strip the wallpaper border off your grandma’s kitchen in one bar, it is hard to believe that this is the fourth piece of art for the ears from this band. Although through the past six years there have been several line –up adjustments, the backbone is not broken and the body just continues to grow stronger.
What is needed here is for Canadian broadcasters to grow some balls and play some new, more relevant music. Music with a message, something that is a little eclectic, alternative, rock based and thought provoking. We all know that Rush, Neil Young and The Tragically Hip are out there, but they could step graciously to one side and allow new noise to be heard.
“I said it before; now it is just too easy for radio stations to play the foot tapping, electrically processed stuff and feed it to the masses. Canadian broadcasters must play a certain amount of Canadian artists on air every hour but they choose dated artists or songs where there are no musicians only a backing track or auto tune.” Higgins is sticking by what he holds true.
It would be so easy to understand if Dearly Beloved and in fact many of the real musicians and rock bands out there were to just quit, give up.
“It’s really not that easy,” gives up the bands drummer Andrew McMullen. “I have to do this, it is just in me, I am just meant to be out there performing. When I am not on the road, or on the stage, it is like there is something missing.”
It is certainly a hard slog. The band endure the nightly lugging of equipment in and out of dark, dank clubs, up and down stairs, staying in often undesirable lodgings and playing salesman for their merchandise before and after a set. That coupled with daily drives of 15 hours on average, and a diet of, in the words of Higgins; “a lot of weed in the past five days,” that and snack food from gas stations, has got to be a strain on anyone’s resolve and yet it seems to fuel this band.
“It won’t be long before we are in the studio again and this time we will maybe produce 15 songs,” Higgins shares, as the band mascot, a two feet tall, dressed up mannequin of Lord of the Rings character Gollum, peers over his shoulder.
No doubt Chow, a seasoned singer previously with the band Sticky Rice, who also has a background in Media/TV production, will continue to log the travels and tribulations of this not well enough recognised, home grown, musical epiphany. It will be considered a great shame if there is no-one saving a few live shots of Chow on stage. She has an in your face energy so powerful it could be considered aggressive. The presence she gives is of someone more physically commanding in stature. Yet it is undoubtedly her voice and intellect which will raise her status as a star.
All future recordings will be well used in years to come when this band receive the recognition they have worked so damned hard to gain.
Rarely will the music world see such an honest, hardworking, un-beleaguering, hospitable, artistic, talented group of people dedicating themselves to providing music to those around them.
They should be revered at the highest level.
While you listen to this new record and await delivery of the next, purchase if you have not already previous releases and catch a live show if you are close to a location where the band is appearing in the near future.
You will quickly find yourself worshiping at the Church of The Dearly Beloved.
The only disappointment you will have is that the set is not long enough and merchandise is sold out……..
By Karen G 31 May 2012 16:59
When those that are bound to nurture fail to provide to the correct care, failure is usually the end result.
Care Failure, to be precise!
When you remove from a young person the one thing that they trust, their life’s blood, the only thing that they can trust, the thing they depend on, it is certain to end in a cluster fuck… or worse.
In this, the case of Care F, attaining success is an on-going path of learning to trust again, self-recognition and sometimes self-doubt. The seemingly childlike persona is mixed with a grown up knowledge far beyond her years. The lessening use of Failure as a last name is only a sign that there is an embryo of self-belief that is not sorrow and despair, but that good things are on the horizon. “When you hear something so often you start to believe it, right?” Care shares one of the reasons that she is distancing herself from any kind of failure.
Using her song writing skills as a form of self-therapy; “you have to write about what you know, right? That is what they tell you,” Care tells it straight and as it is, but there is a feeling when she converses that she wants you to give her your approval. That she is testing the water toe, by toe. A look in her eye that is asking,”I think I am right, but can you just give me the nod?”
If you are aware of the tumultuous past of this well-spoken, thoughtful, intelligent and accommodating young woman, then you would have good reason to understand this.
With a past including, at a young age, the near suicide of a young friend, musical seclusion, homelessness and heroin addiction, it is a huge fucking surprise that Care F is even still breathing. She is; between smokes! OK so she may be back living in her parents’ basement, but even that is a massive leap forward from injecting drugs with needles and a life on the street. It was certainly not a lack of hard work that resulted in moving back in with Mom. It would seem that recent manager was possibly tipping himself a little too much, a little too often and as a result drastic measures have ensued!
Of course you have to ask, does she ever think that if the music had not been used as the blame for the near death of her childhood friend and she had been allowed to continue listening to her own choices, that she would have experienced a different path on her way to huge success? The success of this woman is inevitable. Care F just was meant to be a star. “But I continued to listen to the music, even when I was not supposed to, I led a double life.” She shares, so it is possible that the path would have been the same! “Some things just happen anyway,” Care F appears quite complacent about this, but you can see in her eyes that she is possibly still asking herself, why did that happen, why would they take the one thing that I really needed? The downward glances and small sighs are a dead giveaway.
If you start to see any similarity to Courtney Love in this at all then prepare to stand corrected. Care F does not sound like, look like or act like the Hole front fuck up, nor does she have dreams of hooking up with a rich and more successful rock star in order that she further her own career. In fact, she and partner, band bassist Tony Bleed are and have been happy together for many years. She is her own woman and completely the opposite of the Love we all see in the music magazines and on music led tv. Care F is unselfish, willing to listen and compassionate.
It was written that while Avril Lavigne was being set up by music executives as an anti-Britney, Care was set up by former record company Warner music as the anti-Avril. “Hmmm, that’s interesting” exclaims Care when this is revealed. “I always wondered why she wouldn’t speak to me. You know, she tried to keep me away from her (now ex) husband Deryck, when we toured with Sum 41. They were a little weird!”
Guitarist Stacy intervenes to make a valid point. “Why would you just make a comparison with a woman? Care, if you were making a comparison to her, which is not really necessary, could be compared to anyone, that person need not be a female!”
What an excellent observation. “You know,” Care is quick to jump back in “if I was to be compared to anyone it would be Iggy Pop, you know when he was doing his thing, back in the day, with the Stooges. I really admire him.”
There has been career help along the way for Care F from the likes of Canadian superstars Rush and beyond fellow musicians, it would seem that people everywhere feel the need to nurture her. But of her talent as a singer/songwriter/musician at least, Care F has little need for nurture and has little or no doubt and nor should she. What she would argue is the title of rock/movie star and any hope of making it bigger.
With the release of a movie this month(May 2012) Hard Core Logo 2, where Die Mannequin star as themselves, Care F is a little disturbed by the “herself” she was asked to portray by Director Bruce McDonald, in this sequel to his cult movie Hard Core Logo. “We are playing ourselves and yet my character Care Failure is always so dark, gloomy, and you know hmmmm, depressive. In real life that is not me. OK, so there is an element of the real me, when I think about what has happened in my life where I have been sad and unhappy, on some days I’m still less happy, but that is not my real persona, the one portrayed in the movie.”
Care allows herself to take joy in the small things. She expresses a love for color and art “I love yellow and orange, but this blue is my new favorite color,” she offers a small pot of nail polish. During an impromptu photo session she requested pictures affront a huge sign with Asian style font. “I love the way it looks,” she enthuses. In interaction with fans Care is seen to give herself totally to each person that approaches. That takes dedication and it shows a true appreciation, but could it also be seen as a need for constant approval, another sign of her vulnerability, a need to do the right thing?
For one so young to have suffered sadness, cruelty and more recently theft, Care F’s resolve has been tested to the limit but has held well, her integrity is intact and as she continues to learn that often people think they are doing the right thing even when they are wrong. Sometimes they can be forgiven. Positivity and self-belief can take you further than you think and if at any point you are overwhelmed, take a break. Stand back and re-assess. That is often all it takes.
The new cd release Danceland, despite its ripping and raw guitar and hard sound also exposes the vulnerability of Care F through the expressision in her voice. Be sure however that you will give her your approval right after listening to the first track The Other Tiffany.
Your approval for Care F and the band, her band, Die Mannequin, will continue until the end of the cd at which point you will replay, hear something totally new and different and approve all over again!
This cd has nothing but music with feeling. Vocal that makes you hear truth.
This is music for life. This is music you need.
Care F. Approved!
By Karen G 24 May 2012
Real punks wear ripped tights, red lipstick and other bands shirts. Real punks writhe on filthy floors playing ripping guitar and real punks aggravate their band mates. Real punks drink beer, treat their instruments badly and they don’t brush their hair.
Die Mannequin are real punks.
Do not let this take away from the music.
Stars of the recently released cult Bruce McDonald movie Hard Core Logo 2 and musicians behind the soon to be released Danceland EP, Die Mannequin can put out live. FACT.
Singer Care F has an original, chilling, sharp and stunning vocal. To say that her audience is engaging would be the understatement of the Millennia. Ms F is in the crowd, on the tables and convulsing on the stage. Crotch shots at a Die Mannequin show would be easy, but that is not what this is about.
Care F could be likened to a professional fisherman, although she lacks a pair of waders and a floppy hat. Slowly and with patience, she hooks the audience, she reels them in, releases them, gives them some slack, room to breathe.
Repeat.
Before they know it the frenzied audience, starved of oxygen become Die Mannequin, on the stage, part of the show. They also leave as quickly as they came.
Ms F is the dominant female in this chamber of delights. There is not a single doubt about it. Everyone does as they are told and they do it NOW!
Bassist Tony Bleed, drummer Daz and guitarist Stacy are the undeniable subordinates. The backup band? Pussy whipped into shape at every possible opportunity. They are necessary to provide a decent amount of noise, but if she had to, Ms F really could pull this off on her own. She is a rock star, a movie star. She just is!
A nine year veteran of live shows, Care F has it down.
This show has it all; hard hitting, real lyrics, grinding music, spitting and a front woman who brings it all to life. No excuses.
Now gear up for the June 12 release of Danceland. Care insists!
New music from DM in 2014!
by Karen G 23 May 2012
If the most original thing you can do as the foremost performer/s in a band is jiggle your tits and use your family name to promote this non skill, while sucking in your belly and arse and emitting a semi shrill squeak, (in stereo) general opinion would probably be, you are not cut out to be on stage. You should concentrate on your cheer team and whiten your teeth again.
If you remind the audience of a band from 25 years ago each and every time you open your gob, you would be well advised to not give up your day job, presuming of course, that you are gainfully employed. The paying public already own The Sisters Of Mercy back catalogue and Andrew Eldritch does/did at least looks the part. Besides which, those old enough to remember probably couldn’t use a reminder. Those too young to realize you are not entirely original probably need to get a real music education.
If however, you can persuade your public that they believe what you are telling them and then, like a Hawk stalking a Pigeon, eyeball, chase and engage without them feeling a thing, you probably come closest to what should be considered a professional musician, a true performer, an artist.
In today’s fickle and seemingly lazy music world, during paltry excuses for live musical performances, more often than not the artists fail to use the stage in its entirety and do not deliver a sound uncharted by any other, a sound that promotes thought and feeling, offered to those willing to absorb, with a passion and aggression that can only come from the soul. This is of course no mean feat. It means actually putting in an effort. It is far easier to rely on digitally processed noise, while a few short skirted, nice titted birds with finely toned glutes wiggle around a bit affront the stage and you stand looking pretty, considering your next big purchase; Gucci or Prada. Porsche or Lamborghini?
It is pretty widely known, delivery of a child is difficult for the mother, but children are by biological design esthitically pleasing. They may vomit constantly and smell of shit, but they will be loved by all who glance upon them none the less.
When hours and hours of painful contractions have already occurred, giving birth, in front of a room full of strangers to your newborn, night after night has to be physically draining. Some would perhaps say it is a constant battle of nerves. How does your brain process what may come to pass in the forty minutes that you are crowning?
What could happen if the audience are not pleased by your production of new noise? Suppose they don’t like your words. Maybe this sound is still too new for people to really get it?
Perhaps a less professional, less confident, less musically accomplished outfit would be hard pressed to pull off such a delivery.
Not so the band; Dearly Beloved, who are currently on tour Canada wide with punk band Die Mannequin, to promote the new record Hawk vs Pigeon.
At first glance you would probably want to feed the guitarist, stretch the tambourinist and shave the bassist; probably just his face.
You can’t see the drummer, but that is OK, he is quite far back and his glasses have steamed up so he can’t see you either.
That triviality is forgotten as soon as the band is three chords in and doesn’t end until the set is at its completion. This band deliver; raw, real, rock music. No more, no less. What more could a modern day rock music fan want?
At the fore two vocalists, giving both a female and male perspective and a bassist that plays his instrument hard enough to make up for the sound of two tall bearded guys ripping into it. The noise produced is mesmerizing. Dearly Beloved is here with a sound that has real music standards, no use of computers, synth or voice changing wizardry. This is real music, for the real music fan. Live, Dearly Beloved has no flaws. Even if they dropped every second note and forgot the words, they perform with feelings and integrity. They are convincing. Is that not exactly what live music is?
It is said that great things come in small packages. So does TNT and the equally comparable Niva Chow. Commanding you give your attention with her undeniably sharp vocal and looking likely to face up and scream at you if you do not provide to her as she performs. Is Chow likely to go further and slap you across the face swiftly with her tambourine? Who can tell?
To the right of Chow as you look at the stage, is the formidable and slightly giddy Rob Higgins. Bearded, this Bassist is also well known as the band boss. He is the male vocal of the outfit. He may look a little hot, sweaty and tired. Well, that would be because he is. He is on the road driving long distances all day and sleeping in cheap hotels, or a minivan after each performance! Can he bring it despite this?
What a fucking stupid question.
This band is Rob Higgins. The sweat he produces during his live show should be collected and force fed intravenously to lesser musically inclined individuals to aid their performances. Higgins sweats 100% rock jizz right down, one would imagine to his socks, which most likely reek of seedy nightclub!
If that is not enough for you then the right side of your brain has possibly failed and you may require an instant lobotomy.
Dearly Beloved it would seem, have taken music back to its roots, using real musicians, real passion and real live performances and lots of weed, in the past few days.
by Karen G 22/5/2012
http://www.dearlybelovedmusic.com
TOUR
5/23 Lethbridge, AB – The Rhythm House
5/24 Regina, SK – The Exchange
5/25 Brandon, MB – North Hill Inn
5/30 Ottawa, ON – Zaphod’s
Born a little green, with quite an expansive blue period, Rocky Shades, formerly known as Mr Barclay, Wrathchild (UK) frontman, Blues Brothers performer and now at the helm of Wildside Riot, is back, glimmering in a full spectrum of color after the recent confirmation of his love for Swarovski crystal.
An essential part of the 80`s UK hair metal/glam/cock rock scene, Shades was born to be on stage and since a less glam stint as part of a “very lucrative, Blues Brothers tribute, that toured the world between 2006 and 2011 as a necessity, in a real world to work and support a real family” Shades has returned to real rock and is now back where he started, once again fronting a rock/glam/sleaze band.
Shades wrote the “intro blurb” on the new Wildside Riot record and is firmly back in the place of his birth right. Not with the band that Shades himself would describe as “the most dangerous band on the planet,” so called because of the use of huge outdoor pyro inside small hot sweaty rock venues, his former band Wrathchild, but at the helm with Wildside Riot, flanked by somewhat younger musicians in the form of Joss Riot and Gaz Wilde. Still performing old Wrathchild favorites like Trash Queen, Wildside Riot are also bringing fresh new material with a slightly older, fist pumping, foot stomping, glam edge. Still topless, but now letting off less dangerous pyro, Shades is still capable of commanding his crowd at live shows and making them respond exactly how he wants them to. True showmanship.
Shades very nearly gave up the glam to be the voice of Discharge. His saving grace? Spitting! “I couldn’t tolerate the punk fans bad gobbing habit.” He admits. Instead he chose to bleach and backcomb his hair and plaster on the war paint. Result? Well, women all over the UK loved it and it must be right for Shades. He came back and in the words of Britney…”Oops, he did it again”
Choosing a black and yellow colored theme for the new record, could perhaps cause a little confusion with 80’s Christian band Stryper….. or giant killer bees, but Shades wanted “a fresh coat of paint, something a little different to represent the new band,” so the wait begins to assess amounts of confusion among addled aging rockers, or forthcoming lawsuits by followers of a higher force.
He has already encountered more than his fair share of Lawyers for one lifetime, but so far Shades has managed to avoid “The hate possies; Angry Dads and Boyfriends.” But it would be nice to see a book from this self-described “godfather of glam,” so Mum may dissipate in the future. Shades, for now though is staying Mum about days gone by, but you must admit, it would be an extremely interesting read.
It is quite obvious to rock fans everywhere that a man who blows a hole in his arse with his own pyro and melts the leather pants he is wearings into his skin, for sure will have so much more to tell.
In this life there are, after all No Second Takes!
By Karen G 11/05/2012 9:10:01 PM
When Headbangerwoman spoke with King Belvedere frontman/singer Jeff McKenney and his rhythm keeping band mate Johnny Sexx; drummer, tea drinker and whipped cream connoisseur, it was obvious from the word go that what ensued would be less than boring.
To start with, it is a rarity in this the business of music, that the topics of our conversation are able to poke fun at themselves and each other when necessary and see it for what it is; a show, a performance. Nothing more nothing less. Conversation with McKenney and Sexx was good, plentiful and varied. However, it was cut short by McKinney’s need to visit the local Pubbery in order that he could ingest cold pre-piss colored liquids and stimulate his bowel with beef jerky!
Sexx confirmed that he was staying home to consume tea! How very rock n roll.
Having previously played shows with the likes of LA Guns, Bang Tango and Faster Pussycat, it is hardly a surprise that King Belvedere have a definite 80’s cock rock sound. With a first record that had an edgier, more punk feel, the sound has since been honed and tweaked, by the second release; My Kinda Rock and Roll, it had become a perfect mix of sleaze, punk and raw rock. If the noise is not convincing, then you only need to take a look at them. They certainly look the part. Class 101 in hair teasing and sock shoving has been taken….it was passed with flying colors.
That however, does not make them sound or look out dated. Not in the least. They look fresh and they have the most certain ability to dampen panties with the best of them.
Proven to be attention grabbing and well worth at least 40 minutes of any ones ear time, an affiliation with John Guarnieri, President of Fallen Blue, a charity organization for first responders, was formed after Guarnieri contacted Shockwave Magazine for contact details for the band. McKenney tells “after liking what he saw and heard, John quite urgently wanted to get in touch with us.” Were his panties damp? That information remains unspoken. Guarnieri became the Manager for King Belvedere shortly after contact between the two parties in early 2012.
Known for playing shows for charitable organisations, Livestrong to name just one, both Sexx and McKenney admit to “becoming emotional when they are asked to do charity work.” Sexx puts it like this; “there are literally thousands of other bands out there and people ask us. It is certainly humbling.” McKenney added. “It is fun to be able to give back.” He is well qualified to discuss charity on the highest level. He shared “I will always be a big supporter of the Red Cross. They were there for me after a house fire destroyed everything I owned. It was a very bad time and it definitely makes you re-evaluate what is important. Giving back is the least I can do.”
According to McKenney, his vocal career started when he would lip sync as a child with a tennis racket in front of a mirror in his bedroom. Not using a hairbrush obviously gave him an edge. If Sexx was doing similar to improve his percussive skills, one can only imagine the mess in the family kitchen after he finished beating every pot and pan available!
However, from these meagre beginnings comes progression. A press release that King Belvedere signed to Jam.Sync.Music was released on May 10th 2012.It is almost a given that meet and greet will continue be a huge part of what the band were, are and will become. Sexx will insist upon it. A big believer in keeping it real and involving the people that are essentially paying you to do what you do. Of course Sexx was bred into musicianship (Mom and Dad both musicians) and is a big music fan himself, so he just gets it.
We can expect to see a lot more of these self-confessed “Big clowns on a stage”. A third record is soon to be released following My Kinda Rock and Roll and will be, according to McKenney “full of melodies that make it work.”
Let’s just hope that Elvis is rocking n rolling in his hotel room in the sky!
Bring it boys….
By Karen G 11/05/2012 11:41:59 AM
Headbangerwoman was lucky enough to recently attend a Godsmack show at Pearl Theater, in the Palms resort Las Vegas, USA.
Entry to the venue was smooth, merchandise purchase was easy and the drink line up was short. Suspicion at this point is on the increase.
The venue staff were friendly, seats were good, comfy, roomy, clean and there was even a drink holder in the right place!
Godsmack were late. No guest/support band on the roster and the singer was not in the mood for discussion on his arrival due to an “over indulgence of Tequila” pre-show.
Musically the band was tighter than a nuns rectum and the show was good. All the right songs were played and even after Tequila ingestion, Sully Erna; singer and his band never dropped a note.
The piece de resistance however came as Erna mounted a second drum kit for the drum solo, which obviously became a duel and beat it like it owed him money. Pure class. No fancy gimmicks, just pure percussive talent. It was a raw performance and Erna was and ripping it up.
Fantastic musicianship ensued at the hands of Shannon Larkin; drums and Erna, who was originally behind a kit before Godsmack made it big.
A good night out was had by all in a class resort and a beautiful part of the world. Entertaining and worth $60 of anyones hard earned cash, even if there was a pregnant pause.
Godsmack will headline the Rockstar Energy Drink Uproar Festival in 2012.
Get a ticket!
By Karen G May 8th 2012
On a scale of One to Rock Star, music fans would probably award Ian Astbury, singer of The Cult, The Doors and again since 2006, The Cult, at least an 8.5.
Astbury would probably disagree. An unassuming, gently spoken and seemingly very spiritual soul, he would be content with listeners for his current Choice Of Weapon, his voice, fronting The Cult once again for this new release, due on May 22nd 2012.
The Cult have held onto audio that is reminiscent of sounds gone by and it would be hard not to with such a strong vocal presence. But Choice Of Weapon is current and new and there is an additional, spiritual and sometimes frighteningly dark edge.
“Buddhism would suggest no separation and no duality.” Astbury advised when questioned about a crossover, a not too noticeable Doors influence on the songs Pale Horse and This Night In The City Forever.
“Being that intimate with Ray (Manzarek) and Robbie (Kreiger), in that environment for such a long time, I am sure was influential. I did 150 shows with those guys, we played LA Woman (by The Doors) in its entirety for many shows. It is probably engrained in my DNA. Ray and Robbie created a ritual space. If you know anything about Shamanism you will know that they use drums to create an environment where you fall out of cognition into a more essential place.”
As the Doors influence is not glaringly obvious to an ear that is not attentive, it is apparent if close attention is paid, would this perhaps suggest a spiritual connect to Jim Morrisson?
“There is probably not a spiritual connection on a personal level. Morrisson was an intuitive individual. Ray, Robbie and John (Densmore) created a ritual space. They were defining the moment. It was a defined and refined space. In our culture if the power goes out in the City, people lose their shit. Everything requires constant definition in Western society. Ritual space is not an everyday occurrence. There was a specific intention to the space, they pushed Morrisson into that place. At one point I was like, WOW, I’m feeling what was going through him (Morrisson). Like a lightning rod, it was very powerful.”
Something else that is not glaringly obvious until you play the record a few times is the fact that it is seamless. It starts and it ends and then comes the need, perhaps even urgency, to re-listen. It could be likened to a state of hypnosis. “Then we have done our job.” Astbury confirms on the groups latest body of work.
Along with the spiritual feel there is a definite air of darkness and death on Choice Of Weapon. It has to be questioned, was Astbury perhaps dealing with his own mortality or confronting a fear of death going into writing for this record?
“I was going through a very challenging period. I was confronting my Dark Knight of the Soul. I did feel out of sync with my environment and the times I was living in. I felt a disconnect. After visits to Nepal and India where they have very full spiritual lives and give little thought to material possessions, then back to living in New York City where there is a rampant materialism, I developed a desire to better understand the cycle of life and soul. During that time I was also going through a very difficult relationship break-up and then a very, very, close, dear friend took his own life. Death is the great mystery. But here I am! There is now an awareness that I have, guided by Buddhism. I do not label myself, as Buddhist or as anything else. There are so many schools and degrees. It is all philosophy. I look to Buddhism for text and teachers for wisdom, along with some Western influence in the form of Paganism and several indigenous teachings.”
The indigenous referral has been around since the first Cult record, Dreamtime in 1984. Does this mean that Astbury is aware of a personal spirit guide? “It is possible.” There is not an instant denial about this. “I have felt a hand, a presence of energy that has guided me. There is an intuition out of a cognitive place. Rationalization perhaps nullifies it. If I do have access then I perhaps choose not to discuss it.” Of course there is a little way to go to a full admission also!
It is obvious that Astburys spiritual leanings are totally essential to the voice that he has developed over the last three decades, both as a very successful singer and as a spokesman in life. In this progression and accompanying that vocal development much sadness, loss, and happiness have occurred. Continuing with the progression of life and learning, Astbury, along the path of life became and remains a very proud father and he airs a particularly protective voice when he speaks of any children, not just his own. Life>;;;;Death is the song for the younger generation finding a path for their own life and the older generation realizing what has gone before and the things that can no longer be changed. Eerily accurate as a reminder of what was and what could be. Lyrically spine chilling if correctly absorbed. This song alone stands as a reminder of how The Cult became popular and why they remain influential and of the moment.
Where then can Astbury next expect to lend his Choice Of Weapon, either silently in the wings or vocally on the main stage? The track Ghost on the Slash release of April 2010, which also featured former Guns N Roses guitarist Izzy Stradlin, was a commercial success with the obvious vocal presence of Astbury in the vocal lead and although best known as the voice of The Cult, it would be a certain shame for this poignant voice to not have input on an artistic level in additional outlets. Astbury answers with a revelation when this is suggested. “I would love to do Opera, although it is an extremely disciplined genre. I did a little previously but it is a definite lifestyle change. Perhaps a little too much discipline required. I previously did some recording with Trent Reznor (Oscar winner and Nine Inch Nails frontman) but that has not seen the light of day. I think I would like to be part of a collaboration, I like working as part of a team. Film would definitely be something I am interested in though more in a Directional or Production capacity. Not for recognition, but because it is something I enjoy doing. As for singing, I admire Lady Gaga as an artist. She is an incredible talent. Pink also. I would work with either!”
Supporters of Astbury should then be on the look-out for this spiritual and philosophical man to just pop up anywhere and perhaps everywhere. A talent in more than one field and a man whose current Choice Of Weapon, his voice, should be listened to very closely and considered in a Cult like seriousness.
The Cult, Choice Of Weapon is scheduled for release on May 22nd 2012
The Cult will make an appearance on Jimmy Kimmel live May 18th 2012
The Cult segment on That Metal Show airs May 12th 2012
by Karen G May 8th 2012
Once upon a time, close to a northern gas station in Carlisle, Cumbria, England, there were four twenty something blokes about to put fuel in their van. They had almost completed the long journey from Aberdeen in Scotland after playing a show and were tired and needed to pee. As they hit a set of red lights the van chugged, spluttered and cut out. No petrol, no power. Three blokes jumped out, pulling an already broken and bungeed door away from the van in totality and started to push the vehicle, door in hand. As the lights turned to green and the van fired up on fumes and set off, three blokes and a door hit the deck. Recovering themselves as best they could, they stumbled toward the gas outlet, a touch winded, hair tousled, make-up intact, skinny jeans a little dusty and a door, although even worse for wear, re-attachable with a good few kicks and more bungees to hold it in place. There was a minor back injury resulting from this particular attempt at machismo, but fortunately this story is nowhere close to… The End, more a case of…. To be continued.
Meet Falling Red, upstanding rock band, falling over!
Since 2006, Falling Red, have in one form or another, been standing tall on the UK rock scene and have toured the arse out of the UK and parts of Europe. Singer/guitarist Rozey and Shane Kirk formed the band and initially used a different name, which is long forgotten. But after a serious meeting and some big decisions being made, Falling Red was born. A few line-up changes in and Falling Red has the current roster of Rozey; lead vocal/lead guitar, Dave Sanders; drums, Jade Starr; guitar and Dann Marx; bass. This is the result of founding member Kirk and band mate Matty Penn retiring late in 2011, to concentrate on personal projects. “We really couldn’t believe they were leaving, we were at a total loss when they told us, to be honest.” Drummer, Sanders pulls no punches about the situation. “We had a really great year, things were on the up, they were starting to happen and we are just left with me and Rozey. We put an ad in the newspaper and from all the way across the other side of the country in Newcastle, we got a reply. These two guys came over to Carlisle and we jammed. As luck would have it they fit musically right away and I think you will agree from the new pictures that the look is right too.”
The new line-up will be touring the UK extensively in 2012 and while they will still be supporting the Hasta La Victoria Siempre EP (Rocksector Records, UK) released in April 2011, they have written and already begun to incorporate new material into live sets. A second full length CD to follow on from debut album Shake The Faith (2010) is possible in 2013. “There are new, different elements to the current new songs, but we are still Falling Red.” Sanders is totally full of enthusiasm about everything to do with the band.
In order to incorporate the new line-up into live shows, a few low key gigs were played in January. Results are in and are good. The band is all fired up for more live shows in the coming months.
2011 saw less road time for this Sleaze, Punk n Roll outfit, but Sanders explained the reasoning for this when he spoke with Headabangerwoman recently. “Because we worked our arses off on the road in previous years, we were able to choose better gigs with bigger headliners. Hard Rock Hell saw us play with the likes of Michael Monroe and Black Stone Cherry. We have done two tours with Vains of Jenna (alas no more) and we opened for Sebastian Bach (Ex-Skid Row vocal), but it meant less time on the road. During 2009/10 we probably did 150 plus shows a year. We missed the being on the road in 2011 and this year we hope to get out there a bit more.”
Falling Red were scheduled to play with headliners, Bullets and Octane in 2012, but that concert series was cancelled. Sanders fills in the gaps about the cancellation. “Our Manager and publicist, Raz White (Raz White Entertainment) made certain we lost nothing from the cancellations and due to his perseverance and business savvy, Falling Red will now be headlining shows on that tour. People in the business were impressed by our performance at Hard Rock Hell and other shows last year. On the back of that we have also just played second stage at Hammerfest with Anthrax and Skindred. Bullets and Octane will play later in the year!”
North America has not yet seen Falling Red live, but the band are not going to jump the gun. “We may do a mini tour in Florida and there about later in 2012, just to test the water. We have contacts in the area. Also Raz is in contact with Stevie Rachelle (Tuff) out in the US, so we may look into a visit out there in the near future.”
Self-described as a Sleaze, Punk n Roll band, Sanders explained the evolution of dress and attitude on the live circuit. “We were playing with other bands and they all looked the same. It started out with a little bit of eyeliner, then the skinny jeans were in stores again, and the hair just happened. We wanted a ‘dangerous’ look. We did this way before Black Veiled Brides. Of course some bands still sport the 80’s look, but it wasn’t for us and this just kind of evolved. We do get some strange looks from bystanders when we emerge from the van after a night on the road having not washed and we have panda eyes and lipstick on. But that’s what we do and you better get used to it!”
Message received, loud and clear. Falling Red is here and they look and sound dangerous. Just who’s lipstick is it, remains a mystery!
http://www.facebook.com/fallingred
by Karen G aka Headbangerwoman 10 April 201220:41:45
These LA boys are already showing they have what it takes to compete with the heavy weights.
Having supported Judas Priest, who Singer Jay Buchanan describes as “Good, kind people” and Queensryche in the UK recently, they return to the land of the Metal Head, hoping to receive another warm welcome, (the Brits were gracious enough to accept the band on previous visits) when they support Black Stone Cherry early in 2012.
But, before they return to the UK and after a very short visit to Canada, Buchanan, Scott Holiday: guitar, Robin Everhart: bass/piano and drummer Michael Miley are returning to the studio. Arlan Shierbaum plays Wurlitzer and B3 on track 4 and track 10 of Pressure and Time. Their last visit was fifteen days writing and laying down tracks and six mixing. Nothing was pre written, or even discussed for the last record before they went in to the studio and that is the direction the band intends to take once again! “Maybe someday we will do it differently” Buchanan told Headbangerwoman, “but these bands that spend seven months in the studio and another three to mix, that’s just balls. When you do that the songs lose their charm and don’t forget we have to play them every night and for long periods of time. This works for us right now, so that is what we are going to continue to do. Scott and I already have lots of ideas that we are eager to share for the next record.”
Nashville will be the birthplace of the next Rival Grand Sons and if they turn out to be anything as genetically perfect as Burn Down Los Angeles and Save Me from the last litter, this band will not be far away from world domination by the end of 2012!
So, if studio time is in February does that mean a record really soon? “We would love for that to happen, but it will not be likely, you know with everything involved and we are still supporting Pressure and Time.” While we are on the subject of the CD It would be rude not to ask about vocal influence. He cd gives everything from Rod Stewart to David Coverdale, Chris Robinson to Robert Plant. “There are some influences that are not incidental, but Eric Burden, you know, from the Animals, is my biggest influence” Buchanan shares.
The totally different sounds are what keep the whole CD so interesting. No one song is the same as another. There is a little disco vibe to keep it boogy and enough rock to make you nod your head without leaving you with lasting damage. That said, most readers are beyond that already!
Along with essential screetching guitar (the ghost of Hendrix riding it’s wammy bar) It is noted that the clothing adorning these four also has earlier influences. “We didn’t ever make a conscious descision to dress in a particular way,” Buchanan defends his style choices “We buy clothes and we do get clothes given to us by designers, but you know, being on the road, by the time you are half way through a tour it’s a down to putting your hand into a case, grabbing an item of clothing and doing the sniff test. You wear whatever has the better smell!” At this point It is probably time to thank God and Anderson Cooper (two years ago it would have been Oprah) that this is a phone interview, while the band is pointed in the direction of Camden Market and Carnaby Street!
It cannot go un-noticed that the artwork on the record cover for Pressure and Time is outstanding. “YES!! It is Storm Thorgerson” enthuses Buchanan and rightly so, “who wouldn’t want to work with him. He has worked with Pink Floyd and Led Zeppelin after all. He was a little hard to track down though, but with the help of our record label Earache records, based in Nottingham, we eventually found him in South Africa and he was more than happy to work with us.” Buchanan would not share with me the story behind the design, however. “For that you will have to read the book” he suggests. OK, but only if you send Headbangerwoman a signed copy!
With the 2012 concert calendar quickly filling up, Rival Sons could soon be seen performing on a stage near you.
Incidentally, for those of you who are also gamers and want to try before you buy, license has been granted to Rock Band and Guitar Hero and for the more aggressive in our audience could soon be coming to a fighting game near you!
But be warned, this is a grown up band, best placed in front of an audience who get it musically and have left puberty behind the bike sheds, youth clubs and bus shelters.
Tags: Rival Sons, EOne Music Canada, Earache Records
by Karen G aka Headbangerwoman
10 April 2012 20:05:03
It is a bitterly cold minus forty Celsius, snowy day in Edmonton, Alberta, but Headbangerwoman is having a warm and friendly chat with Greg Bradley, Guitarist and founding member of Vancouver based rock outfit Art of Dying. Lead Vocalist Jonny Hetherington will be joining us at a later date to give me a deeper insight into the band.
Bradley is quick to point out that it is also snowing in Vancouver. Headbangerwoman is quick to bring him back to reality by suggesting it is probably plus six Celsius in Vancouver.
He concedes with a laugh…
Art of Dying formed in 2004.
Singer, Jonny Hetherington was singing on the streets of Vancouver. Bradley, taking a stroll with friends, heard Hetherington’s (louder than a regular person) voice and followed the sound. What he found was the six foot something Hetherington, singing for his supper. The two, who incidentally both hail from Alberta, Canada, have been together since that first meeting and are also partners in their own Record label Thorny Bleeder Records. Thorny Bleeder is the label that the first Art of Dying record, Art of Dying was represented by, also based in Vancouver. Brian Thompson, a very well known (and highly commended) voice in the Canadian music industry is also a partner.
The current Art of Dying line up (since 2008) consists of Jonny Hetherington: Lead Vocals and shirtless Dude, Greg Bradley: Guitar and Non-fiery Redhead, Tavis Stanley: Guitar and sleeping in, Cale Gontier: Bass and all around good looking bloke and Jeff Brown: Drums and Shotgun!
Art of Dying are very well known in North America for touring with Disturbed, and are signed to the Reprise Intoxication (Warner) recording label of Dan Donegan and David Draiman (members of the aforementioned, but currently on hiatus, loud and bloody good at what they do, band).
The band name comes from the longer statement “The Art of Dying is my life to live.”
This basically explained means that we are all dying and we should make the most of life on that journey to death.
This band is doing just that!
Currently on a break from an almost full year of touring, when asked about the transition from touring on a mobile man cave to the static living of house dwelling, Bradley described the road and home as “completely different entities altogether. The road is a bizarre reality. You sleep in a bunk every night and you are in close quarters with ten or so other guys. At home you have space, you get to sleep in your own bed and focus on totally different demands. I wouldn’t say I prefer either. I love being out on the road and playing shows, but I love coming home and spending time with my family. At home you are not playing shows. There are pros and cons to everything you do.”
The reason for the almost full year of ‘Bus life’, was the release of the CD Vices and Virtues on March 22 2011.
Previous to 2011, the band members would use and drive themselves, in an RV whenever they were on the road. While they toured with (take a deep breath for this gob full) “The Rockstar Energy Drink Uproar Festival”, a large shiny bus was provided, but Bradley seemed unsure whether they would be treated to another such vehicle once the band hit the road again in 2012. “Busses are not cheap” he quipped.
Neither is Jack Daniels, \nd the question had to be asked about a recently viewed YouTube video, where Whiskey is being poured into the hands of the singer and then massaged into his hair!
Bradley laughed, as he explained “that was Cale (he is referring to the band’s Bassist, formerly with Canadian outfit Thornley) pouring Jack Daniels into the hands of Jonny. He does it every night, it’s his pre-show ritual”
Is this was possibly a waste of good alcohol?. “That and I don’t think I could stand up smelling JD in my hair every night. It works for him though,” he states with a chuckle. Again referring to Hetherington!
After spending a large period of time in Los Angeles and Chicago writing and recording at the tail end of 2010 and beginning of 2011, the Howard Benson produced record, Vices and Virtues was finally released to the Die Hards (as the Art of Dying fans have become affectionately known) and the work to promote began.
This is the second CD for the band, but the first on the Reprise Intoxication/Warner label.
Why have the songs Completely and I Will Be There been lyrically changed for production on Vices and Virtues? Both songs were also on the self- titled record.
“Some changes, though very minor, were needed on Vices and Virtues.” Bradley explained. “We were signed on the strength of these songs, the label really liked them, but at production if we thought changes were needed, we made those changes to improve songs for the record”
Vices and Virtues definately shows a grittier, heavier Art of Dying as a result of this.
In addition to the CD release, the song Get Thru This, penned by Hetherington in the Futon store in Vancouver where he worked, the day he found out his Father was sick with Cancer, was used by the WWE and also became part of the sound track on the Movie Transformers 3, Dark of the Moon.
Bradley explained “That is really good exposure for us. Facebook is kind of crazy for that too.” Art of Dying are currently close to 50,000 followers on the social network! “Our label and publishing company have pitched several more songs from the CD and there is current discussion over that, but I am not sure yet what shows and events they will be used on.”
Perhaps a move to the US was imminent? “We have talked about it” answered Bradley, “but we are all Canadian and we love Canada. Me, Jeff and Jonny all live in Vancouver and we spend so much time in the US on tour it is nice to come home to Canada”. He didn’t rule out a property purchase “somewhere in central US” in the future, but “retaining a home in Canada too.”
Bradley is the only member of the band that doesn’t sign his actual name when Autographing for Die Hards
He explained the reason for this. “When I started doing the autograph thing it just developed. Signing just my name didn’t represent the band, I wanted something more defined. I wanted to tie my name in with the band.”
To top his unique autographing style, he is the only red-haired member on the band. You have to wonder, does this make him more temperamental and fiery? “It’s the old cliche, ‘fiery redhead’, no, not really”, is the answer. “I’m actually the mellow one, the others are out of control.” he replied, with a hearty laugh, “I try to stay in control… I do have my moments!”
Bradley ewplained why the song Vices and Virtues didn’t make the cut onto the CD of the same name…
“Songs are being wood shedded for the next record, but it is unlikely that we will even start work on that before the end of this year. Vices and Virtues may or may not make it on to the next record, depending on the repertoire of material we have ready at that time. Most of 2012 will be spent supporting Vices and Virtues.”
Bradley also explained that discussions were not even happening at this point, when asked about further collaboration ideas for the next record. Adam Gontier, singer for Three Days Grace and incidental Cousin of Bass player Cale, was featured as a guest singer on the song Raining from the CD Vices and Virtues.
It is time for Headbangerwomans chitter chatter with Bradley to end, but before he goes off to pack his case for his next bus adventure with nine other fellas, we need to know what his Vices were. He laughed as he said “I’ve been trying to cut down my Vices all my life. Let’s just say my vices start with the bottle, I go too far in the moment and usually end up paying for it!”
Greg Bradley was courteous, friendly and well mannered during this interview, he didn’t go too far, no booze was harmed in the making of this article, but we still won’t be buying him a beer, just a precaution!
Die Trying was voted Tunelab Single of the year 2011
Die Trying was voted #16 for 2011 by Nikki Sixx (Motley Crue/ Sixx AM) on Sixx Sense
Art of Dying are currently on tour in the USA (April 10 2012)
New music by Art of Dying is coming in 2014
by Karen G aka Headbangerwoman 17th Jan 2012
When the question is; Who is Superman? The answer is obviously Clark Kent.
So, when the question is; Who is Superwoman? The answer must be Lorraine Lewis.
OK, so our Femme Fatale front woman cannot fly, but she looks good in underwear, beneath or over her clothes and her hair is a lot nicer than Kent’s! So what if her ability to fly failed. Lewis more than makes up for her lack of flight with her endless passion and enthusiasm. It is obvious that when this stuff was being added to DNA at conception, Lewis managed to get at least four times more than a regular Joe Blow. This gal could sell a totally mouldy loaf of bread to someone for $25 and still get a tip. She just oozes self-confidence and optimism. If you get close enough you can smell it. Of course Lewis also bagged a horny, sexy voice, a fabulous figure and great personality. Some people have all the luck, but some people also work their asses off to achieve and Lewis, however fortunate, is no shirker.
Fronting Femme Fatale, an otherwise all male band, with Rick Rael (Lewis’s brother) on bass, Bobby Murray; drums, Mazzi Rawd; guitar and Bill D’Angelo (deceased), took balls bigger than most of our readers will ever dream of having. Signed by MCA in 1987, the band had only one full CD release, aptly named Femme Fatale, from which came the singles, Waiting For The Big One and Falling In And Out Of Love. MTV loved the raunchy front woman and her hair band and Lewis was aired on full video rotation…. often! Frequently compared back in the day to the Vixen ladies, Lita Ford and Doro Pesch, Lewis could not only belt out a kick ass rock song, but she and her female peers were up against the best of the cock rockers and she could hold her own as one of the best in the business. Alas, the reign of Queen Lorraine was short lived at the helm of Femme Fatale, but Lewis was and still is a class act and for that very reason, she is still high on the list of people to contact when a female voice is needed for a singing project.
LA Guns have recently been in the studio and called Lewis to record with them on a song poised for a new release. When asked, Phil or Tracii? Lewis was quick and concise in her answer, “Team Phil (Lewis, no relation), every time. He is the voice of LA Guns, undeniably. Tracii (Guns) is great, but it is all about the voice in this game and you cannot deny that Phil just has it vocally. He was, is and always will be the voice of LA Guns.” Is it his quintessential Englishness perhaps? She went on to say, “music from that era, the mid to late 80’s is timeless, just like the look, the sound. Stacey (Blades) arrived at the studio in his big pink car one day, with a scarf around his head and one hanging from his waist. It definitely is in the genes, it never goes away. You gotta love it! ”
Blanca White also recently commissioned and utilized, among others such as Paul Shortino (Quiet Riot) and Jeff Paris (Cinderella) the unmistakable voice of Lewis on two songs for Resurgence Of Rock.
A projectspear headedand fundedby international lawyer Ken Savage and brothers Austin and Rick Schell. Music fans that had a determination to hear original old school rock and roll and who saw this two year project through to a sweet result. It would seem that Ms. Lewis’s voice is also standing the test of time, it is easily recognizable and it still able to make hot blooded men…. and women everywhere, stand to attention!
Lewis has of course has had her own music projects through the years and one of those, LA Nookie has featured such talent as Alex Kane (Marky Ramone) Lisa Leveridge (Courtney Love) Share Ross (Vixen) and there are possible plans for more from the outfit, with a possible appearance on drums from Roxy Pettrucci (Vixen). “What I would really like to see is for Roxy and the rest of Vixen to play together again, but it won’t happen. Jan Kuehnemund just won’t hear of it. I guess she is happy with doing her thing, but it’s a real Fucking tragedy.” The passion and love for her peers is just about brimming over when she talks about this. “I say what I think, always have. What is past is done, get over it. You know, people want to see these bands and you won’t get over shit that happened years and years ago, it’s so f*!king crazy!” Music really is the first love of her life and Lewis becomes animated and a touch crazy sounding when she talks about it, whether it is her project or another close to her heart, her allegiance lies deep.
But music is not all that superwoman is passionate about and Lewis wants to share the newest of her passions with anyone who will listen. “Two and a half years in planning, development and sales.” Lewis exhales. “I can finally announce the arrival of Ex-Wives Rock,which is a working title only at present, co-produced by myself and my best friend Lisa Brucker, with Tricon Films and Television, for the Slice Network in Canada. This is a reality show, starring Bobbie Brown (Jani Lane, deceased, former singer with Warrant ), Sharise Neil (Vince Neil, Motley Crue), Athena Lee (sister of Tommy Lee and ex-wife of The Scorpions, James Kottak) and Susan Blue Dixon (Jerry Dixon, Warrant).
Lewis revealed that “It was a big adjustment, being behind the camera. I love having my picture taken, I love being out there in front of people, in front of the camera, but as soon as I realised that I could show up to work in my Vans (tennis shoes) with my hair up in a pony-tail, that I was given a certain freedom and it was the cast that were in hair and make-up for hours. I liked that, it was a refreshing change. (She laughs out loud) The freedom didn’t stop anyone knowing who was in charge though.” In front of, or behind the camera, Lewis remains at the helm, always the star!
When you take a look at the previously mentioned cast, you will realise they, like Lewis, are really not in need of too much hair and make-up attention and Lewis’s maternal instinct, total adoration and enthusiasm for her girls animates her, when she explains her choice of ex-wives. “These girls owned the strip (Sunset Boulevard in Hollywood, LA) back in the day. They had the look, the guys, oh, they just had it. So, having known each other for years and with each one having been married to and divorced from prominent rockers of the day, it was just a natural group to get together. You know, separately they are all mostly cool and collected, but throw these four girls together and things just get out of hand. It is pretty crazy.” When Lewis shared this with Headbangerwoman, she was waiting for a couple of shows to be released from post production. She had not seen anything totally finished, but the anticipation in her was un-believably evident. “This show is just going to make such great viewing. It has taken so much time and work, from everyone involved. I really was not aware of just how much time it would take, I was not really ready for it. I had actually got another project in the pipeline, then this project took over. It was so worth it.”
Sadly, Jani Lane, ex-husband of Bobbie Brown passed away while filming of Ex-Wives Rock was taking place. Lewis was unable to discuss this with Headbangerwoman. But it is possible that the show may have its very own Sex, Drugs and Rock n Roll, who dunnit, play out in front of millions of viewers? You will have to wait and watch to find out!
RIP Jani Lane(February 1, 1964 – August 11, 2011)
Not able to leave the music behind in totality while becoming involved in TV, Lewis, along with Lee and her son Miles Kottak, himself a drummer with LA outfit, Bad Suns, also put together a possible theme song for the show.
Ready for release in Canada in May 2012, viewers can expect to see a plethora of meltdowns, mystique and mayhem with added bitching, bums, boobs and Botox. But with a further three projects in the offing we can expect to see more Lewis produced TV in the not so distant future, so what about a visit from Femme Fatale? Is there time? “I just got my contract back from MCA (heartily laughing) my writing has not got much better and I am working on getting the masters from our recordings too. You know, we made a second record that was never released, so it would be great to release that. I would really like to update the sound to make it relevant to now, on the first record too. I don’t mean completely change the sound, but just use some of the technology we have available now to bring it into the present. Of course, 2013 sees the 25th anniversary of Femme, so we are already talking shows and line ups in anticipation of some live dates. It may happen sooner, but with my already crazy, busy schedule, it may have to wait just that little while longer and a 25th Anniversary would be a great time for things to happen with Femme.”
Maybe not so Superwoman, but she is still THE Femme Fatale!
Ex-Wives of Rock has just been granted a Season 3!!
https://twitter.com/#!/lcafemsn1
By Karen G 10 April 2012 6:37:43 PM
If you believe in the luck of the Irish, then you will almost certainly agree that Adam Haggarty, singer, guitarist and primary writer with Peterborough, Ontario band, Before The Curtain, has probably got a gaggle of Leprechauns hidden in his pants and his GPS has given him the location for the pot of gold at the bottom of the rainbow!
Haggarty has made a pretty unrealistic leap from obscurity, working in a recording studio for other people to make an extra buck, to crooning and shaking it for the masses, as the front man in Sludge Factory Recordsinaugural band!
Along with his brother Brett; drums, Tom Gardner; bass and backing vocals, Alan Riches; guitar and Jeffrey Danger; keys, synth, guitar and backing vocals, he is pre-loaded into the slingshot that is a CD release just waiting for Adam Gontier (Three Days Grace and Sludge Factory)Records) to let go, careening him and his band mates into the unsuspecting public of Ontario and beyond!
Before The Curtains first single I want it all, already available on iTunes, is dark, hard and gritty. “It really is the explanation behind the band, we want to do it all before the end, the final curtain.” Haggarty told listeners on a local Peterborough radio station The Wolf, recently.
Don’t expect too much more of the same sound on the full cd.
“A lot of the songs on the cd have baritone guitars, tuned down low. I love the big guitar sound, but I also love pop melody, I’m influenced by The Beatles, Def Leppard and a lot of 80’s music,” explains Haggarty when asked. “So much so, that while we were doing the tracking for the record I had pictures of John (Lennon) and Paul (McCartney), Lou Gramm, Brad Delp, Joe Elliott and even Jon Bon Jovi on the walls. We still have heavy, edgy music with a melody, but we want to give a positive message to listeners, so we tried not to make our songs too dark.” The main body of the CD will appeal to the masses on a greater level because of the positivity and pop melody inclusion and Haggarty expressed slight reservations on the choice of the first single because of this. “Sometimes I will hear a single and when I listen to the rest of the cd, it’s like WOW, there is some great stuff on here, and I can’t believe they released that one first.” True, these things factor into whether a listener will purchase, or not, but…. It is a pretty safe bet is it not, to assume that Gontier, a seasoned performer and a wealth of knowledge in the music business, both in Canada and further afield knows his rock n roll shit and would be unlikely to fluff it as far as a first release is concerned. Yes, is the answer? Gontier flew Haggarty out to Minnesota while Three Days Grace was on tour with Nickleback.To do that on the strength of a gut feeling, after hearing a demo that Haggarty had shared with bassist Gardner, a long- time friend and bassist in the first band of Gontier, must speak for itself.
Haggarty had already written many more songs in his free time while he was working in the studio in Kelowna, BC and before long a band was formed and a record was emerging. Gontier co-produced the record with Darren Grahn (who also mixed a couple of songs) and has had a hand in co-writing some of the material, but for the most part it is all Haggarty. Along with a friend, he had also recorded the music on the demo. The rest of the band just had to learn it! With only the artwork to complete, a full record, as yet un-named, should be on its way to your local music outlet (and iTunes) in late spring or early summer 2012.
When asked about the influence of Gontier on the band Haggarty was extremely generous. “I was honoured, scared and shocked when Tommy (Gardner) first texted me to tell me the Adam (Gontier) really liked my demo. I have a lot of respect for him; he is a huge name in rock and a great mentor to have. When I was in the studio with him, he knew exactly what buttons to push and when, to get the best from me vocally. I have already learned a lot from him and there is a lot more to learn.”
Haggerty shares that; “through these lessons learned comes the reinforcement that if you have a dream and you want it, go and do it, be positive and listen to the message of hope through the music!”
Alternatively take a lesson or two from the residents of The Emerald Isle. Drink green beer, celebrate St Patrick’s Day and grab yourself a four leafed clover or three.…
It would seem that Haggarty already has the upper hand; the conclusion of this article has proven that in his possession he has at least five Leprechauns and two boxes of Lucky Charms!
http://www.beforethecurtain.com/
http://www.facebook.com/BeforeTheCurtain
http://itunes.apple.com/ca/album/i-want-it-all-single/id487519693
9 April 2012 4:26:56 PM
By Karen G aka Headbangerwoman
Hiatus is a dirty word and in the case of our local boys, Greater Than Giants, it almost translated to done and dusted. Fortunately for those of you with a Punk Pop craving and a need for an edgy, yet melodic drum sound, Greater Than Giants survived a hiatus and came back larger than life!
Drummer, Tim Wilson explained recently, “We had been jamming together since 2008 and then our guitarist quit for medical school. We would find a replacement who was great as a person, but did not fit musically, then we would find a great musical dude who was not so great as a person. We even found a few who were just not great in either capacity!” He laughs, but it is half hearted. “It just was not working out. It was great that Matt (Baron, the original guitarist) was going to school, but it was a difficult time for us. We had independently released a record While We’re Young in 2010 and it was starting to take us places, it seemed like it could be the end. We decide to take a break.”
In January 2011, five months into the hiatus Tim found his inner gung ho and gathered the remaining band members back together. They all agreed that this was still worth a serious shot and that none of them really wanted to spend the rest of their lives doing “serious jobs,” so they tirelessly auditioned for a guitarist and in March 2011, found perfect fit dude in Wayne McClellan.
Currently Greater Than Giants is Tim Wilson; drums, Wayne McClellan; guitar, Tyler Cerda; vocals and Ryan Brodziak; bass and TJ Day; guitar.
Listing New Found Glory, The Fullblast, Starting Line, Bouncing Souls, Strike Anywhere and Deaner as influences and ripping out a sound similar to early Blink 182 and Busted, these up and coming punksters are worth $10 of any ones hard earned dollars in cover and an hour of your time on any given evening.
March 14th 2012 will see these boys play Pawnshop on Whyte Avenue, in their home town of Edmonton, before setting off on the road once again in a lovingly used (full of crap) 15 seat mini-van, to do a mini tour with Acres Of Lions, whilst eating more value meals, chuggging 40’s and peeing into bottles, on their way to the Canadian Music Festival in Toronto, Ontario (March 17-25).
On return to Edmonton life continues at break neck speed and the band will put the finishing touches to an EP, aptly named Never Growing Up, for release (tentative) by the end of April. A second EP, as yet un-named, is scheduled for release in Fall 2012. “We are kind of following the minimalist mode of marketing and promotions, in that we never release a full record, only singles. We want to give our followers a little more but not too much, so that they are left wanting a little more. It seems to work for others” shared Wilson, hopeful that advice offered by someone with a little more business experience, will work for his project too.
What also seems to work to the advantage of others is social media. A forum to which this talented group of musicians are no strangers. With almost 2,000 followers on Facebook to date, word is getting out and hard work is paying off, but we all know it is good to share. Look up Greater Than Giants, purchase their wares and share them with your friends, neighbours and your hair stylist.
http://greaterthangiants.bandcamp.com/
http://www.facebook.com/greaterthangiants
twitter.com/gtgiants
Greater Than Giants are alas, no more. They said goodbye in early 2014!
By Karen G aka Headbangerwoman March 2012
There are places in New York City that you would not want to be. Dark alleys, small side roads and dirt tracks that all have a dodgy reputation, they are not well lit and could be home to trash bags full of, well who knows. But we reckon you would be OK hanging around this Wildstreet. They are fairly reputable, well lit and full of entertainment, if not slightly trashy in appearance.
When Headbangerwoman caught up with them, Wildstreet were literally hanging out on the streets in the back of a van, after just completing a twenty hour drive through the night and across a vast expanse of the USA to get home to New York. A mini tour; six live shows in ten days, had preceded the arduous drive and Ali Hassan; bass and Eric Jayk; lead vocal were obviously flagging. Brian Beck; drums and guitarists; Ian MacPherson and Aaron Joos were presumed sleeping at this time!
“We have been working as we travelled, in addition to playing live, writing and demo-ing, that kind of thing.” Hassan, who apparently never stops working, told Screamer. “I will be doing some more of the same as soon as I get home.” “On top of that we have more live shows already scheduled for this year, 2012.” A phased sounding Jayk added. “2012 will be our fifth Rocklahoma appearance, where in previous years, we have shared a stage with the likes of ZZ Top, Godsmack and Buckcherry and we will be playing shows in and around the mid-West and Texas close to that show. We are lending our support to A.J. Pero (Twisted Sister) at ‘Fallen Blue’, a benefit for fallen officers of the US Police Force and their families too. That is coming up in Baltimore, Maryland on May 9th 2012.”
Wildstreet describe the music they play as Universal. “We have several generations attending our shows. We make music for all ages.” Urges Jayk. With a look very similar to that of 1988 hair metal bands, some would be not altogether encouraged by that statement and Jayk is insistent that his look came a good time prior to an introduction to Hanoi Rocks frontman and solo artist Michael Monroe. “I am honoured to think that people compare me, Michael is a great artist, but my look is just a personal evolution.” Jayks demeanour is lifted mometarily from his apparent exhaustion. Wildstreet do play fist pumping, rocking tunes. They have the theatrical element and the look is interesting and eye catching. There is not so much in the way of aggression and blasphemy. Why then do they remain un-signed?
“We are waiting for the right offer from the right label. When it comes along we will consider it. Until then we remain independent.” Jayk is adamant in his stance on this.
Un-deterred by the independent status, tracks from Wildstreet II: …Faster….Louder, a follow up to The Retrospect Records EP Wildstreet, released in 2009, have received airplay on TBS, E!, MTV and a personal appearance on Late Night With Jimmy Fallon is in the bag.
There is a real possibility of a full length cd close to Fall 2012 and more live shows to be announced for the year very soon. This, providing Hassan does not take a third job selling hot dogs on the street corners of NYC.
Drummer Brian Beck parted company, on good terms with Wildstreet only a few days after this interview and while they have a temporary replacement, the band is presently auditioning for a permanent drummer. drummerwildstreetsearch@gmail.com
By Karen G aka Headbangerwoman 9 April 2012 16:19:29
http://www.facebook.com/pages/Wildstreet/8342603261
www.reverbnation.com/wildstreet
Accomplished musicians all and used to a life on the road, Slam Cartel is relatively new and not so widely known. Can you give a little background on how the current group was born and where you are heading?
The current Slam Cartel, Giles Van Lane: vocal, Adam Lee and Tom Hendriksen: guitar, Marc Neudeck: bass, Steve Campkin: drums and myself on guitar, was born from an idea of an ideal, we pretty much have that now. We get on with each other and what we do, the band line up has taken a few tweaks to get where we are, but it seems we have found the right chemistry to produce the show we enjoy to play. We are all different people that like different things, playing live is our common ground, it works!
You surely have great memories from past lives as musicians?
We have all been in other bands before Slam Cartel and all have stories to tell, but great memories of this band are being made now. Great memories include releasing our first single Wishing Eye and getting it played on radio, then the release of our album Handful of Dreams, which was critically acclaimed. It’s amazing that we are being picked up on peoples radar, there’s the Sonisphere shows, the second single, so many things are creating memories at the moment it’s incredible.
Do you find that London, in fact the UK as a whole restricts you as a national/international group? History and experience dictates that a US band will play the UK, but not so much in the reverse!
Yes, yes and yes!! It is, for some reason hard to break as a rock band in the UK, there doesn’t seem to be the support from record companies despite there being an absolutely huge rock following here. It seems that there is no risk factor if they put their money on some fabricated shit, anyway, despite this we like what we do and carry on.
Twitter was the medium where Headbangerwoman discovered Slam Cartel . Where else can we find the band?
www.slamcartel.com, facebook, myspace… it’s easier to put us in a search engine and see where we can be found. There’s plenty on the web…
Your music is edgy and hard, but not too fast. Metallica broke through into the mainstream with the Black album, which had a similar feel. Do you feel that you have a select fan base, or that you are suitable listening for the masses?
Well we look at the demographic of our fan base and they seem to cross the board from 6yrs old to 72yrs old. People like to pigeon hole bands, but we seem to be liked by a vast amount of people with differences of music taste and opinion. We are not trying to copy or sway to please, we do what we do and just hope someone out there enjoys it. We don’t try and be the crowd we are playing to.
The Album is available on many digital platforms and the hard copy can be purchased at Amazon.com
Did you ever consider gimmicks eg; Alice Cooper, Black Veil Brides, WASP ??
Nah! We have Bobb the pineapple that travels with us and gets photographed everywhere we go. It is a real pineapple…don’t ask!
It was necessary to Email Terry at this point and question his sanity. It is presumed that he is being taken good care of right now, as no reply has been received!
Do you feel that as older musicians you have a clearer idea on marketing, brand and world domination?
Not sure if we have a better idea but we like what we are doing at the moment, it’s what we do. As for age? It’s what we are, that, we have no choice over, nor do we or care about it.
BONUS Q’s….
How many days a week do you go to the local greasy spoon? Bacon or Sausage? Tea or Coffee?
Tea in a cup with a saucer and bacon sandwiches with HP brown sauce!! Very English I know!
by Karen G 9th April 2012
If the most rebellious thing that Winchester Rebels lead vocalist does in his down time is MotoX, that’s OK. His more rebellious side definitely comes across in the Santa Barbara, CA based band’s music.
When Headbangerwoman spoke with Nick Hunt (vocals), Barry Carter (Drums) and their Manager Rand, everyone was doing their best to hide their inner rebel.
It soon became clear that Carter’s inner rebel wanted out!
From the offset, the self-confessed “short attention span, John Bonham crazed,” drummer was giving the low down on life at 100 miles an hour.
Is he also so quick to divert his attentions in his daily life. “I think it is true of most musicians” he admitted, “We are always trying to figure out the next paradiddle.”
Carter and Hunt are the only two professionally trained members of the band. Fitz: Guitar, James: Guitar and Jesse: Bass (who replaced original Bassist John Livergood when he quit to concentrate on family responsibilities) are all self-taught.
It fails to show on their first record!
The CD Three Sheets to the Wind was released on October 13th 2011 without the help of a label. Still, it is slowly starting to get noticed by the people who are needed to pay attention!
Carter was quick to offer an explanation for the lack of a record company to this point in time. “We were slow to get ourselves out there on the Social Networking sites and we are still paying for that. It took us probably eight months (the band formed in 2009) before we seriously made a conscious effort to promote online and I had never even heard of Reverbnation until very recently, a friend of mine told me about it. I started making a site while he was still on the phone.” With just over 27,400 fans on the site, it would seem that he did the right thing.
Rand explained that they have only recently employed a booking agent and publicist and was confident that the bands popularity will increase further because of this.
“I was stoked to know we were doing this interview too” butts in Carter, who has an air of a younger Motley Crue drummer, on his show Tommy Lee goes to college! He is probably tapping on the table with a pencil or a random cucumber as we speak! “We want to be known everywhere. Well, first California you know, Ventura, LA, San Diego. Then bigger places, Santa Barbara is not a very big place.”
Again on the subject of comparison, it is suggested to Hunt that he has similarities in his singing style to Cult frontman Ian Astbury and a pretty wide range in his vocal. He accepts graciously and agrees that while he likes the band and the man Astbury, his influences are more 90’s Seattle based Pearl Jam, Alice in Chains and Soundgarden, with a dash Stone Temple Pilots. “Of course I did have professional training, before and after college.” He advises! Not only talented but educated too.
Is this starting to sound too good to be true?
I suspect you are all wondering if Hunt could be considered for the front desk, the next time Scott Wieland goes all Cheshire cat on the band!
Judging by the vocals on Down and Snake, two of the darker, raunchier songs on the record, he probably could.
On return to the record to take another listen, you may hear remnants of Philip Lewis’s ever so proper (LA Guns before they became twin bands) Ballad of Jayne, English sex lullaby voice (for those in doubt, yes such a thing does exist!) in a few more songs.
Not content with being gun slinging rebels, the entire band are putting themselves out there to try and guide our misguided and rebellious youth back to a path less slothenly. “Kids these days just sit in their little holes and stare at screens,” they explained. It is possible that many readers will acknowledge that description and possibly have one in the next room! “We are trying to change that, get them out playing basketball, football, music or whatever. When we were kids growing up we were always out on our skateboards. Now it just doesn’t happen.”
What next then for the band that wants it bad?
Are they ready for a two year trip in a filthy vomit odoured, dirt covered RV? “It can be cleaned” Carter almost shouts. You can almost imagine that he is on his way out of the room to grab a cloth and the hose.”
“Aw f!*k it,” he offers, “We’ll take it as it is.”
Presume at this point that he is packing his overnight bag!
by Karen G April 8 2012
www.reverbnation.com/winchesterrebels
Bleeker Ridge singer, Taylor Perkins once described Orillia as “Somewhere you would go and watch a movie, leave and go break things!”
In the real world of mere mortals such as you and me, the Bleeker Ridge boys would be hanging out on campus, playing the frat house, watching movies and breaking things. When of course, they weren’t working a menial 6-11 shift at the local fast food outlet.
In a world of rock stars and gorgeous birds with oversized mammarial protrudence, that is not what they have to do. They hang out in bars with topless painted ladies and play kick ass live music for the masses.
Headbangerwoman was present for a Bleeker Ridge show at the Edmonton Events Centre in 2011 and was lucky enough to meet most of the the band, Perkins was asked on a recent chat, where Dan Steinke (Guitar) was when his band mates where signing posters and meeting with fans? “’I’ll bet $100 he was out having a smoke.” Perkins wagers. Headbangerwoman has to quickly disagree with him. Pictures were available post-concert and he was definitely making himself known to the advertising ladies. “Oh my god, you are right. I’m actually always where the painted ladies are.” Bellows Steinke, with a loud, proud, masculine laugh.
One of the ladies is well known to Headbangerwoman, so we promise not to tell, but Perkins insists we take this information to print. Steinke agrees “yes, do it and tell her I said hi.” He probably figured that it can only increase and improve upon his rock star status after all.
Three of the four band members met at age thirteen. Singer Perkins was 14. That was nine years ago. That’s right; the average age of this band is 21.5! They have come a long way since then, playing local blues clubs and being driven by their parents. “They took us everywhere,” Perkins tells me.
Having already given it to Canada fast and hard and with an ever growing number of fans, they are mentally heading to the border quicker than you can say Small Town Dead (the band’s first CD with Roadrunner Records).
Perkins, his brother Cole: guitar, Dan Steinke: guitar and his brother Dustin: drums are collectively Bleeker Ridge and that collectively, makes them shit hot.
There is no other explanation. Not a realistic one anyway.
Steinke tells, “We have been writing again and we are writing currently for record # 2. There is a lot more in the mix, but we can’t say what right now.” He teases.
So, as we play the waiting game for record # 2, Bleeker Ridge plays several dates in Ontario and Quebec in the early part of 2012. What about live shows for the rest of the year? “There are always lots of festivals in the summer.” Perkins enthuses, “We love festivals, but what we really want to do this year is play the States, make ourselves known there.” He adds. Admittedly, you have to agree that this is an excellent idea.
Impressively, all the song lyrics on Small Town Dead sound as if they were written by older, far more experienced souls and the music that carries them is equally impressive. Sick Of You is as emotionally touching as the former song, but in a harder, more aggressive manner. Little wonder there, when you consider that it was co-penned by Tyler Connolly, singer with Theory of a Deadman.
Dave Bassett (Shinedown and Sevendust) is also responsible for lending his professional penmanship on In Our Hands, Pick Me Up and Still Standing. The core of the record though, remains Bleeker Ridge, through and through.
Not only do these guys get an A+ for their CD, but they really are seriously hellish impressive live too. They give their all and the crowd loves them for it. “It really is all about the crowd.” Perkins tells me. “If the crowd is really into it, then it motivates us more too. We, like anyone are a little rusty for the first three or four shows of every tour. The more we play the more comfortable we get.” Steinke definitely gives it 150% live; how then does he not have a permanent case of Metallica neck? “It’s usually sore for the first three days, but it’s nothing that a few Advil and some Jack Daniels can’t fix.” He gives up.
All recording and live perfections considered It has to be asked, did any professional training help to produce such high standards?
“We all had different lessons in the same music store (belly laughing) but they didn’t last long.” Steinke offers, still chuckling. This is totally understandble. When you see him, Steinke shows no comparison to a conformist in any way shape or form, so what does he like to do other than just music. “I just came home from Costa Rica yesterday and I spent all week out there surfing. When I’m home I like to snowboard and skateboard too.”
Heavily tattoed, Steinke also hints at his next ink. “I think I will get hang loose, you know down there.” He follows his statement with a huge belly laugh.
Ladies, start praying for Steinke rise jeans!
So then, what gives for the highly animated man with the killer voice. What floats his boat? If you are expecting something equally high energy, you may be pretty well gobsmacked when you hear what Perkins calmly announces….. “I play music and I drink a lot of coffee and tea. I hang out with friends and I really like to drink beer too. I’m a big drinker.” Well, that explains the animation and also gives reason for his not being quite as adventurous as his band mate, just a little more tipsy and possibly friendlier? Let’s keep hoping he is generally close to a washroom!
While the rest of the band have bagged themselves sposorship deals, Perkins has yet to be fruitful in that department. “They all have stuff and I have nothing,” he shared.
Perhaps Depends will be on the lookout?
8 April 2012 21:22:58
By Karen G aka Headbangerwoman
An impromptu checklist was required before this article could be completed
Well, the first five can be checked off. But, the ego maniacs can keep the latter. Bryan Fontez, singer/songwriter with Last Bullet, is definitely not that guy.
Now, imagine if you will, convulsing in your underwear with a pseudo microphone, in this particular instance a TV remote, while you hear your song played for the first time ever on FM radio. Meet Bryan Fontez. He definitely is that guy!
In light of this, Fontez could possibly be described as a little over reactive; however in band camps this is probably more common than is admitted. Fontez is just one of the honest ones.
So it seems that hearing your first record on the radio is pretty mind blowing. Fortunately Fontez was not driving when this happened.
“100.3 The Bear in Edmonton, Alberta, Canada, is the first FM station in the world to play our independent record, Girls Gone Wild.” Fontez enthuses. “We approached Lochlin Cross, who is the music director with the station and he must have really liked it. He took it to a station meeting and it is now being played pretty regularly, it really is amazing.”
Social networking site Twitter has played a big part in this recent media occurrence for the band. Roy Galpin, a friend and self-proclaimed PR for the band has pushed Last Bullet tweets on every radio station, rock fan, topless cyber sexers and egg on the site. Not in vain it would appear. Not un-noticed by Fontez and his band mates either. “We still find it amazing that people will use their own time and resources to promote us and expect nothing in return. We don’t expect it. We don’t ask for it. Roy is great, he has had so much input into where we are at right now, especially with getting us airplay.”
That must be pretty humbling, but the music speaks for itself in that respect. People want to help because the music deserves it!
The music is Fontez. You can hear it in his voice, see it in his eyes and smell it on the sweat infused leather he wears. But none of those things would be apparent if it were not for a High School teacher. “If it were not for that guy, I honestly would not be here talking,” Fontez is very serious, “He taught me passion, honesty and inspiration. It really was quite late happening for me.”
Better late than never and when music finally lured he chose well when it came to further inspiration.
“Chris Cornell from Soundgarden is definitely in my top three vocally. Even now he can still hit all the notes and Dave Grohl, still a humble guy, overwhelmed when he played Wembley stadium even after all the success he has had. I am also a Drummer; I have been playing for twelve years.” Fontez makes the connection.
So, with the recent airplay and more coming, is there also a tour on the horizon? “We would love to play shows outside of Toronto. We recently opened here for Uli Jon Roth (Scorpions) and Bleeker Ridge and we have a show coming up with Faster Pussycat. We are doing the Toronto takeover Feb through March 2012, but it really would be great to play in other places.”
This is where being independent quells the flow. Last Bullet has so far financed themselves in everything, from promotions to production of the Last Bullet EP (engineered and produced byChris Snow and Harry Hess) to photography and flyers.
“At this time, I think it is really important to get the message out on social networking sites,” Fontez is adamant. “We need to show the record companies that we can get large followings, that way they know it’s real. We need to get follows, on Facebook, Twitter, Soundcloud, Reverbnation, all those sites.”
So, by the time recording of the new songs starts in April 2012 and they are released in May/June 2012, Last Bullet will doubtless have many more followers and the radio play will have shot them a little closer to rock stardom.
In the meantime the hard work and self-promotion continues, with the help of those who believe. With spirits a little on the low side after having just lost out in the second round, a live contest in the Hard Rock Rising, Battle of the Bands 2012, Last Bullet issued this press release on Facebook immediately after the decision was announced.
”We didn’t win, but we’re not upset and you shouldn’t be either! We gotta go through things like this in order to truly appreciate success when it finally comes.
A huge thank you for all the time, votes and support you’ve all shown and given us. We appreciate everything you do.
Thank you very much! And get ready for huge things…
LB”
Playing Russian roulette appears to be paying off. Anyone associated with this Last Bullet is already a winner, in the very sense of the word.
http://www.facebook.com/lastbulletmusic?sk=info
@LastBulletMusic on Twitter
8 April 20121:24:28 PM By Karen G aka Headbangerwoman
With the business savvy of Gene Simmons, the looks of a young Ted Nugent and the musical talents of Dave Grohl, you could pretty much say he is a triple threat.
You would be very, very wrong. Darrell Millar is so much more than that. He is a proud Canadian, mentor, father, manager, record label, personable bloke and an upstanding citizen.
A lifelong musician, Millar has been involved with his current band Automan for almost 10 years. The band, although not on the tip of every ones tongue, played with NWOBHM greats Iron Maiden as opening band, at the Winnipeg show on their last North American tour. Along with current writing partner and guitarist Carleton Lockhart, Millar set out in 2002, to put together a 70’s/ 80’s influenced rock band. 2004 saw the addition of bassist John Fenton and drummer Adrian Cavan. In addition to the Iron Maiden tour, Automan have played numerous shows in Southern Ontario, Canada and with plans to tour, at the very least further afield in Canada this year, it will be a welcome sight for Killer Dwarfs and Laidlaw fans, who are used to seeing Millar peeking out from behind a drum kit.
“I am in talks right now with some important people in the music industry regarding live shows for Automan.” Millar did share a few snippets of detail when asked about a possible tour in 2012. “I need more than just one show here and one there, I need a full tour. It just does not make sense from a business point of view to go out and do a few shows. There is a package of bands that will join us on the road if plans come to fruition, but as I said, things are still at discussion stage.”
Making his debut as a frontman, Millar certainly has the look and charisma, the control over the crowd and the passion to be at the helm. “It just seemed right for me to be the singer right now. I doubled as the singer/drummer in my High School band in the 70’s, so I knew I had a voice. When I was in Killer Dwarfs I was persuaded that drumming was where my talent lay. Then in Laidlaw again, I was drumming.” For those of you who have yet to see Automan live, it is pretty much assumed that you will agree Millar is where he is supposed to be, at the front of the stage. “When Laidlaw was on tour with ZZ Top, I would go out on stage with the crew and sing a song or two during sound check. To be up there on stage looking out at the huge expanse, at all these empty seats, no people, even then it was a rush. You just know when you are meant to be somewhere.”
Having also toured the world in bands supporting the likes of Lynrd Skynrd, Motley Crue, and Pantera, Millar is looking forward to another ten years on the recording and touring with Automan. “I think I have another ten years left in me. I wouldn’t mind being the Rolling Stones and making it to 50 years, but I think you have to know when to call it a day.”
With the cd, Backseat Surprise now available, following the Auto Motive cd/DVD and Pocket Change cd in 2008, the tracks Hurts To Be Alive and Down To The Bone are now streaming on YouTube. The record is available courtesy of Unkledunk Records, a label brought to you by none other than Millar himself. “It is just pure business sense to have the music on your own label.” Millar shared, when he spoke with Headbangerwoman. “The big record companies could be viewed now to be more like massive distribution hubs. They are rarely found to be signing bands. Of course, now bands can make more money selling far less records. We more often than not own the rights as the artist. It was not always that way and the big companies would earn 80 or 90% from sales, merchandising, tours, etc. Now the bands take an average of 80 points and the distributors take 10-20%. Of course, social media has a large part to play in getting the music out there today. It changes everything completely. We really do need social media in this day and age.”
Millar should be observed as a great example for any younger musicians out there, wanting to make it big in the business. “I was lucky, even when I was much younger and in Killer Dwarfs, I didn’t lose sight of things. I got a pay check each month and I made smart investments. We didn’t do drugs and we didn’t party a ridiculous amount. OK, we drank beer, but we are Canadian! The point is we are still here. There is a lot to be said for having a sound business plan and being smart with your money and you can still go out there and do it musically too.”
So it seems that Gene Simmons was right. We can all just KISS a business savvy ass!
By Karen G aka Headbangerwoman 8 April 201213:17:16
www.youtube.com/automanrockband
Twitter @Automan
Turn It Up To Twelve 