Without Jello.
The Dead Kennedys merged revolutionary politics with hardcore punk music a
Without Jello.
The Dead Kennedys merged revolutionary politics with hardcore punk music and, in the process, became one of the defining hardcore bands. Often, they were more notable for their politics than their music, but that was part of their impact. The Kennedys were more inspired by British punk and the fiery, revolutionary-implied politics of the Sex Pistols than the artier tendencies of New York punk rockers. Under the direction of lead vocalist Jello Biafra, the Dead Kennedys became the most political and — to the eyes of many observers, including Christians and right-wing politicians — the most dangerous band in hardcore. By the mid-'80s, the band had become notorious enough to open themselves up to a prosecution for obscenity (concerning a poster inserted into their 1985 Frankenchrist album), and the ensuing court battle sped the band toward a breakup, but they left behind a legacy that influenced countless punk bands that followed.
The Dead Kennedys formed in 1978 in San Francisco when Biafra (vocals; born Eric Boucher) and bassist Klaus Flouride responded to a magazine ad placed by guitarist East Bay Ray. Drummer Ted (born Bruce Slesinger) joined soon after and the band played locally for the first two years of their career, occasionally venturing outside the Bay Area. Within a year, the band released their first independent single, "California Über Alles," an attack on the then-current governor, Jerry Brown. It was followed shortly afterward by their second single, "Holiday in Cambodia." In 1979, Biafra ran for mayor of San Francisco; he finished fourth. By this time, the band had become quite popular in both the American and British underground. Finally, in 1980, the band released their debut album, Fresh Fruit for Rotting Vegetables, on IRS Records. After its release, Ted left the band; he was replaced by drummer Darren H. Peligro.
Following the release of Fresh Fruit for Rotting Vegetables, the Dead Kennedys formed their own independent record label, Alternative Tentacles, in 1981. The first release on the label was the Kennedys' EP, In God We Trust. That same year, the single "Too Drunk to Fuck" scraped the bottom of Britain's pop Top 40, despite being banned from airplay. In 1982, the Kennedys released their second full-length album, Plastic Surgery Disasters. After its release, the band took a hiatus, during which bandmembers — most notably Klaus Flouride — performed with various side projects. During that time, Alternative Tentacles began to establish itself as a major force in the American underground.
The Dead Kennedys returned in 1985 with Frankenchrist, which was the record that earned the band its greatest notoriety. Included with the album was a poster of the Swiss artist H.R. Giger's Landscape #XX, a garish illustration of penises and anuses. A year after the release of the album, the Kennedys and Alternative Tentacles were prosecuted under revised Californian anti-obscenity laws for distributing pornography to minors because of the poster. For the next two years, the band was embroiled in a bitter legal battle, during which Biafra emerged as one of the most articulate advocates for free speech and vocal opponents of the PMRC. In the summer of 1987, the case ended with a hung jury and was dismissed.
Although the Dead Kennedys emerged victorious from the court battle, they didn't remain a band for much longer. Just before the prosecution began in 1986, the band released Bedtime for Democracy, which turned out to be their last official album. After the case was settled, the Kennedys split, releasing the posthumous compilation Give Me Convenience or Give Me Death in 1987. Biafra embarked on a solo career, releasing musical and spoken-word recordings sporadically over the next couple decades. Flouride returned to his fledgling solo career, releasing two albums in the late '80s and early '90s. The DVD format of Dmpo's On Broadway, the Dead Kennedys' June 1984 performance marking the closing of San Francisco's avant-garde theater and nightclub, was released in May 2000.
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Added: 3 days ago
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Although not the best known of Glenn Danzig's musical projects, the short-lived Samhain he
Although not the best known of Glenn Danzig's musical projects, the short-lived Samhain helped bridge the gap between the fierce punk of his Misfits days with the Sabbath-y metal blues of his solo band, Danzig. As most Danzig disciples know, the New Jersey-born singer first made a name for himself with the aforementioned Misfits, a group that merged a horror/comic book image with punk rock. Although an "underground" band during their tenure together in the late '70s/early '80s, the Misfits obtained much more attention after their split, no doubt due to the over the top admiration of Danzig and company by Metallica (whose members seemed to wear an endless stream of Misfits T-shirts at one point), which led to the continuous growth of their large cult fan base.
Some expected Danzig to launch a solo career right after the Misfits (he'd issued an obscure 7" single during his tenure with the band), but he instead decided to form Samhain. Although Samhain was basically a solo vehicle for Danzig (he was the group's singer and songwriter, and also played an assortment of instruments on subsequent recordings — guitar, bass, piano, drums, etc.), he was joined by a variety of musicians during their existence. Initially, Danzig and onetime Misfits photographer and roadie Eerie Von (on drums) began rehearsing and writing for Samhain during the summer of 1983. After only a few months, however, Von decided to move over to bass, as Undead drummer Steve Zing took his place. With former Minor Threat guitarist Lyle Preslar signing on soon after, Samhain recorded their debut album, Initium, which was issued in 1984.
But Preslar's tenure with the band was incredibly short, as Pete Marshall, better known to Samhain fans as "Damien," replaced him. This lineup remained together for a lone release, 1985's extremely limited-edition four-track EP Unholy Passion, before another lineup hiccup occurred when Zing was replaced with London May. This would turn out to be the longest lasting of Samhain's many lineups, and was the one that appeared on 1986's November-Coming-Fire. By early 1987, Damien was handed his walking papers, and was interchanged with newcomer John Christ. The new lineup was supposed to issue a recording in 1988 (under the title of Samhain Grim), but the recording was ultimately shelved, as Danzig opted to change the name of the band to Danzig (Samhain Grim was eventually released two years later, retitled Final Descent).
Although Danzig had repeatedly squashed reunion rumors regarding his former bands, he briefly resuscitated Samhain in late 1999 for live shows, as a mammoth five-CD box set entitled Samhain was issued the following year. Samhain collected all four of their releases as well as a live disc that combined tracks from a 1985 show in New York City and a 1986 show in Chicago. This fifth disc was given a its own separate release in 2002, under the title of Live, 85-86, by which time Danzig had put Samhain back in mothballs and returned to solo work. However, Danzig did reunite in the studio with Zing and "reunion-era" Samhain guitarist Todd Youth for the project Son of Sam and their 2001 release, Songs from the Earth.
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One of the best song from Allroy's Sez, Dave Smalley on box.
When renowned (and often co
One of the best song from Allroy's Sez, Dave Smalley on box.
When renowned (and often copied) Los Angeles punk rockers the Descendents were forced to go on hiatus in the late '80s when singer Milo Aukerman left the group to attend college full time, the remaining members decided to carry on under a different name: ALL (lifted from the title of the Descendents' final 1987 studio recording). Former Descendents members Bill Stevenson (drums), Stephen Egerton (guitar), and Karl Alvarez (bass) were all in attendance, as former Dag Nasty frontman Dave Smalley assumed vocal duties. The group signed on with the Cruz label, issuing an EP and a full-length album in 1988, Allroy for Prez and Allroy Sez, before Smalley was replaced with Scott Reynolds. The Reynolds-led version of ALL issued four albums overall: 1989's Allroy's Revenge, 1990's Trailblazer: Live and Allroy Saves, and 1992's Percolator (in addition to their own releases, the entire band backed original Descendents' bass player Tony Lombardo on his 1991 solo release New Girl, Old Story, which was credited to Tonyall). Soon after, it was then Reynolds' turn to bid the band farewell (later turning up in the bands Goodbye Harry and the Pavers) and Chad Price stepped in, resulting in such further releases as the band's last release for Cruz, 1993's Breaking Things. 1995's brief allegiance with a major label (Interscope) brought Pummel before they signed on with Epitaph and issuing 1998's Mass Nerder, 1999's self-titled release, and 2000's Problematic. In 1996, Aukerman and Stevenson teamed up once more to briefly reunite the Descendents (with ALL members Alvarez and Egerton filling in for the others), resulting in a tour and an all-new studio album, Everything Sucks.
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Added: 3 days ago
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Since the band didn't do interviews with major publications, some journalists were left to
Since the band didn't do interviews with major publications, some journalists were left to improvise and opted to take creative license. The rumor mill amongst the fan base was equally imaginative. In fact, some concertgoers might have been surprised to see the band pull up to venues in a van, not arriving by a convoy of camels. Those who spoke with bandmembers were surprised to hear that they lived in houses — not monasteries — with running furnaces and that their diets weren't strictly rice-based. Worse yet, the band gained a reputation for not having a sense of humor. Their records never kicked out the yucks (they weren't Ween, after all), but this was probably the most unwarranted myth of all. Those who were resourceful enough to find interviews with the band in small fanzines might have been shocked to read that MacKaye was influence by Ted Nugent as much as Jimi Hendrix. Now that takes a sense of humor.
As the increasing responsibilities of adulthood and outside musical involvements increased, Fugazi's recordings and tours became more sporadic. Red Medicine was released another two years after In on the Killtaker, chipping away some of the latter's abrasion in favor of more jam-oriented experiments. It certainly wasn't a wholesale junking of the band's early sound, but more a matter of wanting to do things differently. They still sounded like Fugazi, but they weren't painting themselves into a corner, either. The even wilder End Hits came in 1998, amidst rumors of the band being put to rest. Eschewing the notion, more choppy touring in support of the record continued throughout the year. In 1999, the Instrument video and soundtrack hit the shelves. The result of several years spent working on a proper Fugazi documentary, friend Jem Cohen assembled a lengthy homage to the fab four, including live performances and interviews. The soundtrack featured demos, jams, and incidental cutting room scraps, still forming an enjoyable listen that focused on the band's instrumental talents. 2001 saw release of the band's sixth proper LP, The Argument, which was simultaneously issued with the three-song Furniture EP. Outside of Fugazi, both MacKaye and Picciotto helped other bands with production. MacKaye continued to operate Dischord, and Lally began his own label, Tolotta. Picciotto also ventured into filmmaking.
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Coming on the tail end of the initial D.C. hardcore explosion, Scream formed in 1982 and s
Coming on the tail end of the initial D.C. hardcore explosion, Scream formed in 1982 and signed to Dischord Records. That fall, the original lineup of the Stahl brothers, singer Peter, guitarist Franz and bassist Skeeter Thompson and drummer Kent Stax teamed with Ian MacKaye and Don Zientara to produce the raucous Still Screaming. The original group went on to release This Side Up in 1985 and Banging the Drum in 1987. That year, Scream switched to Ras Records, a D.C. reggae label trying to expand into rock, and gave an 18-year-old drummer his first shot with a touring band. Dave Grohl's drumming and backup vocals can be heard on No More Censorship, released in 1988. Grohl began showcasing his writing talents on Fumble, recorded in 1989 and released posthumously in 1993. When the band went on indefinite hiatus in 1990, Grohl went off to Seattle to join then-underground Nirvana. Scream reunited, sans Grohl, to tour briefly in the early '90s. Franz Stahl joined Grohl in Foo Fighters from 1997-1999.
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Added: 2 weeks ago
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Zach de la Rocha first band. Rage Against The Machine.
Added: 4 weeks ago
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Part of the New York hardcore scene, Madball originated back in 1989, as a side project of
Part of the New York hardcore scene, Madball originated back in 1989, as a side project of the legendary outfit Agnostic Front (Madball vocalist Freddy Cricien's older brother is none other than AF's Roger Miret). After releasing the "Ball of Destruction" single in the same year, an early version of the band began playing live. It wasn't until 1991 when Madball truly hit their stride, when the lineup of Freddy Cricien on vocals, guitarists Matt Henderson and Vinnie Stigma, drummer Will Shepler, and bassist Hoya joined forces. The new version of the band quickly recorded and released an EP called Droppin' Many Suckas, which eventually led to the band signing with Roadrunner in 1994. By releasing a pair of straight-ahead hardcore full-lengths (1994's Set It Off and 1996's Demonstrating My Style) and touring steadily, the band built a sizeable fan base outside their hometown. Now a quartet consisting of Cricien, Henderson, Hoya, and new drummer John Lafatta, the band recorded what many consider their finest album yet, Look My Way, which was released in the spring of 1998. Hold It Down followed two years later.
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Added: 1 month ago
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Live The Venue, New Cross, UK 1990.
When renowned (and often copied) Los Angeles punk ro
Live The Venue, New Cross, UK 1990.
When renowned (and often copied) Los Angeles punk rockers the Descendents were forced to go on hiatus in the late '80s when singer Milo Aukerman left the group to attend college full time, the remaining members decided to carry on under a different name: ALL (lifted from the title of the Descendents' final 1987 studio recording). Former Descendents members Bill Stevenson (drums), Stephen Egerton (guitar), and Karl Alvarez (bass) were all in attendance, as former Dag Nasty frontman Dave Smalley assumed vocal duties. The group signed on with the Cruz label, issuing an EP and a full-length album in 1988, Allroy for Prez and Allroy Sez, before Smalley was replaced with Scott Reynolds. The Reynolds-led version of ALL issued four albums overall: 1989's Allroy's Revenge, 1990's Trailblazer: Live and Allroy Saves, and 1992's Percolator (in addition to their own releases, the entire band backed original Descendents' bass player Tony Lombardo on his 1991 solo release New Girl, Old Story, which was credited to Tonyall). Soon after, it was then Reynolds' turn to bid the band farewell (later turning up in the bands Goodbye Harry and the Pavers) and Chad Price stepped in, resulting in such further releases as the band's last release for Cruz, 1993's Breaking Things. 1995's brief allegiance with a major label (Interscope) brought Pummel before they signed on with Epitaph and issuing 1998's Mass Nerder, 1999's self-titled release, and 2000's Problematic. In 1996, Aukerman and Stevenson teamed up once more to briefly reunite the Descendents (with ALL members Alvarez and Egerton filling in for the others), resulting in a tour and an all-new studio album, Everything Sucks.
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Added: 1 month ago
Views: 413
Live at The Venue, New Cross, UK 1990.
When renowned (and often copied) Los Angeles punk
Live at The Venue, New Cross, UK 1990.
When renowned (and often copied) Los Angeles punk rockers the Descendents were forced to go on hiatus in the late '80s when singer Milo Aukerman left the group to attend college full time, the remaining members decided to carry on under a different name: ALL (lifted from the title of the Descendents' final 1987 studio recording). Former Descendents members Bill Stevenson (drums), Stephen Egerton (guitar), and Karl Alvarez (bass) were all in attendance, as former Dag Nasty frontman Dave Smalley assumed vocal duties. The group signed on with the Cruz label, issuing an EP and a full-length album in 1988, Allroy for Prez and Allroy Sez, before Smalley was replaced with Scott Reynolds. The Reynolds-led version of ALL issued four albums overall: 1989's Allroy's Revenge, 1990's Trailblazer: Live and Allroy Saves, and 1992's Percolator (in addition to their own releases, the entire band backed original Descendents' bass player Tony Lombardo on his 1991 solo release New Girl, Old Story, which was credited to Tonyall). Soon after, it was then Reynolds' turn to bid the band farewell (later turning up in the bands Goodbye Harry and the Pavers) and Chad Price stepped in, resulting in such further releases as the band's last release for Cruz, 1993's Breaking Things. 1995's brief allegiance with a major label (Interscope) brought Pummel before they signed on with Epitaph and issuing 1998's Mass Nerder, 1999's self-titled release, and 2000's Problematic. In 1996, Aukerman and Stevenson teamed up once more to briefly reunite the Descendents (with ALL members Alvarez and Egerton filling in for the others), resulting in a tour and an all-new studio album, Everything Sucks.
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Added: 1 month ago
Views: 591
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