L7: PRETEND WE’RE DEAD
STEPHEN SPAZ SCHNEE: L7: PRETEND WE’RE DEAD is finally available. How are you feeling about the project and the reaction to it so far?
DONITA SPARKS: Well, I’m relieved it’s going out into the world because a lot of work went into it, especially from the producers Blue Hats Creative: getting the footage and photos together, interviews with the band members and guest stars, music clearances, etc. This has been years in the making. I’m touched by the reaction to the film by those you have seen it. It hits home with a lot of different people. In the screenings that I’ve attended there’s laughter where there should be, and complete silence during the heavier stuff. Musicians in particular relate to the ride.
Gene Loves Jezebel occupy a musical universe that is all their own. The distinct vocals of Jay Aston and the unique chemistry between his bandmates James Stevenson, Pete Rizzo and Chris Bell has led the band from the dungeons of Goth to the lofty highs of anthemic Rock and everywhere between. It doesn’t matter if they’re tackling a haunting ballad or a riff-roaring rocker, Gene Loves Jezebel remain one of the most riveting yet under-appreciated bands of our generation. And with DANCE UNDERWATER, their first studio album in years, it is time that you put that band back on your radar and pay attention.
STEPHEN SPAZ SCHNEE: Before starting Yep Roc, were you an avid music collector? Were there any particular genres that you focused on personally?
GLENN DICKER: I would say that I was very much a music collector since I was a little kid. I got very interested in collecting 45’s when I went around to garage sales with my parents and as I got older that spread to full albums when I could afford it. Early on I was into ‘60s music, mostly what would be considered classic rock these days like The Beatles, Stones, Who, Kinks, etc. But as I got a bit older I got caught up in the punk rock thing, mostly the English bands. My favorite was The Jam. When I got out of school and went to work for Rounder Distribution, I got turned onto so much more that really opened my mind to all kinds of great stuff that I had previously only dabbled in like World Music, Blues, Jazz, Folk, Bluegrass, etc. Once I get into an artist, I usually want everything.
A SILLY PHASE I’M GOING THROUGH:
It is quite possible that you have something by Eric Stewart in your music collection at this very moment without even realizing it. Eric was a member of Wayne Fontana & The Mindbenders, eventually singing lead on their 1966 hit “Groovy Kind Of Love” after Fontana had left the fold. By 1969, with the Mindbenders in his rear view mirror, Stewart was recording backing tracks for Bubblegum hits at his Strawberry Studios facilities. His recording mates included hit songwriter Graham Gouldman and multi-instrumentalists Lol Creme and Kevin Godley. In 1970, Stewart, Creme and Godley released the surprise hit “Neanderthal Man” under the group name Hotlegs. Two years later, American singer/songwriter Neil Sedaka arrived in the UK in hopes of recording new material and making a comeback. His backing band featured Stewart, Gouldman, Godley and Creme. Sedaka and this quartet of talented musicians recorded two albums together, both directly responsible for the enormous success that Sedaka and 10cc would achieve within a few short years.
STEPHEN SPAZ SCHNEE: WHERE THE GODS ARE IN PEACE is just about to be released. How are you feeling about the way the album turned out and the reaction to it so far?
MARTIN PERNA: We are happy with the way the album turned out, or else we wouldn’t have put it out. It was a lot of work and represents several years of effort working through some problems that would have sunk most other bands. We had some members graduate to other projects not long after our last record in 2012, and this album proves both to ourselves and people who listen to us that we have more juice than ever.
It has been 33 years since Bronski Beat arrived on the music scene with their remarkably emotional debut single “Smalltown Boy.” Jimmy Somerville’s soaring falsetto was quite a wonder to behold but the music performed by Steve Bronski and Larry Steinbachek was equally enthralling. Equally enchanting, the band’s debut album THE AGE OF CONSENT was Synthpop at it’s finest. Inspired by classic Disco and the Electronic Music scene that was sweeping the UK, the trio blended their influences into a wondrous brew. Add in their thought-provoking lyrics that focused on gay-related issues and you had a band that not only made you dance but also made you think. Surprisingly, in 1985, at the height of the band’s popularity, Somerville abruptly quit, leaving Bronski and Steinbachek to carry on without him. The following year, the band returned with new vocalist John Foster and released the Pop-errific sophomore album TRUTHDARE DOUBLEDARE. Although “Hit That Perfect Beat” and “C’mon! C’mon!” were hits, the album didn’t fare as well as their debut and the band left their label (London Records). Foster left the fold and Bronski and Steinbachek’s continued to work together throughout the rest of the ‘80s and into the ‘90s. They released their third album, RAINBOW NATION, with new vocalist Jonathan Hellyer and additional musical assistance from Ian Donaldson. However, the band quietly split in 1995 shortly after that album’s release.