Month: June 2016

THE DAMNED Documentary: An EXCLUSIVE interview with director WES ORSHOSKI

Like Rock ‘n’ Roll in the ‘50s and the British Invasion of the ‘60s, Punk rock changed everything. It began as a musical movement in 1976, yet it became something much bigger. Punk infected every aspect of pop culture – from fashion to art. Punk became a badge of honor for the younger generation and a punchline to bad jokes told by their parents. Bands like Sex Pistols, The Clash, The Jam, UK Subs, Buzzcocks and so many others climbed to the top of the charts in England and caused a stir around the world. The sudden rise of Punk inspired thousands upon thousands of amateur musicians to rise up and create a racket. It was a glorious thing. However, it is often forgotten that one particular British band was the first to release a single in England, the first to release an album, and the first to tour the U.S. If you guessed Sex Pistols, then you’d be wrong and should be sent to the back of the queue. The correct answer, if you paid attention to the title of this feature, was The Damned.

The Damned was formed by Brian James (guitar), Captain Sensible (bass), Rat Scabies (drums) and Dave Vanian (vocals). Uncompromising and entirely unpretentious, The Damned were great musicians out to have a good time. Armed with a load of great songs (mostly penned by James), The Damned became one of the most popular Punk outfits in the UK. Signed to Stiff Records, they beat all the other bands to the record shops with their “New Rose” single and Damned Damned Damned album. Their popularity and desire to have a good time didn’t mix well with the other serious, politically-charged Punk acts, and they were essentially ostracized from the ‘Punk Club’ by various legendary managers who felt The Damned were over-shadowing their own acts (i.e. The Clash and Sex Pistols). The band soldiered on, but James threw in the towel after the second album. With Sensible moving to guitar and the band switching gears musically, The Damned fought back with a string of singles and albums that expanded upon their musical roots while still retaining the Punk energy and attitude. Sadly, with so many line-up changes and musical detours along the way, they began to confuse all but their faithful followers. The most surprising thing is that the band’s desire to explore these new musical avenues is what made them BETTER than many of their contemporaries. It seemed to work for The Clash, but not so much for The Damned.

Now celebrating their 40th Anniversary, The Damned remain the most under-appreciated of all the original Punk bands. The current line-up of the band includes Vanian and Sensible, both of whom are still as charismatic and entertaining as they’ve ever been. However, it hasn’t always been easy for the band. From old record label contract issues that drove Rat and Captain apart, to a constant stream of great musicians who have come and gone, The Damned’s story is a long and convoluted one. THE DAMNED: DON’T YOU WISH THAT WE WERE DEAD is an absolutely brilliant documentary that sheds light on the band’s history and offers an inside look at a band that deserves far more attention than they have ever received. It doesn’t matter if you prefer “Neat Neat Neat,” “Smash It Up” or “Grimly Fiendish” – this revealing film by photographer/director Wes Orshoski (Lemmy: 49% Motherf**ker, 51% Son Of A Bitch) is as honest and funny as any music documentary you’ll ever see. By the time the credits roll, you’ll be cursing the screen and wishing it was longer. It’s heart-breakingly sad and soul-stirringly joyful. Toss in some insight from contemporaries and fans like Fred Armison, Chrissie Hynde, Lemmy, Dave Gahan (Depeche Mode), Mick Jones (The Clash), Nick Mason (Pink Floyd), Steve Diggle (Buzzcocks) and many others and you’ve got one of the best Damned documentaries you’ll have the pleasure of watching. See what I just did there?

Stephen SPAZ Schnee was able to chat with director Wes Orshoski about making the film, the band’s reactions to it and much more…

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ALICE BAG: An EXCLUSIVE interview!

ALICE IN HOLLYWOODLAND:

 

Although she is forever associated with the late ‘70s Los Angeles Punk scene, Alice Bag’s journey over the last forty years has taken her everywhere from East L.A. to Nicaragua and back again. To some, she remains the lead vocalist of The Bags, but there is far more to Alice Bag than a rare Punk single and an appearance in the documentary The Decline Of Western Civilization (as The Alice Bag Band). Her status as a legendary Punk pioneer led to a career as a highly respected educator, feminist activist, and author. Her critically acclaimed books Violence Girl (2011) and Pipe Bomb For The Soul (2015) have been warmly embraced by her longtime fans and those who were previously unfamiliar with her musical career. She has inspired generations of young girls and women with her outspoken and thoughtful views on feminism. While largely absent from the music scene over the years, Alice has taken the Punk esthetic and made a real difference in the lives of those she has inspired. She may not have sold millions of records over the years, but she has remained true to her cause, and in turn, made an impact that is still being felt.
Surprisingly, nearly forty years after she started her musical career, Alice Bag is finally releasing her very first full-length album. Anyone expecting Alice to dip back into the past and relive her glory days with The Bags will be sorely disappointed. Instead, Alice incorporates many of her musical influences into a cohesive collection of songs that range from edgy Garage/Punk nuggets to instantly hummable ‘60s pop gems. The raw, straightforward production adds a tense atmosphere to the recordings, allowing Alice’s emotions to run free. There is some darkness in her lyrics although they are far from hopeless – she allows the listener to fill in some of the blanks and react accordingly. However, the album is filled with wonderful melodies and inventive arrangements. At its core it is Punk, but only in spirit. Musically, it is a potpourri of influences reaching back to the ‘60s. Like any good album, Punk or not, it turns expectations into revelations. The album Alice Bag is a superb look at the modern world by someone who has seen it all. It is intelligent without being preachy and raw without losing its playful charm – a simple, heartfelt triumph that sounds better with each spin.
Stephen SPAZ Schnee was able to chat with Alice Bag about her album and her music career…

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KICK OUT THE JAMS! An EXCLUSIVE Interview with Director Tony D’Annunzio and MC5 guitarist Wayne Kramer

The Detroit Rock ‘n’ Roll scene in the late ‘60s and early ‘70s was unlike anything else happening in the world at the time. New York was certainly tough, but there was an artistic flair that added a touch of respectability to it. The West Coast scene certainly had its moments, although the hippy-dippy flower-power movement took away some of its thunder. But Detroit? It was a hotbed of unbridled energy, attitude, and bravado. While Motown was in many ways the soul of Detroit, the Rock ‘n’ Roll rumble in the streets was loud and often frightening. But it was also invigorating and electrifying. It was raw and pure. It was Garage Rock with the power of Punk and Metal (neither of which were musical genres at the time!) yet it could also be artsy like the East Coast, and hippy-dippy like San Francisco and L.A. It was a melting pot of attitudes and ideas. And it was where the Grande Ballroom was born.
Unlike any venue before or since, the Grande was not just a concert hall – it was a meeting place for creative minds, disenchanted youth and people of all race, class, and creed. It may have promoted shows by local and touring bands, yet it also embraced the sexual revolution, psychedelia, the drug culture, and, most importantly, freedom of expression. The club Detroit bands like MC5, The Stooges, The Frost, The Third Power and SRC were regulars, while The Who, Pink Floyd, B.B. King, Led Zeppelin and many other major bands would always play there while on tour. The Grande became THE venue to play for every major Rock band once they had already conquered the East and/or West Coast. For some, it was even more important! The Grande was the brainchild of Russ Gibb, who some remember as one of the instigators of the ‘Paul Is Dead’ hoax of the late ‘60s (or was it a hoax?). Along with controversial counter-culture figure John Sinclair, they turned an old 1920s dancehall into something truly mind-blowing. Although the Grande shut its doors more than four decades ago, it remains one of Rock’s most iconic venues.
The power and glory of the Grande Ballroom may be part of Detroit’s – and Rock ‘n’ Roll’s – history, yet the larger-than-life venue’s tale remained largely untold. Director Tony D’Annunzio has addressed that situation with Louder Than Love: The Grande Ballroom Story. An emotional rollercoaster-ride of a documentary, Louder Than Love opens up the doors of the Grande and allows the main players to tell their story with passion and honesty. This is not just a documentary about a Rock ‘n’ Roll venue; this is a film about how music and art can make a difference in the world. Alongside members of the Grande’s inner circle and Detroit icons (Russ Gibb, John Sinclair, MC5’s Wayne Kramer, Alice Cooper, The Amboy Dukes’ Ted Nugent), there are also interviews with legendary artists like Roger Daltrey (The Who), Lemmy (Hawkwind/Motorhead), B.B. King, Don Was and many others. This is a story that needed to be told and Louder Than Love is a triumph in every way.
Stephen SPAZ Schnee was able to chat with director Tony D’Annunzio and MC5 guitarist Wayne Kramer about Louder Than Love and the Detroit Rock ‘n’ Roll scene…
 

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An EXCLUSIVE Q&A with PETER BJÖRN AND JOHN’S Peter Morén

Swedish trio Peter Björn and John have created a musical universe that is constantly evolving. However, they’ve managed to retain their unique charm that made them press darlings a decade ago with “Young Folks”. What many didn’t realize is that that hit’s parent album, Writer’s Block, was the trio’s third in a career that has seen them stretch the boundaries of Pop music. While Top 40 radio’s Pop guidelines are pretty rigid, Peter Morén, Björn Yttling and John Eriksson treat them like elastic rubber bands, bending and twisting those guidelines into new and exciting aural avenues. They’ve even managed to carve out musical careers outside of PB&J while never lowering the quality control level on the albums they record together. And can you believe they even collaborated with Canadian hip hopster Drake a handful of years before he became a musical sensation?

Breakin’ Point, their first album in five years, finds PB&J offering up a collection of songs that are so instantly lovable that you’ll swear you’ve been in love with them for years. Every track on the album is a potential hit single – the melodies leap out and grab hold on the first spin. Their songwriting is based in classic ‘60s, ‘70s and ‘80s Pop/Rock, but the production, arrangements and inventiveness is thoroughly modern if not outright forward-thinking. They’ve sidestepped the experimental moodiness of some of their past albums and embraced their more playful side. This isn’t an album that tries to revisit their past glories – it creates new ones.

Stephen SPAZ Schnee was able to track down band member Peter Morén, who kindly took time out of his busy schedule to answer a few questions about Breakin’ Point, PB&J and more…

 

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