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.
comprised of Miles Zuniga (vocals/guitar), Tony Scalzo (vocals/bass) and Joey Shuffeld (drums), Fastball has nothing left to prove. They’ve achieved everything that all bands strive for when they first get together – a record deal, tours, hits (1998’s “The Way” is their biggest so far) and respect. Now that they’ve been able to step away from the spotlight for eight years, they sound refreshed, focused and re-energized. But please don’t call STEP INTO LIGHT a comeback album. Comebacks are often desperate attempts at replenishing the bank
accounts by taking advantage of fans’ fond memories. Fastball is merely picking up the bat, taking a swing and knocking another one out of the park. STEP INTO LIGHT is a fantastic album that reminds people just how good this band has always been. In fact, it may be their most consistent full-length platter to date. The boys have a home run on their hands and they’ve left their contemporaries – new and old – in the dust. Again.
STEPHEN SPAZ SCHNEE: Your self-titled album is about to be released. How are you feeling about the journey to make this album and the reaction to it so far?
ROBYN HITCHCOCK: Well, the people that normally like my records like this one, so far. And that’s it really – if you like this one, you’ll probably like the others. If not, I’m not your flavor. That’s why the record is simply my name. The journey? Well it was the lucky coincidence of my moving to Nashville at the same point that Brendan Benson was getting in touch, asking if I’d like to come and record with him there.
SINCERELY, FUTURE POLLUTION
STEPHEN SPAZ SCHNEE: SINCERELY, FUTURE POLLUTION is about to be released. How are you feeling about the album and the reaction you’ve had to it so far?
TAYLOR KIRK: I’m extremely proud of the recording. I feel it’s without a doubt the best effort yet. Reactions are encouraging.
Like any genre, Punk was never about just one ‘thing’ – it was a movement made up of many moving parts. Behind the torn jeans, mohawks, leather jackets and missing teeth (thanks, mosh pits), Punk was first and foremost about the music. Initially, a reaction against the overblown pomp of Progressive Rock and Disco (and any other musical movement that the Punk kids deemed pretentious and worthy of a kick in the gonads), Punk became the most influential movement in Rock history since Elvis had his crown stolen by The Beatles in 1964. In 1976, Punk Rock scared people. However, it wasn’t meant to destroy and move on – Punk was about taking Rock back to ground zero and rebuilding it from the ground up. Punk stole the blueprint from Chuck Berry’s safe and brought Rock ‘n’ Roll back to its basic foundation. Sex Pistols was the first band to gain international notoriety, but the whole of England was soon swarming with equally important bands like The Clash, Buzzcocks, The Jam, The Damned, et al. It was a beautiful thing. These bands knew how to write a cracking tune and that is why they are still remembered 40 years after Punk broke wide open.
DAVE RAYBURN: The new album is titled WESLEY STACE’S JOHN WESLEY HARDING, and is your second record under your given name that you’ve reverted back to. I understand that, among several factors involved in choosing the title, there was a bit of a nod to Jeff Lynne in the mix. Can you elaborate?
WESLEY STACE: I can. My last album, SELF-TITLED, was the first released under my real name, Wesley Stace, but I felt the word didn’t quite get out, so I thought it was worth clarifying. Secondly, I happened to see the new version of ELO. For whatever legal reason, they are billed as “Jeff Lynne’s ELO”, presumably partly to differentiate it from any other rogue version of ELO. This reminded me that, though I had, in a sense, broken up John Wesley Harding, I didn’t want any interlopers touring under that name, playing my songs and pretending to be me, when I was elsewhere being me too, playing those same songs (better). With WESLEY STACE’S JOHN WESLEY HARDING, I am reminding you that this version of John Wesley Harding is the only version that counts. And finally, I wanted to differentiate myself, once and for all, from the Bob Dylan album of the same name. I have many times been mistaken for this album, due to a certain similarities between the name of this artifact, an LP from 1967 made of vinyl and cardboard, JOHN WESLEY HARDING, and my erstwhile performing name, John Wesley Harding. Obviously, it’s a ridiculous mistake, but still. So this isn’t Bob Dylan’s JOHN WESLEY HARDING; it’s Wesley Stace’s JOHN WESLEY HARDING.
A VERY NELSON CHRISTMAS
STEPHEN SPAZ SCHNEE: THIS CHRISTMAS TOO, the new holiday release by Matthew And Gunnar Nelson, is just about to be released. How are you feeling about the album and the journey it took to create it?
GUNNAR NELSON: I’m actually feeling fabulous about it — very accomplished and proud of the result. It’s been an incredible journey so far. Honestly it’s taken about four years to get to this point with this record. THIS CHRISTMAS TOO is a photo negative of the first release of last year. Allow me to explain: when we recorded this record we intentionally overcut by double. On last year’s release, half of the record had instrumental versions of these Christmas classics. The other half had vocal versions. This year, THIS CHRISTMAS TOO has the songs flipped. What was an instrumental track last year is now the vocal version and vice versa. Plus we’ve added two bonus tracks that were not on the first album, as well as the completely new take on our original Christmas hit single ‘This Christmas’ featuring Carnie and Wendy Wilson, who are driving the whole effort. The good news is, if you bought 2015’s THIS CHRISTMAS album, you’re not going to get a single duplicate on THIS CHRISTMAS TOO — they’re designed to complement each other perfectly.
ONCE UPON A TIME IN THE WEST(WORLD):
As the leader of British outfit The Pack, singer, songwriter and guitarist Kirk Brandon’s unique musical vision was far too adventurous to be constrained by the limits of Punk Rock so he folded that band and moved forward with new ideas. By 1980, he had formed Theatre Of Hate, which included bassist Stan Stammers, saxophonist John Lennard, guitarist Steve Guthrie and drummer Luke Rendle. During their first two years of existence, the band released a few studio singles as well as a live album, HE WHO DARES WINS. By the time the band entered the studio to work on their debut full length, Guthrie had departed and Brandon took over all guitar duties. With The Clash’s Mick Jones in the producer’s chair, TOH began work on what would become a milestone in Post Punk history – WESTWORLD! With a mix of tribal rhythms, Spaghetti Western riffs, Post Punk guitar slashing and Brandon’s passionate wailing, Theatre Of Hate was a band unlike any other. While the band was known for their live performances, they took on a different form in the studio. Pre-dating his Big Audio Dynamite recordings, Mick Jones brought a lot of his experimental ideas to the sessions, which worked extremely well with Brandon’s vision. The end result is still being talked about today…
While TOH folded in 1983 – making way for Kirk’s next project, Spear Of Destiny – their musical legacy lives on. The band has reformed with various line-ups over the years and are now making waves again with both a new album (KINSHI) and a deluxe three CD edition of WESTWORLD. This excellent reissue on Cherry Red includes a remastered version of the album alongside non-album singles, Peel Sessions, alternate mixes and a live concert taped during the WESTWORLD tour. Still sounding fresh and invigorating, this expanded edition is the definitive version of an album that helped pioneer Post Punk in the UK.
Stephen SPAZ Schnee sent off a few questions to Kirk Brandon, who was gracious enough to take the time to respond…
On her debut effort, REVIVAL, Gillian Welch and her long-term sideman David Rawlings entered the recording studio under the production wing of trusted musicologist T-Bone Burnett. The album that would emerge in 1996 would go on to be nominated for a GRAMMY as the Best Contemporary Folk Album. Welch has since solidified her role as a steadfast champion of the modern day folk/rock scene. Gillian recently took time to answer questions regarding her latest release, BOOTS NO.1: THE OFFICIAL REVIVAL BOOTLEG, an archival set that documents the making of the very collection that put her on the map.