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 Tuesday, August 26, 2008
AC/DC: A deal with the devil?
Posted by peter
 AC/DC is doing the unthinkable and selling its new album, Black Ice, due out Oct. 20, exclusively through Wal-Mart and Sam's Club. Does that strike anybody else as sheer lunacy? Oh, I get why the band is doing this. There's good money to be had in striking such a deal with... shall I say, the devil. But, what's the compromise here, or is there any? After all, Wal-Mart isn't exactly down with rocker famous for any sort of Satanic shenanigans — however bogus or ridiculous such assertions are that link certain bands with the lord of the underworld — or lurid lyrics full of sexual innuendo. The question has to be asked: Did AC/DC tone itself down for this record? To put it another way, Wal-Mart has, at least in the past, been absolutely prudish when it's come to such things. And yet, here we are, with the retail giant having been granted exclusive rights to distribute the new AC/DC, selling the band's new disc for a right reasonable $11.88. Will Wal-Mart put out a "clean" version of the record, or does it even need to? The proof will be in the pudding, and get a spoon because that pudding comes your way Aug. 28, when the hard-rocking Aussies deliver the first single from Black Ice, "Rock 'N' Roll Train." It's one of 15 new tracks on Black Ice, helmed by hot-shot producer Brendan O'Brien at the Warehouse Studio in Vancouver, B.C. The video for "Rock 'N' Roll Train" will debut in September. Then, in late October, the band will hit the road, the air and the sea for its first world tour since 2001. And despite the whole Wal-Mart thing, aren't you absolutely stoked for this? The time is right for AC/DC to come back in a big way. Now, the CD will also be available, with free shipping and handling, through the band's Web site, www.acdc.com, where it is available for pre-order. It is also available through Walmart.com — where it is also available for pre-order — and Samsclub.com. Anybody else a little uneasy about this unholy marriage?
8/26/2008 4:07:24 PM (Eastern Daylight Time, UTC-04:00)
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 Friday, August 22, 2008
Nils Lofgren covers Neil Young
Posted by peter
 Stripped down to their musical skivvies, so to speak, Neil Young's songs lose none of their emotional potency. A listen to Nils Lofgren's new album of Young covers bears that out. On The Loner, released July 22 on the Vision Music label and available via the nilslofgren.com Web site, it's just Lofgren at home alone, haunting Young classics with just his ghostly voice accompanied solely by either gentle, resonant acoustic guitar workings — including some powerful strumming — or tender piano meditations. Almost uncomfortably intimate, The Loner, an homage that includes Lofgren's versions of "Only Love Can Break Your Heart," "Long May You Run," "Harvest Moon" and "I Am A Child," to name a few , was recorded live without any sort of production enhancements. Interestingly, the genesis for this project did not come from Lofgren, surprising when you consider that the E-Street Band member, as a teen, cut his session-work teeth on Young's 1970 landmark LP After The Gold Rush. "I would have never thought of it," says Lofgren. "I had a Christmas break from the E-Street Tour, which I was thrilled to be out with. I spent the last 14 years without a record company, and I put music out on my Web site, at nilslofgren.com — this and other things. There's free downloads. I started a beginner's guitar school, a lot of things there. But the last 10 years or so, I guess the most popular items have been an acoustic live CD and a live acoustic DVD, and my manager, Anson, pointed this out and suggested I consider singing my favorite Neil Young songs in an acoustic format. And that led to the record. I certainly never would have thought of that on my own." Lofgren and Young go way back to Topanga Canyon. After working on After The Gold Rush and contributing bits and pieces to Crazy Horse's debut, Lofgren left Young to concentrate on his band Grin. When Grin failed to get off the launching pad, Lofgren rejoined Young for work on the Tonight's The Night album and played on Young's 1983 Trans tour. After that, he joined Bruce Springsteen's E-Street Band. As for The Loner, Lofgren had a lot of material to choose from, but he pared it down to 15 tracks. "I spent a couple weeks singing 25 or 30 songs of Neil's without recording anything, no production, [I] just literally woke up early in morning, sang for a few hours to my dogs and cats, and after two weeks, it seemed like some of the songs stopped sounding like good karoake and made a transition into something more special as a performer," says Lofgren. "So, once I felt like I had a dozen or so of those, then I turned on the tape machines and went out into the studio, set everything up, and I also realized that the only chance this had of working was if it was completely live, no production, no overdubbing — just me and one instrument doing the performance, and with those as the rules, I came up with 15 songs that felt right. So, I'm honored to have had this stroll down memory lane and just share this new CD." A visit to nilslofgren.com can yield much fruit. The site offers free downloads and Lofgren's Guitar School that's designed especially for beginners and those who've come to believe they'll never play the instrument. "A lot of teachers make it very complicated, and sometimes you have to work for years before you really enjoy yourself, and learning an instrument is hard," says Lofgren. "It's gymnastics for the hand, and it's going to frustrate you. So, what I do every lesson is try to show people something they can do with one finger today that feels and sounds like music to them and [allows them to] play along with me. Because after all, the planet is crazy, people are pressed for time, they have kids, sick parents, crazy bosses, hectic schedules, lot of pressure and the theme of this school is: Look, if you only want to practice 10 minutes on the hard stuff before your hand cramps up and you get frustrated, stop at that point, but don't put down the instrument. Spend five or 10 more minutes doing the one-finger stuff that feels and sounds like music but takes no practice. Jam along with me on the tape and then walk away. Then, maybe tomorrow, maybe you'll come back and say, 'I'll do the hard stuff for 20 minutes today, and then I'll go have some fun.' But the theme is, let's have fun now, let's have it every day, to navigate learning and keep you engaged, and I have a lot of tips and shortcuts I've learned through 10 years of classical accordion studies and 40 years on the road as a rock musician, I'm just trying to share those things in the beginner's guitar school at nilslofgren.com. To listen to a podcast of our interview with Nils, visit www.goldminemag.com. And watch for a story on Lofgren and his memories of working with Neil Young on After The Gold Rush in a future issue of Goldmine.
8/22/2008 3:42:16 PM (Eastern Daylight Time, UTC-04:00)
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Nils Lofgren covers Neil Young
Posted by peter
Stripped down to their musical skivvies, so to speak, Neil Young's songs lose none of their emotional potency. A listen to Nils Lofgren's new album of Young covers bears that out. On The Loner, released July 22 on the Vision Music label and available via the nilslofgren.com Web site, it's just Lofgren at home alone, haunting Young classics with just his ghostly voice accompanied solely by either gentle, resonant acoustic guitar workings — including some powerful strumming and rich, earthy blues studies — or tender piano meditations. Almost uncomfortably intimate, The Loner, an homage that includes Lofgren's versions of "Only Love Can Break Your Heart," "Long May You Run," "Harvest Moon" and "I Am A Child," to name a few , was recorded live without any sort of production enhancements. Interestingly, the genesis for this project did not come from Lofgren, surprising when you consider that the E-Street Band member, as a teen, cut his session-work teeth on Young's 1970 landmark LP After The Gold Rush. "I would have never thought of it," says Lofgren. "I had a Christmas break from the E-Street Tour, which I was thrilled to be out with. I spent the last 14 years without a record company, and I put music out on my Web site, at nilslofgren.com — this and other things. There's free downloads. I started a beginner's guitar school, a lot of things there. But the last 10 years or so, I guess the most popular items have been an acoustic live CD and a live acoustic DVD, and my manager, Anson, pointed this out and suggested I consider singing my favorite Neil Young songs in an acoustic format. And that led to the record. I certainly never would have thought of that on my own." Lofgren and Young go way back to Topanga Canyon. After working on After The Gold Rush and contributing bits and pieces to Crazy Horse's debut, Lofgren left Young to concentrate on his band Grin. When Grin failed to get off the launching pad, Lofgren rejoined Young for work on the Tonight's The Night album and played on Young's 1983 Trans tour. After that, he joined Bruce Springsteen's E-Street Band. As for The Loner, Lofgren had a lot of material to choose from, but he pared it down to 15 tracks. "I spent a couple weeks singing 25 or 30 songs of Neil's without recording anything, no production, [I] just literally woke up early in morning, sang for a few hours to my dogs and cats, and after two weeks, it seemed like some of the songs stopped sounding like good karoake and made a transition into something more special as a performer," says Lofgren. "So, once I felt like I had a dozen or so of those, then I turned on the tape machines and went out into the studio, set everything up, and I also realized that the only chance this had of working was if it was completely live, no production, no overdubbing — just me and one instrument doing the performance, and with those as the rules, I came up with 15 songs that felt right. So, I'm honored to have had this stroll down memory lane and just share this new CD." A visit to nilslofgren.com can yield much fruit. The site offers free downloads and Lofgren's Guitar School that's designed especially for beginners and those who've come to believe they'll never play the instrument. "A lot of teachers make it very complicated, and sometimes you have to work for years before you really enjoy yourself, and learning an instrument is hard," says Lofgren. "It's gymnastics for the hand, and it's going to frustrate you. So, what I do every lesson is try to show people something they can do with one finger today that feels and sounds like music to them and [allows them to] play along with me. Because after all, the planet is crazy, people are pressed for time, they have kids, sick parents, crazy bosses, hectic schedules, lot of pressure and the theme of this school is: Look, if you only want to practice 10 minutes on the hard stuff before your hand cramps up and you get frustrated, stop at that point, but don't put down the instrument. Spend five or 10 more minutes doing the one-finger stuff that feels and sounds like music but takes no practice. Jam along with me on the tape and then walk away. Then, maybe tomorrow, maybe you'll come back and say, 'I'll do the hard stuff for 20 minutes today, and then I'll go have some fun.' But the theme is, let's have fun now, let's have it every day, to navigate learning and keep you engaged, and I have a lot of tips and shortcuts I've learned through 10 years of classical accordion studies and 40 years on the road as a rock musician, I'm just trying to share those things in the beginner's guitar school at nilslofgren.com. To listen to a podcast of our interview with Nils, visit www.goldminemag.com. And watch for a story on Lofgren and his memories of working with Neil Young on After The Gold Rush in a future issue of Goldmine.
8/22/2008 3:28:37 PM (Eastern Daylight Time, UTC-04:00)
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 Tuesday, August 19, 2008
Metal Church talks 'This Present Wasteland'
Posted by peter
 Metal Church's glory years coincided with the halcyon days of thrash-metal in the mid-80s, a time when the dark, powerful overlords of Seattle's metal community whipped up furious storms of riffs that threatened to consume even Metallica. But, Metal Church, its progress blunted by inner turmoil and a flurry of lineup changes, would not follow Metallica into arena-rock heaven. Ronny Munroe, Metal Church's singer for the last four years, starting with the 2004 album The Weight Of The World, wasn't around back then to help lay siege to Metallica's empire. But, he thinks Metal Church's new album, This Present Wasteland, due out Sept. 23 on SPV, has the goods to force the world to, once again, pay attention to Metal Church. "I think this one is a little more straightforward (than its predecessor A Light In The Dark)," says Munroe, whose vocals are a roiling cauldron of Halford histrionics, Bruce Dickinson's bear-like growls and Ronnie James Dio's nightmarish screams. "To me, it sounds a little reminiscent of early Metal Church, which is kind of what every older band tries to recapture. And I think we did a pretty good of that. I'm very pleased with it." Aggressive, focused and always on the attack, the Metal Church of 2008, led by guitarist Kurdt Vanderhoof, is still out to spread a message of positivity. But, it's not all sunshine and rainbows. This Present Wasteland grapples with questions of morality and evil, couching them in punishing metal — see "Meet Your Maker," "Deeds of a Dead Soul" and "Mass Hysteria" — that sounds eerily similar to Dio-era Black Sabbath, only with the emphasis on speed. "I write like that to begin with," says Munroe, talking about his lyrical preoccupation with dark subjects and moral dilemmas. "And also, Kurt's vision for Metal Church, from the very start, was to always have a positive message, because there's enough negativity in the world without us adding to it. And who's the one that made the rule that there's no smiling in metal (laughs)." Still, it's hard to find something to smile about when the country's at war and the economy is in the toilet. And This Present Wasteland reflects that – especially the "war" part, as Munroe says present conflicts around the globe influenced some of the record's lyrical content. Stay tuned for more on Metal Church in an upcoming issue of Goldmine. For more on Metal Church, visit Myspace.com/SPVUSA, Myspace.com/metalchurch and MetalChurchMusic.com
8/19/2008 1:45:36 PM (Eastern Daylight Time, UTC-04:00)
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 Thursday, August 14, 2008
Dead Kennedys: Klaus Flouride explains his departure
Posted by peter
 It's the end of an era, but don't shed any tears. The Dead Kennedys, or more likely, one of their more aggressive fans would punch you in the eye if you did. One of the founding members of legendary punk firebrands, bassist Klaus Flouride, has announced he will no longer be a performing member of The Dead Kennedys due to a recurring medical condition known as Angioedema. In a recent interview with Goldmine, he talked about the reasons for his departure, as well as future and present musical projects. Don't worry. Klaus is not going away. That he's spent more than 30 years of his life in the controversial Bay Area band is nothing short of miracle to him, and there's a lot he's going to miss about it. But, his health comes first. "It was a total surprise that it went where it did as far as I was concerned," says Flouride. "When we started, we thought, especially with the name we had, we had a length of about six months to two years, and if we were lucky, we'd get to go to L.A. once or twice, you know? When I was a kid growing up, and playing in bands, my dad, who was a musician, took me aside all the time and said, "There are 3 million kids out there who play guitar. Get a back-up plan." Flouride, as it turns out, didn't need one. The Dead Kennedys lasted longer than that, becoming an iconic punk group that was labeled hardcore's Public Enemy No. 1 among right-wing politicians and religious fundamentalists. They pilloried Jerry Brown, then the governor of California, in the song "California Uber Alles," and then had to endure a protracted court case over an obscenity charge for the inclusion of an explicit poster that was included with its 1985 album, Frankenchrist. "It's had its ups and downs, but it's been mostly good stuff to be involved in, and my father's statement about the 3 million kids resonated with me all the way through the Kennedys thing, even when we were onstage and watching mayhem go on," says Flouride. "[I'm] thinking, 'I'm getting to do what these 3 million other kids want to do, and having to do it to actually a big audience,' and it was one thing I'll never forget about whenever we play." Without getting too much into it, the condition is a subcutaneous one that — in simple terms — involves hives and "... it's on my face and head." The doctors originally thought it was caused by some sort of allergy. "And so they tested me for every allergy thing they could test me for, and I kept saying, 'You know, it always happens when I'm really stressed out or fatigued,'" says Flouride. "And so, after months of this, they finally come back and say, 'You know, these hives are usually caused by stress and fatigue (laughs)." And I said, 'Really? Can I have my money back for all these tests now?' But then, the doctor says, "What you've got to do is just eliminate stress in your life." And then he goes, 'Wah ha, ha, ha, ha, ha.'" After enjoying his little joke, the doctor then told Flouride that he should try to eliminate "... whatever (stress or fatigue) you have control over, 'cause stress comes at you from all different angles and fatigue is just a part of the rock 'n' roll lifestyle," says Klaus. And playing in band as big as The Dead Kennedys, which had been touring earlier this year with Flouride, original member East Bay Ray, Dave Scheff and Skip, is a high-pressure situation. "That was the one thing that I could, you know, say whenever I go on the road with the DKs there's a lot of pressure to do the best show we can do every time," explains Flouride. "And that's true with any band that I play with, but there's, let's say, less expectations from the audience with the other things I'm involved with because they haven't reached the level that the Kennedys did. So, it was a hard decision certainly but one that I had to do because I have a kid and I want to watch her grow up. And just hives in general are not a dangerous thing, but the doctors are afraid because it's in my face and subcutaneous and under the skin that it could mess up other organs, and it closes my throat down and stuff like that. You know, when you can't breathe that's when it becomes something to worry about." Flouride is not giving up performing altogether. He's got a number of irons in the fire, playing regionally near his California home with groups like The American Professionals, The Go Going Gone Girls, The Legendary Stardust Cowboy and others. But after 30 years of playing with The Dead Kennedys, as decidedly unsentimental as that band is, it's hard to say goodbye. In particular, he'll miss, "The camaraderie. I just like playing the songs in general. I never got tired of playing the songs onstage. You'd think after so many times of playing 'Holiday in Cambodia' or 'California Uber Alles,' how many times can a guy play that and still get into it? And ... I've watched other bands and said, 'How can they keep playing that one song over and over,' and still mean it. But the thing with the Kennedys is that... the musicianship was such that we could take it little different places each time and it wasn't like playing it by rote. We'd always fool around with it a little bit. And there's places in both of those songs where we can stretch it out." Look for more from our interview with Klaus in an upcoming edition of Goldmine and watch for a podcast of our chat at www.goldminemag.com To get caught up on everything with the Dead Kennedys, go to www.deadkennedys.com, and visit www.klausflouride.com to keep track of what Klaus is up to.
8/14/2008 4:06:30 PM (Eastern Daylight Time, UTC-04:00)
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 Tuesday, August 12, 2008
The Ramones: Wrong place, wrong time
Posted by peter
 It's funny how in the art world pieces by dead artists go for millions, and yet, while they were alive, they practically starved to death. To a lesser extent — much lesser, actually — the same thing happened with punk pranksters The Ramones. Playing at breakneck speed with a ferocity and single-minded purpose that was borderline militaristic, but with garage-rock songs that had sweet hooks, funny lyrics and infectious, simple melodies that harkened back to '60s pop groups, The Ramones grew to become everyone's favorite glue-sniffers, brat beaters and general rock 'n' roll malcontents. With The Ramones out front, the New York City punk city took off in the late '70s, but, in terms of record sales and commercial appeal, they didn't exactly set the world on fire. And yet, today, songs like "I Wanna Be Sedated," "Rock 'N' Roll High School," "Blitzkrieg Pop," "Judy Is A Punk" and "Rockaway Beach" have seeped their way into pop culture like a virus. They're everywhere now. They're in TV commercials. They're played at sporting events. Who could have seen that coming? But, when the band was at the peak of its powers, outside of punk circles, they were thought of as a fringe element, mere gutter rats who would never amount to much. Their longtime tour manager, Monte Melnick, who wrote The Ramones insider book "On The Road With The Ramones," wonders what might have been. "You know, it's a shame," says Melnick. "They retired in '96, and they got into the Hall of Fame after that, and Joey died, and Dee Dee died and Johnny died, and they became huge. They're so big now it's insane. In fact, I have a line that I put into my new book which is, 'If the Ramones were this big when I was working for them, I would have gotten a raise.' I mean, they're so big now, it's insane. If they were around now, this is what they should have been. At the time, they didn't sell any records. They could have been like a Nirvana or a Green Day and selling a lot of records like that and having huge, humungous tours, like that. The record sales is the big thing. They could have sold a helluva lot more records now if they were still around, because they're so much bigger." Recently, Melnick's book (Ominbus Press, $24.95, BOB11572R) was updated with more photos and observations from everybody involved with The Ramones. More from our interview with Melnick will be available in an upcoming issue of Goldmine and on our Web site at www.goldminemag.com. For ordering information for Melnick's book, visit www.omnibuspress.com
8/12/2008 12:23:13 PM (Eastern Daylight Time, UTC-04:00)
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 Monday, August 11, 2008
Camper Van Beethoven talking new record
Posted by peter
![image[2].jpg](http://blog.goldminemag.com/forgottenboy/content/binary/image%5B2%5D.jpg) Burn out and interpersonal squabbles were the reasons why the idiosyncratic Camper Van Beethoven broke up in 1989. A cooling-off period of about a decade followed, with not a whole lot of communication between David Lowery and Victor Kummenacher, the boyhood friends from California who formed the innovative, and truly groundbreaking, '80s alt-rock combo. Back together now since 1999, Camper Van Beethoven has its sights set on a possible new record. What sparked the reunion was when Lowery's post-Camper project Cracker released The Golden Age, an album whose moments of quiet beauty and rural psychedelia caught the ear of Kummenacher and Camper Van Beethoven violinist and multi-instrumentalist Jonathan Segel. "I said, 'Wow, that's quite something,'" says Kummenacher. "That's kind of where Key Lime Pie (Camper's last album before the break up) left off." So, Kummenacher and Segel showed up, unexpectedly, at a Cracker show at the Fillmore 12 years ago, surprising Lowery. The three made up, and for a time, Kummenacher even played in Cracker. By 1999, Lowery, Kummenacher and Segel had revived Camper Van Beethoven. What followed was a quirky rarities collection called Camper Van Beethoven is Dead: Long Live Camper Van Beethoven, and in 2002, the group did a remake of Fleetwood Mac's Tusk. Continually confounding listeners by throwing them curve ball after curve ball is, and always has been, Camper Van Beethoven's way. For Kummenacher, if the band had done the expected and only reformed to play its hits for the State Fair crowd, he'd be gone by now. When the three initially talked of a reunion, Kummenacher says, "I had one condition, and that was that we make new music, that we write new songs, that we do new things. And that's where we're at right now. If we're going to keep doing it, then we need to make another record. I have no intention of being a dead band that only plays old songs, you know. I love playing those old songs, because I think they're great. I think they resonate really well still. I was surprised when we started playing again how well they worked, but I won't be in a dead band. I'm just not interested. I'd much rather play in front of a bookstore for 25 people doing stuff I haven't done before than not move forward. So, that was my condition. As long as it we make it alive, then we'll keep doing it." Asked if the band was working on new material, Kummenacher had this to say: "Well, we're in the crucial first stage with Camper Van Beethoven, which is discussing doing the material, (laughs) if you follow that drift. We have to kind of 'ide-ate' first. I mean, usually we need to strike an accord that we're going to do it this way with these people. And then, once we've agreed on that, then usually what'll happen is, David will come out to California and sit and we'll do a little writing. I anticipate that it'll happen before the end of the year. It'll take a while to do the record because we're all busy, you know. It's percolating. I think it's going to take a year or two, because things move slow these days. It's definitely in the works." For his part, Lowery agrees, but first, he's got Cracker business to attend to as that band readies a new album for release in the coming months. In June, Camper Van Beethoven played a silver anniversary show at the Fillmore in San Francisco and released a greatest-hits album, Popular Songs Of Great Enduring Strength And Beauty. Five songs from 1988's Our Beloved Revolutionary Sweetheart and Key Lime Pie were faithfully redone for the collection after the Virgin label rebuffed Camper's attempts to secure rights to the original masters for the greatest-hits package. Learn more about this and other useful facts about Camper Van Beethoven in a future Goldmine article, and a future podcast of our interview with Kummenacher. To get caught up on everything going on with CVB, visit www.campervanbeethoven.com or www.myspace.com/campervanbeethoven. Here's a track listing for Popular Songs: 1. The Day That Lassie Went To The Moon 2. Border Ska 3. Take The Skinheads Bowling 4. Pictures of Matchstick Men 5. Skinhead Stomp 6. Opie Rides Again/Club Med Sucks 7. Eye of Fatima (Parts 1&2) 8. ZZ Top Goes To Egypt 9. Sad Lover's Waltz 10. When I Win The Lottery 11. The History of Utah 12. Seven Languages 13. All Her Favorite Fruit 14. Good Guys & Bad Guys 15. Circles 16. One of These Days 17. Ambiguity Song 18. Shut Us Down Upcoming shows: Thu., Sept. 11, Pioneertown, Calif. — 4th ANNUAL CAMPOUT/Pappy & Harriet's Fri., Sept. 12, Pioneertown, Calif. — 4th ANNUAL CAMPOUT/Pappy & Harriet's Fri., Sept. 12, Pioneertown, Calif. — 4th ANNUAL CAMPOUT/Pappy & Harriet's
8/11/2008 3:54:19 PM (Eastern Daylight Time, UTC-04:00)
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 Friday, August 08, 2008
Richie Havens wears the crown
Posted by peter
 Nobody does cover songs with more passion or respect for the artist's original intent than folk icon Richie Havens, and on Nobody Left To Crown, his newest CD, the soulful singer/singwriter offers up a couple of interesting reinterpretations of Jackson Browne's "Lives in the Balance" and "The Great Mandela," a song written by Peter, Paul and Mary's Peter Yarrow. Havens' approach to singing covers isn't the standard "hey, wouldn't it be fun to play such and such, that'd be a gas" karaoke lark that most become. More than that, he's not interested in recreating them in his own image. That would be akin to blasphemy. "I don't ever think I'm making anything into Richie Havens songs (laughs)," says Havens. "For me, it's like, God, [those artists have] pushed me again. I feel this wonderful energy of information that comes from these songs, and that... you know, the songs that I cover, people who would sit who would be on the outside of this knowledge would not know that I'm not singing just to cover them because I might think that I could sing them. But I was singing them in order for me to express what the writer had given to me hearing that song. And all the songs that I've covered are songs that the writers were very important in in terms of they were living in the same world I was. There were many ways to see the center, and all of these people contributed to that in me. So, I never really think about that, you know?" Nobody Left To Crown is an interesting title, considering the state of the world presently. If it were anybody else but Havens, you'd think calling it that would indicate a high degree of pessimism about our leaders. That's not it at all, according to Havens. "No, actually ... it really doesn't," says Havens. "It meant there's nobody left to crown except ourselves for being able to survive the craziness that they put us through when they jammed us underground. It was great for Woodstock to occur because it brought us above ground and they couldn't hide us." Going back to the days when he left doo-wop behind to immerse himself in the Greenwich Village folk scene, Havens remembers how he took pride in introducing to the world around him songs that affected him deeply from people he greatly respected. "For me, that privilege to be able to sing for people songs that they wouldn't have heard in their lives had they not passed Greenwich Village at the time, and the people who were singing them were very, very professional," says Havens. "And then, what they did, from Peter, Paul and Mary to Fred Neil to Joan Baez to all these singers that had some sense of where their concerns all came together. We called it protest music, although it wasn't really protest music. It was songs that had been sung by folk people all throughout the ages. These happened to be singer-songwriters of our age at that point, using that system to sing the songs necessary for us in our time." More of our interview with Havens will appear in a future issue of Goldmine. Meanwhile, get caught up with all that Havens is doing by going to www.richiehavens.com
8/8/2008 9:29:43 AM (Eastern Daylight Time, UTC-04:00)
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 Wednesday, August 06, 2008
Artful Dodger meets KISS
Posted by peter
 One of the problems inherent in print media is how limited space is. It's doubly frustrating when you're writing a story, and you have so much great material that you can't possibly get it all in. Such was the case for the Artful Dodger story that will appear in the Aug. 29, #733 issue of Goldmine that should be arriving in your mailboxes or your local bookstore sometime either later this week or early next week. Guitarist Gary Cox (pictured at right) was one of three Dodgers interviewed for the story, and he had some great stories to tell about the band's 1976 tour with KISS that I'd like to share here. "We got to know the guys in KISS really well," says Cox. "They were on a wild ride and knew it was a fantasy." Of Gene Simmons, Cox remembers him as a "jokester." "He called my hotel room one morning after playing for 65,000 playing a stadium in Toronto and said, 'Let's have breakfast, and talk about the show,'" recalls Cox. "I said, 'Fine,' and went down to the restaurant and waited, drinking coffee. Then, here comes Gene through the restaurant full of people, walks over to me and places a set of chattering teeth on my table and WALKS OUT! I sat there and had to listen to the entire room laugh in amusement."  That wasn't all. Simmons was also one to dispense business advice. "At one show, after we walked offstage, I met Gene is full demonic attire standing 7-feet tall in the concrete underbelly of the colosseum. He motioned me over and said, 'Good show tonight.' Then he reached down and literally picked me up in the air, turned and pushed me up against the wall, and with all the Satanic voice he could muster said, 'Now take that goddamn Nils Lofgren button off your shirt. Only wear Artful Dodger buttons! Who are you trying to sell out there... Nils?' I still have that Nils button." Paul Stanley was different, but just as funny. "Paul Stanley was Mr. Cool," says Cox. "Great guy... funny. Loved talking about guitars. Then he would talk about guitars... and guitars. Once at The Record Plant, he told me while in Japan they had purchased an entire tractor trailer full of throwaway guitars for the shows. Gee, Paul, thanks for throwing that one in. At the time, I'd just had a kid in Maryland named Paul Reed Smith building me a handmade guitar. I still have it... and it is worth five tractor trailers of Paul's guitars (laughs). Great story behind Paul. He told me that just prior to making it he was running furs on bicycles in New York in the fur district for money. Gene was an elementary school teacher." About Ace Frehley, Cox remembers losing him once in a department store. "Kept to himself most of the time," says Cox. "I once went out clothes shopping with him looking for shirts in New York, and I lost track of him. Time went by and no Ace. I searched the store everywhere. Then, here comes his roadies and bodyguard 'Big John.' 'Where's Ace? We gotta get to sound check.' They went through that department store like a SWAT team... and before long, there was Ace with a bag of clothes being man-carried out the front door." Cox also had kind things to say about Peter Criss. "What a gentle soul. A great, nice person. Friendly to everyone. Very smart gentleman." For Artful Dodger, the experience of touring for KISS was a double-edged sword. On the one hand, the Fairfax, Va. power-pop outfit got to play in front of thousands of people and visited places they'd never have gone otherwise. However, it was also a mismatch, and KISS fans weren't always very receptive to Artful Dodger's mix of Stones' blues-rock and Beatles-inspired melodies. Plus, it meant Artful Dodger would not record its second album, Honor Among Thieves, with exceptional producer Jack Douglas, who helmed the band's debut. Still, Cox wouldn't have traded it for the world. "Touring with KISS was an adventure fantasy, and we got the best seat in the house... onstage," says Cox. "They were masterful at merchandising, and their fans had little left after leaving these shows... to go shopping for an Artful Dodger record. We were not a good match for that money machine." To learn more about Artful Dodger, visit www.artfuldodgersite.com to get the lowdown on this sadly neglected band from the '70s and early '80s.
8/6/2008 11:47:31 AM (Eastern Daylight Time, UTC-04:00)
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 Monday, August 04, 2008
Hour of Deadbolt arrives
Posted by peter
It takes massive stones to bill yourself as "the scariest band in the world" — that is unless your tongue is lodged firmly in your cheek, which is probably how it is with San Diego's veteran surf-music miscreants Deadbolt.
Fueled by Pabst Blue Ribbon and shots of vile liquors, Deadbolt brought its creepy, noir-ish vibe and hilariously macabre lyrics to Madison for the band's first Midwest show in eight years a couple weeks ago. On hand were guitarist and lead vocalist Harley Davidson, bassist and vocalist 3rd Degree Burns and — arriving late, about halfway through the show — drummer Badtime Charlie, and they rumbled and roared through classics like "Voodoo Trucker" and "Truck Driving S.O.B." A metal-shop grinder threw off a shower of sparks to start the Madison show, and by the end of it, you were transfixed, or drunk. Either way, it was a good time, and the opening band, Knuckle Dragerz, wearing monster masks and wild wigs, played high-octane surf instrumentals with just a touch of heavy metal that had its hometown crowd in hysterics.
Chances are, most of you have never heard Deadbolt, and frankly, it's your loss. A mix of rockabilly, ghostly surf guitar and Misfits-style goth, Deadbolt unearths the remains of Link Wray and does unspeakable things to his body of work. Go get yourself the greatest-hits LP Haight Street Hippie Massacre, and succumb to its evil.
In a nutshell, here's what I love about Deadbolt. I love that the guys drink Pabst Blue Ribbon. I love song titles like "Down in the Lab," "Who The Hell Is Mrs. Valdez?" "Hit Gone Wrong," "Zulu Death Mask" and "Last Time I Saw Cole." I love that if you were blitzed out of your gourd and met them in a dark alley, they'd just as soon roll you for beer money as give you a helping hand. And I just love their overall voodoo. It may be schtick, but it's fun schtick, and it's as cool as a '50s biker film.
To learn more about Deadbolt, go to www.downinthelab.com
PS: I apologize for the scant blogs of late. Technical problems and family health concerns put a spanner in the works.
8/4/2008 5:53:50 PM (Eastern Daylight Time, UTC-04:00)
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