The Singapore based all Filipino hardcore band from Bulacan called T.S.A.will be here on September 12 to 19 2009. They will be launching their upcoming album on September 19 keep your eyes peeled for further updates.
Wednesday, July 29, 2009
A HOMECOMING
The Singapore based all Filipino hardcore band from Bulacan called T.S.A.will be here on September 12 to 19 2009. They will be launching their upcoming album on September 19 keep your eyes peeled for further updates.
Thursday, July 23, 2009
SHUFFLE UNION ALBUM REVIEWED IN THE PHILIPPINE STAR
This was taken (copied and pasted that is) from Mr. Erwin Romulo of The Philippine Star, His column called THE OUTSIDER. Shuffle Union had graced some of Bisikleta Productions events in the past and this coming August 8 they will perform at The Bing Austria Show! produced by Bisikleta Productions. Kindly read on:
Up until recently, ska was never one of my favorite genres in music. Perhaps due to my growing aversion to reggae — in particular Bob Marley — it was quite easy to dismiss it as well. (To digress a bit, if I don’t hear Buffalo Soldier or 3 Little Birds again in my life, it will be fine with me. Plus getting dreadlocks and a henna tattoo to match your “Legend” CD doesn’t make you a “rasta”— although it might just confirm that you are an idiot. Trenchtown is nothing like Boracay either, mon.) But good music can cut through these biases, even for the stubborn, obstinate ones like me. And there’s a lot of that to discover in ska, in particular the local scene.
Up until recently, ska was never one of my favorite genres in music. Perhaps due to my growing aversion to reggae — in particular Bob Marley — it was quite easy to dismiss it as well. (To digress a bit, if I don’t hear Buffalo Soldier or 3 Little Birds again in my life, it will be fine with me. Plus getting dreadlocks and a henna tattoo to match your “Legend” CD doesn’t make you a “rasta”— although it might just confirm that you are an idiot. Trenchtown is nothing like Boracay either, mon.) But good music can cut through these biases, even for the stubborn, obstinate ones like me. And there’s a lot of that to discover in ska, in particular the local scene.
The late, great Je Bautista explained it to me once that “ska is reggae on beer while reggae is ska on pot.” A man of impeccable musical tastes, he always tried his best to push me beyond my comfort zones and musical boundaries. A true punk, he was responsible for getting me into all sorts of things: The Stiff Little Fingers, Angelic Upstarts, Black Flag, MDC as well as Nick Drake, MC Solaar, The Orb… He never got stuck in the ‘70s punk of The Sex Pistols or The Ramones although he did love The Clash with a passion ‘til his death. But he did love ska and, among the bands playing the local scene, he loved Shuffle Union.
Recorded live last February at Cubao X during Trashradio Manila and Bisikleta Production’s “Louie Louie” — a tribute concert for drummer Luis “Weslu” Guiang — “Invincible” is a good starter for those who’ve yet to hear Shuffle Union’s music. Included in the album are live renditions of band staples such as Batty Boy, He’s Mine (this writer’s personal favorite) and Dance With Me. Also included is Thank You, their personal tribute to the legendary drummer who played with G.I. and the Idiots, Put3ska and Throw as well as Shuffle Union.
Truth be told, Shuffle Union’s music isn’t always ska but flirts with a modified kind of power pop. The gorgeous melodies as sung by the band’s two vocalists Mae Ilagan and January Bautista are pushed to greater heights by the band’s persistent rhythm section. More often than not, there is an obvious debt to Style Council-era Paul Weller but with the energy and immediacy of his Jam days. Even the technical glitches inherent in live performance don’t detract from the charm of the songs themselves (although it’s enough to make me giddy thinking what they could do in the studio).
As their press release on their blog says: “The release was officially announced May 23 during Shuffle Union’s live performance at Doobie Nights, where they also announced a tour dubbed ‘Shuffle Union Invincible-Live Album Tour.’ The ‘Invincible’ tour will (go through) Batangas, Baguio City, Laguna, Bulacan and Quezon City.” It also says “the tour will also be joined and supported by a rich collection of musical acts from each locale.” Copies of the album will be available during the gigs and through the band’s site (you can also check out trashradiomanila.blog-spot.com).
Monday, July 20, 2009
MADSTOCK 2009 & THE RETURN OF JERRY DAMMERS
Just seeing these videos gives me goosebumps! Jerry Dammers with his Sun Ra inspired band the Spatial AKA along with Rico Rodriguez doing a jazzy rendition of Ghost Town. This man had proved that he is the mastermind behind The Specials this old geezer is the heart and soul of The Specials!
Its quite saddening to see a band that promoted unity and despite of what they had achieved still they can not get along with each other.
Its quite saddening to see a band that promoted unity and despite of what they had achieved still they can not get along with each other.
Sunday, July 19, 2009
SOULED OUT
Northern Soul comes to Stoke. A major new feature film to be premiered at next year's Cannes Film Festival is being filmed exclusively in Stoke-on-Trent. "Souled Out" is set in the 1970's Northern Soul scene.
The action of "Souled Out" is set in the seventies Northern Soul scene and tells the story of a young boy who learns about life and love through the music of the era. The film will star former Brookside actress Jennifer Ellison, who recently appeared in "The Cottage", a horror-comedy released throughout Europe and the USA. It also features Martin Compston, who's appeared in Ken Loach's "Sweet 16", and has been featured in "Empire" film magazine. Pat Shortt, a major actor in his home country of Ireland, and a regular star of comedy series "Father Ted" will also be part of the cast.
SOULED OUT is directed by Shimmy Marcus, with the soundtrack to be recorded by The Dap Kings (band of Amy Winehouse and Mark Ronson) with appearances on the album by Duffy and Paul Weller.
The action of "Souled Out" is set in the seventies Northern Soul scene and tells the story of a young boy who learns about life and love through the music of the era. The film will star former Brookside actress Jennifer Ellison, who recently appeared in "The Cottage", a horror-comedy released throughout Europe and the USA. It also features Martin Compston, who's appeared in Ken Loach's "Sweet 16", and has been featured in "Empire" film magazine. Pat Shortt, a major actor in his home country of Ireland, and a regular star of comedy series "Father Ted" will also be part of the cast.
SOULED OUT is directed by Shimmy Marcus, with the soundtrack to be recorded by The Dap Kings (band of Amy Winehouse and Mark Ronson) with appearances on the album by Duffy and Paul Weller.
KEEP AN EYE OUT FOR THESE BANDS
The Sidewalk Doctors is formed by Nathan Thomas on vocals, Lenny Bignell on guitar, Danny Thompson on bass, Mark Thomson on drums and Jay aka dr.boogaloo on keys. Their sound can be described as the sounds of 60's/70's Jamaica filtered through London 2008. The Sidewalk Doctors aim to create a sound that whilst classic is firmly rooted in the 21st century. check them out here: www.myspace.com/thesidewalkdoctors
The Supernovas
The Supernovas are a young 4-piece from the Holloway Road of North London. They have been gigging around the country together since the tender age of 16. They perform their own style of Mod-Punk with a sound that can be likened to The Buzzcocks and The Jam. Check them out here: www.myspace.com/supernovan19 The Crabs Corporation
The Crabs Corporation is a musical project dedicated to the early reggae gender. The Crabs Corporation has
been a studio band and have enjoyed the collaboration of different artists friends including Jennie Mathias of Bellestar, Dave Barker and the Tempranos. Check them out here: www.myspace.com/thecrabscorporationThe Sweet Divines
The Sweet Divines are doing soul music the
only way they know how -- the old-school way. These four young ladies and their band have honed an authentic sound that evokes the greats of the southern soul pantheon -- Stax, Aretha, James Brown, funky New Orleans -- yet feels immediate, unique, and more relevant than ever. The result is heavenly manna for soul purists, beat addicts, harmony lovers, and just about anyone else with a pair of ears and/or feet. Check them out here: www.myspace.com/thesweetdivinesNouvellas
Nouvellas is a new soul group consisting entirely of former Dansettes members. Jaime Kozyra is back with Le
ah Fishman to share some exciting dual vocals. With a look straight from the Ed Banger Parisian streets and a sound twisted, squeezed and rung from '60s motown and Aretha herself, the Nouvellas aren't just a revivalist group. They're using rock's foundation to inject fun back into the indie rock equation. Think Dusty Springfield backed by the Yardbirds...Check them out here: www.myspace.com/nouvellas
The Nice Boys
The Nice Boys are a power pop band hailing from Portland, Oregon. They were formed in 2004 by ex-E
xploding Hearts guitarist Terry Six, studio keyboardist Brian Lelko, drummer Alan Mansfield, and Colin Jarrel and Gabe Lageson of The Riffs, who, like the Exploding Hearts, were influenced by the punk and rock music of the late 1970s. Check them out here: www.myspace.com/niceboys
ah Fishman to share some exciting dual vocals. With a look straight from the Ed Banger Parisian streets and a sound twisted, squeezed and rung from '60s motown and Aretha herself, the Nouvellas aren't just a revivalist group. They're using rock's foundation to inject fun back into the indie rock equation. Think Dusty Springfield backed by the Yardbirds...Check them out here: www.myspace.com/nouvellasThe Nice Boys
The Nice Boys are a power pop band hailing from Portland, Oregon. They were formed in 2004 by ex-E
xploding Hearts guitarist Terry Six, studio keyboardist Brian Lelko, drummer Alan Mansfield, and Colin Jarrel and Gabe Lageson of The Riffs, who, like the Exploding Hearts, were influenced by the punk and rock music of the late 1970s. Check them out here: www.myspace.com/niceboysThe Delagators
If the Supremes moved to Kingston via South London...40 years ago, Desmond Dekker made his British television premiere with The song "Israelites" and introduced the world to a new style of dance music. Within a week of his performance, reggae was charting in the Top 10 and it's infectious rhythms had exploded onto the world scene.......
Fast forward to the present day and reggae has lost none of it's ability to move the masses to the dance floor and enrich peoples lives with it's sweet melodies. Nobody knows this better than a young group emerging from the heart of London, England called The Delegators. With a profound respect for the music's history and an instinctive understanding of it's place in the modern market, they have embarked on a mission to hypnotize the masses with their soulful blend of Rocksteady and Motown. Check t
hem out here: www.myspace.com/thedelegatorsChris Van Chrome
Hamburg's own Powerpop singer. His music strongly influenced by the late-seventies modrevival and by classic northern soul Check him out here: www.myspace.com/chrisvanchrome
The Five Aces
The sound of a drinking session with a load of hip-cats and gorgeous gals showing their moves way past bedtime. The Five Aces is quite hard to
pin down take in Ray Charles, Booker T & The MGs, Mod, soul… even bebop and you've got The Five Aces. Check them out here: www
.myspace.com/thefiveacesBaby Shakes
The new sound of old punk, New York City quartet marry shoop-shoop Motown girl group melodies to crusty, clanging chords, an irresistible combination of bouffants and safety pins designed to make every sneering secret romantic swoon. Check them out here: www.myspace.com/babyshakes
Friday, July 17, 2009
MAYER HAWTHORNE'S GOT SOUL!
Mayer Hawthorne grew up in Ann Arbor, Michigan, just outside of Detroit, and vividly remembers, as a child, driving with his father and tuning the car radio in to the rich soul and jazz history the region provided. “Most of the best music ever made came out of Detroit,” claims the singer, producer, and multi-instrumentalist, who counts Isaac Hayes, Leroy Hutson, Mike Terry, and Barry White among his influences, but draws the most inspiration from the music of Smokey Robinson, Curtis Mayfield, and the legendary songwriting and production trio of Lamont Dozier, Brian Holland, and Eddie Holland Jr.
The “retro” tag is added to almost any contemporary work that sounds like it was originally recorded between 1966 and 1974, and Hawthorne, among the newest contributors to the genre, is aware of how trends come and go. After being introduced to Stones Throw label head Peanut Butter Wolf by mutual friend Noelle Scaggs of the Rebirth, even his current boss was skeptical. “He showed me two songs and I didn’t understand what I was listening to,” Wolf recalls. “I asked him if they were old songs that he did re-edits of – I couldn’t believe they were new songs and that he played all the instruments.”
And after meeting in person, it was even harder for Wolf to believe that Hawthorne was also the lead vocalist. Few expect such heartfelt sentiment to come from a 29-year-old white kid from Ann Arbor, but he has caught the ear of his family at Stones Throw, as well as BBC Radio 1 host Gilles Peterson and producer/DJ Mark Ronson. Expectations are high for the admitted vinyl junkie who never planned on taking his crooning public. Hawthorne’s hanging-by-a-string falsetto and breakbeat production on his first recorded effort, the tender “Just Ain’t Gonna Work Out,” are simultaneously Smokey and J Dilla – equal parts “The Tracks of My Tears” and “Fall in Love.” “It’s soul,” he explains, “But it’s new.”
Hawthorne has produced and played instruments for much of his life, but never intended to become a singer. He isn’t formally trained, and never sang in the church choir or in any of the bands he was in before founding the County (formerly the County Commissioners). But here he is, new school soul sensation, who has taken the Motown assembly-line production model and eliminated nearly every element but himself and a few hired hands. “I think Mayer is the only artist in the history of the label that I’ve signed after hearing only two songs,” says Peanut Butter Wolf. “Sometimes, you just know it’s the right thing to do.”
And for those willing to believe anything is possible, be grateful to have Mayer Hawthorne on the scene. It’s not just throwback music anymore – this revival is all about progression.
The “retro” tag is added to almost any contemporary work that sounds like it was originally recorded between 1966 and 1974, and Hawthorne, among the newest contributors to the genre, is aware of how trends come and go. After being introduced to Stones Throw label head Peanut Butter Wolf by mutual friend Noelle Scaggs of the Rebirth, even his current boss was skeptical. “He showed me two songs and I didn’t understand what I was listening to,” Wolf recalls. “I asked him if they were old songs that he did re-edits of – I couldn’t believe they were new songs and that he played all the instruments.”
And after meeting in person, it was even harder for Wolf to believe that Hawthorne was also the lead vocalist. Few expect such heartfelt sentiment to come from a 29-year-old white kid from Ann Arbor, but he has caught the ear of his family at Stones Throw, as well as BBC Radio 1 host Gilles Peterson and producer/DJ Mark Ronson. Expectations are high for the admitted vinyl junkie who never planned on taking his crooning public. Hawthorne’s hanging-by-a-string falsetto and breakbeat production on his first recorded effort, the tender “Just Ain’t Gonna Work Out,” are simultaneously Smokey and J Dilla – equal parts “The Tracks of My Tears” and “Fall in Love.” “It’s soul,” he explains, “But it’s new.”
Hawthorne has produced and played instruments for much of his life, but never intended to become a singer. He isn’t formally trained, and never sang in the church choir or in any of the bands he was in before founding the County (formerly the County Commissioners). But here he is, new school soul sensation, who has taken the Motown assembly-line production model and eliminated nearly every element but himself and a few hired hands. “I think Mayer is the only artist in the history of the label that I’ve signed after hearing only two songs,” says Peanut Butter Wolf. “Sometimes, you just know it’s the right thing to do.”
And for those willing to believe anything is possible, be grateful to have Mayer Hawthorne on the scene. It’s not just throwback music anymore – this revival is all about progression.
PAUL WELLER PENNED TUNE DONE BY LORD LARGE
Lord Large starts with two good buddies living in south-east London. One, Large, a confused songwriter/keyboardist has spent the last few years playing indie-rock, whilst secretly listening to Ramsey Lewis and the Meters; the other, Jones, a producer/drummer, who of late has been confined to a bunker in Deptford making music for TV, while gazing longingly at his vast, now dusty, collection of 60's soul vinyl.
Both want an opportunity to fulfill their desires to write and record in the style of music they share a love of, basically the soul and funk of the late 60's and early 70's. This arises when a bass-playing friend of theirs, Steve Walters, mentions his unofficial godfather is Clem Curtis of The Foundations - one of the unofficial godfathers of British 60's soul, and singer of one of Large and Jones's top ten tunes, "Baby, now that I've found you".
With this connection in mind, Large pens the song "Stuck in a wind-up", which fortunately Clem finds something attractive in, enough to make the tortuous journey down the M1 from Curtis Towers near Milton Keynes to record it. The results being rather pleasing, Large and Jones release it on their specially created record label, 2-bit.
After some useful plays on Radio 2 as "Lord Large featuring Clem Curtis", Acid Jazz pick up on the act, and offer to put an album out with not only Clem singing, but potentially other classic singers performing the songs.
And so the mission began: to find some singers, and of course, to write some decent songs.
Although Large has had limited experience as a session player, he nonetheless managed to form some useful connections. One was with a trombonist who sang one of Large and Jones's favourite tracks of the 90's, "Tune in, turn on.." by Freakpower - as well as being a guest speaker on the music business at Jones boyhood school in North London. So Ashley Slater was cajoled into singing a track that incidentally has lyrics written by lauded new Independiente band The Shortwave Set.
It was whilst playing upright piano in a pub that Large had met a certain local drinker by the name Glenn Tilbrook, lead singer and songwriter of classic British band Squeeze. The two then worked together on both of Glenn's solo albums. It was only natural then that with such a talent around the corner Glenn was roped in to not only singing, but writing the lyrics on what now turns out to be the 2nd single, "Don't stick around too long".
Another south-east London singer was next up on the boys list for ideal voices to be on the album. Andrea Britton had been a friend and collaborator with both of them, but had recently found chart success singing in more the dance-music genre. She has the perfect smoky voice for singing the song written specifically for her, "Way to go".
It was whilst on tour with Glenn in the USA, that Large had first discovered Robert Bradley, a blind blues singer that had had both of them transfixed as he sang on a riverbank somewhere in Michigan. Bradley was interested in the project as Large declared his intention of getting this as yet undiscovered remarkable voice heard in the UK, a place he had never visited.
For a long time Large and Jones had been fans of a 60's Hammond trio called The Peddlers, initially through some prized vinyl passed through the Jones family. Because of this, the song "Closer" was written for the album as a direct salute to the sound of this band, in particular the voice and Hammond organ style of the leader Roy Phillips, now living in New Zealand. Strangely coincidentally, Jones had arranged his honeymoon in that same country. On his return Jones was able to tell Large all about a certain new drinking buddy he'd met, bonded with, and secured an amazing vocal performance from.
The last track on the album that needed a singer was a stomping Large/Jones collaboration requiring a female voice full of soul yet able to cope with a stratospherically high vocal range. After some research the ideal singer was found, Linda Lewis. As a singer/songwriter Linda has made many inspirational solo albums since the 70's, but she has also sung with rock luminaries such as David Bowie and Cat Stevens. Fortunately she found time to visit Deptford before jet-setting off to Japan for the start of her next world tour." A bass player friend of Jones's came to the rescue, as the regular bassist for Linda he had the necessary contact details, and by extra good fortune it transpired that her husband is the boss of the agency that books the Tilbrook tours Large plays on.
While Large and Jones are pretty able to cover the keyboard parts, the drums and some guitar parts, a host of musicians were required to cover brass, strings, backing vocals, bass, vibraphone, and the more dexterous guitar parts. All of these were professional musician friends, with all kinds of musical experience. Their names are on the album, but some of the stars they have worked with include Paul McCartney, Jimmy Cliff and Joe Strummer.
Here's the hit single, Left, right and Centre from their album - Lord Large presents The Lords First Eleven, featuring vocals by Dean Parish. Interestingly, this song was penned by a young, teen-aged Paul Weller, well before his days with the Jam, and shows the obvious influence of soul music at a time when you would have thought he was more focused on power-pop bordering on punk. Of course the soul influence would resurface on later Jam albums. The song only existed as a demo, but it eventually ended up in the Lord Large production room via Wigan Casino DJ/founder Russ Winstanley, Acid Jazz’s Eddie Piller, and Ocean Colour Scene/Weller guitarist, Steve Cradock. Cradock is one of several guest musicians on the track, which also includes Corduroy bassist, Richard Searle, and dance anthem singer, Andrea Britton.
The main vocal on this track is by American star Dean Parrish, whose song “I’m on my way” was an early smash on the Northern scene, and went on to become the biggest ever selling Northern Soul 45”.
Both want an opportunity to fulfill their desires to write and record in the style of music they share a love of, basically the soul and funk of the late 60's and early 70's. This arises when a bass-playing friend of theirs, Steve Walters, mentions his unofficial godfather is Clem Curtis of The Foundations - one of the unofficial godfathers of British 60's soul, and singer of one of Large and Jones's top ten tunes, "Baby, now that I've found you".
With this connection in mind, Large pens the song "Stuck in a wind-up", which fortunately Clem finds something attractive in, enough to make the tortuous journey down the M1 from Curtis Towers near Milton Keynes to record it. The results being rather pleasing, Large and Jones release it on their specially created record label, 2-bit.
After some useful plays on Radio 2 as "Lord Large featuring Clem Curtis", Acid Jazz pick up on the act, and offer to put an album out with not only Clem singing, but potentially other classic singers performing the songs.
And so the mission began: to find some singers, and of course, to write some decent songs.
Although Large has had limited experience as a session player, he nonetheless managed to form some useful connections. One was with a trombonist who sang one of Large and Jones's favourite tracks of the 90's, "Tune in, turn on.." by Freakpower - as well as being a guest speaker on the music business at Jones boyhood school in North London. So Ashley Slater was cajoled into singing a track that incidentally has lyrics written by lauded new Independiente band The Shortwave Set.
It was whilst playing upright piano in a pub that Large had met a certain local drinker by the name Glenn Tilbrook, lead singer and songwriter of classic British band Squeeze. The two then worked together on both of Glenn's solo albums. It was only natural then that with such a talent around the corner Glenn was roped in to not only singing, but writing the lyrics on what now turns out to be the 2nd single, "Don't stick around too long".
Another south-east London singer was next up on the boys list for ideal voices to be on the album. Andrea Britton had been a friend and collaborator with both of them, but had recently found chart success singing in more the dance-music genre. She has the perfect smoky voice for singing the song written specifically for her, "Way to go".
It was whilst on tour with Glenn in the USA, that Large had first discovered Robert Bradley, a blind blues singer that had had both of them transfixed as he sang on a riverbank somewhere in Michigan. Bradley was interested in the project as Large declared his intention of getting this as yet undiscovered remarkable voice heard in the UK, a place he had never visited.
For a long time Large and Jones had been fans of a 60's Hammond trio called The Peddlers, initially through some prized vinyl passed through the Jones family. Because of this, the song "Closer" was written for the album as a direct salute to the sound of this band, in particular the voice and Hammond organ style of the leader Roy Phillips, now living in New Zealand. Strangely coincidentally, Jones had arranged his honeymoon in that same country. On his return Jones was able to tell Large all about a certain new drinking buddy he'd met, bonded with, and secured an amazing vocal performance from.
The last track on the album that needed a singer was a stomping Large/Jones collaboration requiring a female voice full of soul yet able to cope with a stratospherically high vocal range. After some research the ideal singer was found, Linda Lewis. As a singer/songwriter Linda has made many inspirational solo albums since the 70's, but she has also sung with rock luminaries such as David Bowie and Cat Stevens. Fortunately she found time to visit Deptford before jet-setting off to Japan for the start of her next world tour." A bass player friend of Jones's came to the rescue, as the regular bassist for Linda he had the necessary contact details, and by extra good fortune it transpired that her husband is the boss of the agency that books the Tilbrook tours Large plays on.
While Large and Jones are pretty able to cover the keyboard parts, the drums and some guitar parts, a host of musicians were required to cover brass, strings, backing vocals, bass, vibraphone, and the more dexterous guitar parts. All of these were professional musician friends, with all kinds of musical experience. Their names are on the album, but some of the stars they have worked with include Paul McCartney, Jimmy Cliff and Joe Strummer.
Here's the hit single, Left, right and Centre from their album - Lord Large presents The Lords First Eleven, featuring vocals by Dean Parish. Interestingly, this song was penned by a young, teen-aged Paul Weller, well before his days with the Jam, and shows the obvious influence of soul music at a time when you would have thought he was more focused on power-pop bordering on punk. Of course the soul influence would resurface on later Jam albums. The song only existed as a demo, but it eventually ended up in the Lord Large production room via Wigan Casino DJ/founder Russ Winstanley, Acid Jazz’s Eddie Piller, and Ocean Colour Scene/Weller guitarist, Steve Cradock. Cradock is one of several guest musicians on the track, which also includes Corduroy bassist, Richard Searle, and dance anthem singer, Andrea Britton.
The main vocal on this track is by American star Dean Parrish, whose song “I’m on my way” was an early smash on the Northern scene, and went on to become the biggest ever selling Northern Soul 45”.
Thursday, July 16, 2009
THE REZILLOS ARE BACK!
The Rezillos burst forth upon the rock scene in 1976, having gathered together at Edinburgh College of Art. Through a shared love of Sixties Garage Rock and the Spectoresque Girl Group glam of The Ronettes and the Shangri Las, The Rezillos found themselves inadvertently caught up in the Punk or New Wave movement. Their debut single, "I Can't Stand My Baby", shot them to underground fame initially via airings on John Peel's radio show. Their classic singles "My Baby Does Good Sculptures", "Top of the Pops" and "Destination Venus" signalled critically acclaimed milestones for the band.Their landmark album of 1978 "Can't Stand the Rezillos" reached the top 10 in the UK album chart. They appeared twice on the legendary Old Grey Whistle Test and hit the Top Twenty with their hit single 'Top of the Pops', a satirical swipe at the UK pop music programme of the same name. Once the band had achieved chart success it was inevitable that they should appear on the same show! They followed up that same year with a live recording, "Mission Accomplished... But the Beat Goes On", and promptly broke up to the anguish of fans and music critics alike.
In recent years their music has appeared on various "History of New Wave" compilations with the band enjoying a growing status on US underground and college radio stations and rock fanzines. Interest has continued to expand, seeing a CD re-release of their material in 1993 and the subsequent Web buzz via the internet, etc. Bringing it to a head, they reformed on New Year's Eve 2002 with a spur-of-the moment gig in Edinburgh, Scotland playing to 150,000 Hogmanay revellers gathered in the capital city. The writing was on the wall, it was time to get the band together again, tour the world and set to work on the creation of a new album. Following rave reviews, the reformed group embarked upon a twelve-date tour of the US. Strangely enough, although signed to an American label, and having recorded their debut in New York City, the band had previously played only one gig in the USA in 1978, at the infamous CBGBs.
They played exceptional sell-out shows in Norway and France and won over a new generation of Spanish fans in Madrid, Barcelona and Valencia. Their UK shows, again including the sell-out Astoria 2 show in London, have re-established them as one of the most exciting bands currently on display, with a verve and energy that puts many younger bands to shame. In March 2003, the long-awaited cult-movie, Jackass: The Movie was finally released in the UK. The Rezillos classic foot stomper "Somebody's Gonna Get Their Head Kicked In Tonight" features on the soundtrack, and resulted in them appearing in no less than five US publications on the same day on the first week of it's US release.
Having made it into the 21st century that they sang about so often in the 20th it's fitting that their rebirth should warp them into the present still finding themselves firmly in step both musically and conceptually.
Below is their new single called No.1 Boy.
(content taken from myspace)
THE BING AUSTRIA SHOW JULY SHINDIG
It was raining cats and dogs last July 11 plus the traffic is so damn heavy it clogged the whole of Metro Manila area, The host of the show came in late due to thatt. But despite of this the loyal supporters of Bisikleta Productions came over to show their love and support. Punk rockers, skinheads, mods, casuals and some innocent bystanders dropped by to dine, drink, dance and see the awesome bands at the show.First band is rockabilly rockers PUSAKAL with Jerome of CAMOTE CHUNKS, these cats are getting better and better, you should see them!
The highlight of the show is the surf band TANGO BITOY they played awesome its a wipeout! (no pun intended). The crowd responded with a thunderous applause as each song twang and reverberated the entire hall of Sazi's Bar.
The young boys of S.D.K. played a mean hardcore set. THE SNEEKERS is fiery as hell. THE GOSIGNALS heats up the crowd. Too bad i had to leave early that night coz' i bought along my eldest daughter who was tired and sleepy (sorry guys family first). But i heard from Bing that after i left, MARCOS CRONIES bought the house down everyone was skanking silly and
THE EXSENADORS brought back streetpunk the skinheads had gone crazy and Bing had to see to it that no one will go aggro on somebody.Here's the videos and pictures from the last event that was held at Sazi's Bar. (sorry again guys the quality of the pictures and videos is not that good coz it was just taken using a cellphone)
Thanks to Carl Simonon of t.R.A. and his lovely girlfriend Aryan for the videos and pictures.
The Pictures: From top to bottom, the crowd, Tango Bitoy and Pusakal.
The Videos: From top to bottom, Einstein Chakras, The GoSignals, The Sneekers and Umble Uno.
The Videos: From top to bottom, Einstein Chakras, The GoSignals, The Sneekers and Umble Uno.
Wednesday, July 15, 2009
Monday, July 13, 2009
Free live Specials CD with the Sunday Times
The Specials back on stage after 30 years Coventry band formed during last economic recession blended ska, punk and politics with top ten hits including Ghost Town
The first thing that strikes you, when the re-formed Specials take to the stage after more than a quarter of a century, is how good they look. They are all in their fifties, all of them fathers, and the last time they all played together was 28 years ago. Yet there are no bald patches or paunches, and they race around as if they’re in training for a sprint race. Apart, of course, from Terry Hall, who stands stock still, surveying the crowd with the baleful look of old, spitting sarcasm from a slightly baggier frame.
The second thing is how fresh and joyful their music sounds — and how vital and relevant their songs’ sociopolitical sentiments, chronicling life amid the racial, economic and class divisions of late-1970s Britain, remain in 2009. Formed in Coventry during the last economic recession to drive a failed Labour government out of power, they blended ska, punk and politics, proving an instant hit with a generation fired up by the Sex Pistols and the Clash.
Between 1979 and 1981, the Specials enjoyed seven Top 10 hits, including the chart-toppers Ghost Town and Too Much Too Young — a song that seemed doomed to become their epitaph when they broke up.
While Hall went on to have a successful subsequent career, with Fun Boy Three, the Colourfield and Vegas, followed by collaborations with everyone from Tricky to Gorillaz, the others have fared less well. Three of them abandoned music careers entirely. Now, after six years of delicate diplomatic talks begun by the guitarist Lynval Golding, they are back together to mark the 30th anniversary of their landmark debut album.
Judging by the numerous times various members spontaneously get up to hug each other as they meet in a London hotel, before a pre-Glastonbury warm-up gig at the tiny 100 Club, they are loving every minute. That was far from the case in 1981, when simmering tensions came to a head and they broke up, acrimoniously, in the dressing room of Top of the Pops, as Britain’s inner cities burnt in race riots to the soundtrack of Ghost Town at the top of the charts. “I’ve had nightmares about it since the 1980s,” admits the traumatised guitarist Roddy Byers, once known as Roddy Radiation. “And I still do.” Horace Panter, the dapper and articulate bass player formerly dubbed Sir Horace Gentleman, sums it up. “We just burnt ourselves out. Too much too young.”
Both men still live in Coventry with their families, and both were apprehensive when they learnt of plans to put the Specials back together. Byers says: “I just thought, ‘Do I want to go through the nightmare again?’” Panter had a new career as an art teacher at a special-needs school (“The job my parents always wanted me to do,” he notes drily) and was not immediately convinced about the reunion. “I had to sit down and think about it,” he confesses.
The band who boasted that they “don’t wanna be rich, don’t wanna be famous” might have had the fame, but they missed out on the fortune. “Someone made some money,” scowls MC Neville Staple, “but we didn’t.” Then again, as Panter points out: “We never made much money first time around, but that was never the object. It was just to be in a group.” Byers recalls the band members being offered £30 a week each by the Clash’s manager, Bernie Rhodes, who took them under his wing in the early days — and was rewarded by being ridiculed in their debut single, Gangsters. “And we were just delighted to be paid to do what we loved doing.”
Yet even that palled eventually. “I used to love it, but it became a chore,” says Staple, openly admitting that he’s doing it for the money now. “I’m not gonna lie, it’ll help me grandkids,” he says. “I’m enjoying it, but, basically, I’m getting the financial reward I didn’t get as a kid.”
There may be a financial incentive, but there is a unity to these six middle-aged men, not just in their on-stage chemistry, but in their offstage banter. The truth is, they are enjoying it more than they once did.
The drummer, John “Brad” Bradbury, who battled serious illness five years ago, talks of the reunion’s “healing” benefits for himself. “I feel so lucky. I’m so excited, I still don’t sleep at night. I woke up at 3am today and couldn’t get back to sleep.” He adds: “I have been humbled by the plaudits people have bestowed on us. There is a passion, and when we look out at that audience...”
There is also a feeling that they know how to cope this time. “We realise the mistakes we made last time,” Panter admits. “We won’t spend time cooped up on a hot bus. We’ll travel independently. We’re not a gang: I don’t go out for a drink with Roddy or talk politics with Lynval or football with Terry. I’ve got a family and my own social life. We make sense when we’re all standing on a stage together.”
So, do they have any happy memories of their times in the Specials Mk 1? “When it was good, it was great,” Panter quips. “But when it was bad, it was horrid.” Byers believes it was America that destroyed the band: “We went straight there after a European tour and on the tour bus, we gradually got to hate each other.”
The reunion may have seemed sudden even to their staunchest fans, but Golding, who has spent the past decade bringing up his children in Seattle with his Native American wife, began the process six years ago when he contacted Hall and founder member Jerry Dammers — the one original member absent from this reunion.
A tortuous period of transatlantic communication ensued, punctuated by occasional clandestine meetings. “At one point, Jerry told us to meet him at the British Museum, but we had to stay in a back room because he was so paranoid about us being seen together,” Golding recalls.
In the end, Dammers failed to see eye to eye with the others about the reunion. Hall says the sticking point was the band’s desire to tour, and Dammers’ preference for playing just a few football stadiums, but it seems that plenty of old tensions rose to the surface. Do they miss him? “No, no, no!” Panter howls. Golding and Bradbury both agree they don’t miss him at all. Finally, Byers admits there is an element of regret. “I miss his craziness. Jerry used to... not dictate, but he had a plan.” He laughs: “And none of us knew what the hell it was!”
Hall has most to say on the subject: “I think it’s really sad that he’s not with us. And the longer it goes on without him, the harder it is for me to find the reason why. It’s pretty basic — do you wanna play or not? And he doesn’t seem to want to. But he can walk back in any time he wants.”
Hall arrives to be interviewed last of the band, barely an hour before stage time, but looks calm and characteristically weary. Is he enjoying it more this time? He strokes his chin and ponders. “I’m more in control,” he replies after a long pause. “That’s good.” He looks up. “Do you know what I mean?” Six years ago, Hall was diagnosed as suffering from bipolar disorder, though his perpetually glum demeanor had been a running joke for decades. “I know,” he nods. “I always found myself incredibly cheery on stage.” He chuckles momentarily. “Others didn’t.”
By the time Hall received the diagnosis, he was on the point of collapse. “It got so acute that it ended up with total physical and mental breakdown. I couldn’t walk and talk, couldn’t do anything for a really long time.” It took four years to find the right medication, “just to function during the day, and sleep”. The results have been spectacular, he says. “For two years, I’ve been really good — no weirdness, no darkness — and that’s great. I can operate now.”
And has standing on that stage again brought him catharsis?
“Very much so,” he nods enthusiastically. “It’s been a massive healing process for the band.
And I think that’s the biggest thing for me: to be able to be with mates again, people I grew up with.
It’s like we had this big family rift and we all fell out at our uncle’s wedding or something. But now we’re putting that right, and that’s good for all of us. I think a few bands have greatness, and I think we had it.” He looks up. “And I think we’ve still got it.”
Below is the track list for the CD giveaway:
Do the Dog
The band’s opening song sets forth their punk-ska fusion and anti-racist manifesto.
Dawning of a New Era
The Specials changed the face of music with the 2-Tone revolution, and on this song Terry Hall staked his claim as the voice of disaffected youth.
Gangsters
A homage to the ska great Prince Buster, this debut single put them on the map.
Rat Race
A sneering attack on the complacency and political posturing of affluent students.
Monkey Man
Dedicated "to all the bouncers", this is a storming version of Toots and the Maytals’ ska/reggae anthem.
Blank Expression
Hall’s dissolute vocal reflects the vacant expressions of the people he meets on an edgy walk through Coventry.
Concrete Jungle
A chilling slice of social realism from Roddy Byers.
Friday Night, Saturday Morning
The false hopes of living for the weekend, working all week for it and staggering home disappointed.
A Message to You Rudy
Dandy Livingstone’s rocksteady favourite reaches a new audience, borne along on the fabulous interplay of trombone and trumpet.
Do Nothing
An achingly sweet melody listlessly recounts the gloom of the new Thatcher era.
Nite Klub
A sneering attack on scenesters, or whatever they were called back in 1979.
Too Much Too Young
Who could have predicted that you could top the charts with a vicious anthem about teenage pregnancies.
The first thing that strikes you, when the re-formed Specials take to the stage after more than a quarter of a century, is how good they look. They are all in their fifties, all of them fathers, and the last time they all played together was 28 years ago. Yet there are no bald patches or paunches, and they race around as if they’re in training for a sprint race. Apart, of course, from Terry Hall, who stands stock still, surveying the crowd with the baleful look of old, spitting sarcasm from a slightly baggier frame.
The second thing is how fresh and joyful their music sounds — and how vital and relevant their songs’ sociopolitical sentiments, chronicling life amid the racial, economic and class divisions of late-1970s Britain, remain in 2009. Formed in Coventry during the last economic recession to drive a failed Labour government out of power, they blended ska, punk and politics, proving an instant hit with a generation fired up by the Sex Pistols and the Clash.
Between 1979 and 1981, the Specials enjoyed seven Top 10 hits, including the chart-toppers Ghost Town and Too Much Too Young — a song that seemed doomed to become their epitaph when they broke up.
While Hall went on to have a successful subsequent career, with Fun Boy Three, the Colourfield and Vegas, followed by collaborations with everyone from Tricky to Gorillaz, the others have fared less well. Three of them abandoned music careers entirely. Now, after six years of delicate diplomatic talks begun by the guitarist Lynval Golding, they are back together to mark the 30th anniversary of their landmark debut album.
Judging by the numerous times various members spontaneously get up to hug each other as they meet in a London hotel, before a pre-Glastonbury warm-up gig at the tiny 100 Club, they are loving every minute. That was far from the case in 1981, when simmering tensions came to a head and they broke up, acrimoniously, in the dressing room of Top of the Pops, as Britain’s inner cities burnt in race riots to the soundtrack of Ghost Town at the top of the charts. “I’ve had nightmares about it since the 1980s,” admits the traumatised guitarist Roddy Byers, once known as Roddy Radiation. “And I still do.” Horace Panter, the dapper and articulate bass player formerly dubbed Sir Horace Gentleman, sums it up. “We just burnt ourselves out. Too much too young.”
Both men still live in Coventry with their families, and both were apprehensive when they learnt of plans to put the Specials back together. Byers says: “I just thought, ‘Do I want to go through the nightmare again?’” Panter had a new career as an art teacher at a special-needs school (“The job my parents always wanted me to do,” he notes drily) and was not immediately convinced about the reunion. “I had to sit down and think about it,” he confesses.
The band who boasted that they “don’t wanna be rich, don’t wanna be famous” might have had the fame, but they missed out on the fortune. “Someone made some money,” scowls MC Neville Staple, “but we didn’t.” Then again, as Panter points out: “We never made much money first time around, but that was never the object. It was just to be in a group.” Byers recalls the band members being offered £30 a week each by the Clash’s manager, Bernie Rhodes, who took them under his wing in the early days — and was rewarded by being ridiculed in their debut single, Gangsters. “And we were just delighted to be paid to do what we loved doing.”
Yet even that palled eventually. “I used to love it, but it became a chore,” says Staple, openly admitting that he’s doing it for the money now. “I’m not gonna lie, it’ll help me grandkids,” he says. “I’m enjoying it, but, basically, I’m getting the financial reward I didn’t get as a kid.”
There may be a financial incentive, but there is a unity to these six middle-aged men, not just in their on-stage chemistry, but in their offstage banter. The truth is, they are enjoying it more than they once did.
The drummer, John “Brad” Bradbury, who battled serious illness five years ago, talks of the reunion’s “healing” benefits for himself. “I feel so lucky. I’m so excited, I still don’t sleep at night. I woke up at 3am today and couldn’t get back to sleep.” He adds: “I have been humbled by the plaudits people have bestowed on us. There is a passion, and when we look out at that audience...”
There is also a feeling that they know how to cope this time. “We realise the mistakes we made last time,” Panter admits. “We won’t spend time cooped up on a hot bus. We’ll travel independently. We’re not a gang: I don’t go out for a drink with Roddy or talk politics with Lynval or football with Terry. I’ve got a family and my own social life. We make sense when we’re all standing on a stage together.”
So, do they have any happy memories of their times in the Specials Mk 1? “When it was good, it was great,” Panter quips. “But when it was bad, it was horrid.” Byers believes it was America that destroyed the band: “We went straight there after a European tour and on the tour bus, we gradually got to hate each other.”
The reunion may have seemed sudden even to their staunchest fans, but Golding, who has spent the past decade bringing up his children in Seattle with his Native American wife, began the process six years ago when he contacted Hall and founder member Jerry Dammers — the one original member absent from this reunion.
A tortuous period of transatlantic communication ensued, punctuated by occasional clandestine meetings. “At one point, Jerry told us to meet him at the British Museum, but we had to stay in a back room because he was so paranoid about us being seen together,” Golding recalls.
In the end, Dammers failed to see eye to eye with the others about the reunion. Hall says the sticking point was the band’s desire to tour, and Dammers’ preference for playing just a few football stadiums, but it seems that plenty of old tensions rose to the surface. Do they miss him? “No, no, no!” Panter howls. Golding and Bradbury both agree they don’t miss him at all. Finally, Byers admits there is an element of regret. “I miss his craziness. Jerry used to... not dictate, but he had a plan.” He laughs: “And none of us knew what the hell it was!”
Hall has most to say on the subject: “I think it’s really sad that he’s not with us. And the longer it goes on without him, the harder it is for me to find the reason why. It’s pretty basic — do you wanna play or not? And he doesn’t seem to want to. But he can walk back in any time he wants.”
Hall arrives to be interviewed last of the band, barely an hour before stage time, but looks calm and characteristically weary. Is he enjoying it more this time? He strokes his chin and ponders. “I’m more in control,” he replies after a long pause. “That’s good.” He looks up. “Do you know what I mean?” Six years ago, Hall was diagnosed as suffering from bipolar disorder, though his perpetually glum demeanor had been a running joke for decades. “I know,” he nods. “I always found myself incredibly cheery on stage.” He chuckles momentarily. “Others didn’t.”
By the time Hall received the diagnosis, he was on the point of collapse. “It got so acute that it ended up with total physical and mental breakdown. I couldn’t walk and talk, couldn’t do anything for a really long time.” It took four years to find the right medication, “just to function during the day, and sleep”. The results have been spectacular, he says. “For two years, I’ve been really good — no weirdness, no darkness — and that’s great. I can operate now.”
And has standing on that stage again brought him catharsis?
“Very much so,” he nods enthusiastically. “It’s been a massive healing process for the band.
And I think that’s the biggest thing for me: to be able to be with mates again, people I grew up with.
It’s like we had this big family rift and we all fell out at our uncle’s wedding or something. But now we’re putting that right, and that’s good for all of us. I think a few bands have greatness, and I think we had it.” He looks up. “And I think we’ve still got it.”
Below is the track list for the CD giveaway:
Do the Dog
The band’s opening song sets forth their punk-ska fusion and anti-racist manifesto.
Dawning of a New Era
The Specials changed the face of music with the 2-Tone revolution, and on this song Terry Hall staked his claim as the voice of disaffected youth.
Gangsters
A homage to the ska great Prince Buster, this debut single put them on the map.
Rat Race
A sneering attack on the complacency and political posturing of affluent students.
Monkey Man
Dedicated "to all the bouncers", this is a storming version of Toots and the Maytals’ ska/reggae anthem.
Blank Expression
Hall’s dissolute vocal reflects the vacant expressions of the people he meets on an edgy walk through Coventry.
Concrete Jungle
A chilling slice of social realism from Roddy Byers.
Friday Night, Saturday Morning
The false hopes of living for the weekend, working all week for it and staggering home disappointed.
A Message to You Rudy
Dandy Livingstone’s rocksteady favourite reaches a new audience, borne along on the fabulous interplay of trombone and trumpet.
Do Nothing
An achingly sweet melody listlessly recounts the gloom of the new Thatcher era.
Nite Klub
A sneering attack on scenesters, or whatever they were called back in 1979.
Too Much Too Young
Who could have predicted that you could top the charts with a vicious anthem about teenage pregnancies.
Specials CD & Interv..http://www.megaupload.com/?d=LKOPU89H
Sunday, July 12, 2009
WORKING CLASS BAD BOY ICON
Local lad Frederick John Perry, was born in Stockport in 1909 but moved down South while he was still at school and fell in love with table tennis. He practiced his ping pong every night, eventually becoming world champion at the tender age of 18. He then promptly retired from the game and got busy with his latest obsession, lawn tennis.
Unfortunately his Stockport bad boy style did not go down too well with the snobbish tennis heirarchy. His habit of changing his clothes mid-game to stay looking fresh, leaping over the net at the end of each match and dating a string of actresses and models caused major problems for this working class playboy. They were especially displeased when he went on to win Wimbledon three times in a row.
After the third victory he decided to move to America and become a pro at the Beverley Hills Tennis Club
, giving lessons to Charlie Chaplin, David Niven, Errol Flynn and the Marx Brothers whilst establishing himself on the Hollywood party circuit.
In the late 40s Fred was approached by Tibby Wegner, an Austrian footballer who had invented a novel anti-perspirant device worn around the wrist. Fred made a few changes and the sweatband was born.
Tibby's next idea was to produce a sports shirt which was to be made from white knitted cotton pique with short sleeves and buttons down the front. Launched at Wimbledon in 1952, the Fred Perry polo shirt was an immediate succes.
It was only available in white until the late 50s when the mods picked up on it and demanded a more varied colour palette. It was the shirt of choice for diverse groups of lads throughout the 60s and 70s, ranging from the skinheads to the Northern Soul scene and Manchester's very own 'Perry Boys'.
Now recognised as a classic British staple in anyone's wardrobe, we wonder if history would have been any different if they'd gone for Fred's first choice for the emblem - a pipe
In the late 40s Fred was approached by Tibby Wegner, an Austrian footballer who had invented a novel anti-perspirant device worn around the wrist. Fred made a few changes and the sweatband was born.
Tibby's next idea was to produce a sports shirt which was to be made from white knitted cotton pique with short sleeves and buttons down the front. Launched at Wimbledon in 1952, the Fred Perry polo shirt was an immediate succes.
It was only available in white until the late 50s when the mods picked up on it and demanded a more varied colour palette. It was the shirt of choice for diverse groups of lads throughout the 60s and 70s, ranging from the skinheads to the Northern Soul scene and Manchester's very own 'Perry Boys'.
Now recognised as a classic British staple in anyone's wardrobe, we wonder if history would have been any different if they'd gone for Fred's first choice for the emblem - a pipe
Thursday, July 9, 2009
THE BING AUSTRIA SHOW
Tomorrow night its The Bing Austria Show! again at Sazi's Bar!. A little history on The Bing Austria Show, this shindig was founded by Punk, Reggae and Ska veteran Bing Austria keyboardist for Tropical Depression and Put3ska and now frontman of the soul mod act Juan Pablo Dream along with some of the like minded people from PinkCow and Tolonguez Death Squad's bass player Odel, in early year 2000. During its infancy their residence is at a bar in Fairview and later was handled by Mind The Gap Productions taking the show to Vida De Malate and to Bar 42 in Tomas Morato. Its aim is to promote up and coming bands that has character as well as musicality to boot. The Bing Austria Show hibernated for a few years then Bisikleta Productions decided to pick up the show to jumpstart it once more. The show is highly influenced by the Rat Pack form of entertaining the masses and Jools Holland Shows brand of music info's plus the D.I.Y ethos of punk rock.
What started out as an outlet for plain old fun became a community amongst the bands and patrons alike. Tired of the silly clique and rivalries. We decided to do our own musical movement and thus born this monthly gathering spearheaded by like minded people. We are trying to make gigs fun once again and try not to suck.
If this scene is not fun its because YOU'RE not making it fun, and if this scene sucks, its because YOU suck. THIS SCENE IS YOUR RESPONSIBILTY. Come join the fray and make sure to leave your bullshit politics behind coz politics fuck you up and make sure you bring your tolerance with you. Remember to dress in Style, Keep Calm & Carry On!
TRY THIS AT HOME
This Friday night The Hardest Working Band in the land COFFEE BREAK ISLAND will be performing at Leprechaun Bar with The Invincible SHUFFLE UNION alongside EARTHLINGS. and This coming July 18th, One of our mainstay main acts of The Bing Austria Show THE GOSIGNALS will be guesting at TRY THIS AT HOME PRODUCTIONS alongside Coffee Break Island and HILERA expect to hear Ska, Reggae, Mod and Garage Rock on the 18th. Please do come and support these bands.
These great bands haved graced the Bisikleta Productions events at one time or another, again please do support them as you have supported us. Leprechaun Bar is located at Tomas Morato corner E. Rodriguez Avenue, Quezon City.
Tuesday, July 7, 2009
Monday, July 6, 2009
FINALLY A BAD BRAINS DOCUMENTARY
A new documentary on Bad Brains. Appropriately titled Bad Brains, the documentary tells the story of the legendary D.C. hardcore band from their beginning to present-day. Bad Brains is an American hardcore punk band formed in Washington, D.C. in 1977. It is widely regarded as among the pioneers of the genre, though the band's members objected to the term "hardcore" to describe their music.
Originally formed as a jazz fusion ensemble under the name Mind Power, Bad Brains developed a very fast and intense punk rock sound, which was both musically complex, and was often played faster and more emphatically than the music of many of their peers. They were also an adept reggae band, in a sort of Jekyll-and-Hyde arrangement, while later recordings featured elements of other genres. Bad Brains are also notable as religious followers of the Rastafari movement. Bad Brains broke up and reformed several times over the years, sometimes with different singers and/or drummers. The band's classic and current lineup is singer H.R., guitarist Dr. Know, bassist Darryl Jenifer, and drummer Earl Hudson, H.R.'s younger brother.
Despite reforming in 2007, seminal hardcore punk band Bad Brains are still an overlooked entity. That could change with a new documentary that tells the band's story through interviews with their contemporaries and with footage of the band on their reunion tour. The documentary isn't completely finished yet, but the trailer is below for you viewing pleasure.
Originally formed as a jazz fusion ensemble under the name Mind Power, Bad Brains developed a very fast and intense punk rock sound, which was both musically complex, and was often played faster and more emphatically than the music of many of their peers. They were also an adept reggae band, in a sort of Jekyll-and-Hyde arrangement, while later recordings featured elements of other genres. Bad Brains are also notable as religious followers of the Rastafari movement. Bad Brains broke up and reformed several times over the years, sometimes with different singers and/or drummers. The band's classic and current lineup is singer H.R., guitarist Dr. Know, bassist Darryl Jenifer, and drummer Earl Hudson, H.R.'s younger brother.
Despite reforming in 2007, seminal hardcore punk band Bad Brains are still an overlooked entity. That could change with a new documentary that tells the band's story through interviews with their contemporaries and with footage of the band on their reunion tour. The documentary isn't completely finished yet, but the trailer is below for you viewing pleasure.
LION CITY HARDCORE
Singapore based pinoy hardcore kings T.S.A. will be wreaking havoc at CRAWLSPACE (back of Straits Records) together with a bunch of great bands.Straits Records is the soul of Singapore underground, tucked in a little alley down Bali Lane this uber cool place which reminded me back home of A to Z Records and Groove Nation back in the day, is headed by Ridhwan V. Ghany. On my first day in Lion City the first thing that i did is to find a nice record bar and buy some local Punk and Ska albums. I found out about this place in a magazine (forgot the name of the mag) about the Singapore fashion and music culture that i got for free while window shopping in the busy district of Orchard Road.
The first time i visited this place is the first time i hooked up with T.S.A drummer Ojie Arcega. The last time i talked to Ridhwan is while i am purchasing a Cesspit and Plague of Happiness CD to give as "pasalubong" (besides the Kaya Jam and Milk Tea!) to my good friend back home, non other than Je Bautista.
I told Ridhwan when i come back to my native country and if i had a chance to get back again in Lion City is that i will bring him back some great CDs from the local bands in my country that i love. Anyway if you are in and around Singapore and you wanna hear some tunes get off the beaten path and go check out T.S.A.'s brand of hardcore, and while you're at it buy some records on your way in.
I told Ridhwan when i come back to my native country and if i had a chance to get back again in Lion City is that i will bring him back some great CDs from the local bands in my country that i love. Anyway if you are in and around Singapore and you wanna hear some tunes get off the beaten path and go check out T.S.A.'s brand of hardcore, and while you're at it buy some records on your way in.
PUNKS NOT DAD
Masters of anarchy, destruction and careful step by step adherence to the instructions during the assembly of IKEA furniture.
Leaders of the new revolution taking place in sheds and offices up and down the land. Reclaimers of luminous vinyl theft , confiscators of pocket money and every teenagers worst nightmare at a party.
Don't stay out too late kids Or we're coming to get ya!!!
SUPPORT YOUR LOCAL TALENT
We are launching a Clothing line called SHIT SHIRT made by Paulo of PinkCow Hand Made Silk Screen Printed shirts ranging from 300 bucks to 500 bucks here is a sample made by him the design is specially done by Ish friend of Mel Maniego of The GoSignals. You can purchase this shirt by going to any Bisikleta Productions gig or by attending one of the many gigs that The GoSignals are in it.
Watch out for more designs coming from SHIT SHIRT. By the way Paulo Robleza also accepts made to order print if you wanna know more go attend a PinkCow show and ask him about it.
Watch out for more designs coming from SHIT SHIRT. By the way Paulo Robleza also accepts made to order print if you wanna know more go attend a PinkCow show and ask him about it.
Friday, July 3, 2009
JULY 11 UPDATE & AUGUST
Due to unforeseeable events GUT REACTION won't be performing this July 11, Saturday. Albert Ascona of Gut Reaction had informed me that his work schedule had shifted and this will affect the Band due to that time shift. And LIFE WITHOUT FRANCIS will not be performing also. Do not be saddened about this recent update because THE SNEEKERS have recently reformed and will participate on the upcoming Bing Austria Show! Plus we still got loads of great bands including our mainstay main act THE GOSIGNALS. Which by the way has a gig along side Coffee Break Island at Leprechaun Bar in Tomas Morato corner E. Rodriguez Avenue on July 18. Speaking of Coffee Break Island this hard working band is also performing with the invincible Shuffle union with support act from Earthlings one of the mainstay act also of The Bing Austria Show this coming Friday, July 10. (Please support these bands)
For those of you who do not know The Sneekers you're in for a real treat. These ska punkers had recently reformed and agreed to perform for all you folks out there.
And on August 8, The Bing Austria Show will be featuring ROMEO LEE and the Malabon city pranksters F.M.D. along with SHUFFLE UNION, JEEPNEY JOYRIDE, STEADY MOVIN' BEAT, BARRIO MORNING GLORY, MARCOS CRONIES and the MNHC (Malabon-Navotas Hardcore) Band AGAINST MAN and More!
For those of you who do not know The Sneekers you're in for a real treat. These ska punkers had recently reformed and agreed to perform for all you folks out there.
And on August 8, The Bing Austria Show will be featuring ROMEO LEE and the Malabon city pranksters F.M.D. along with SHUFFLE UNION, JEEPNEY JOYRIDE, STEADY MOVIN' BEAT, BARRIO MORNING GLORY, MARCOS CRONIES and the MNHC (Malabon-Navotas Hardcore) Band AGAINST MAN and More!
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