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Black Noize: Remembering Proper Grounds’ anguish rap metal (or ‘Madonna discovers rap metal’)
01.11.2017
03:51 pm

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Hip-hop
Music

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Remember the record industry? It was nuts, man. REO Speedwagon had their own plane. Black Sabbath had a $70,000 cocaine allowance. Jimmy Page had his own fucking castle. Michael Jackson, that guy...well, never mind. The point is, if you sold enough records, you could basically do whatever you wanted.

In 1992, when she was sandwiched between her 80’s pop-hit peak and her 00’s disco-feminist golden age, Madonna was generating so much income that Warner Brothers financed her own media empire. Maverick Entertainment was formed initially to release her Erotica album and the infamous Sex coffee table book (i.e. the one with Madonna’s vagina and Vanilla Ice’s penis), but they also operated as a subsidiary of Warners, signing bands and making movies. There were, naturally, high hopes for a Madonna-led entertainment company. She was known for pushing the envelope and edging mainstream culture away from the center and into weirder, kinkier territories. So who knew what she would unearth with Maverick? Could be anything. Crazy, mind-blowing shit, right? We already had full-frontal Maddy getting her freak on in Sex, what could possibly come next?

Spoiler alert: In 1995, they released Jagged Little Pill, one of the biggest selling records of all time. Which is great for Madonna and for Alanis Morrissette, but it wasn’t exactly a cutting-edge release. And most of the Maverick-y stuff that came before it was even more underwhelming. Remember Canadian Bacon, John Candy’s last film, the only non-documentary that Michael Moore ever made? That was Madonna’s thing. So were soft-grunge cretins Candlebox. Maverick would eventually be the home of cuddly mainstream enterprises like Britney Spears, Michelle Branch, and the Twilight twinkling vampire movies. The Brink’s truck continued making regular deliveries to Madonna’s house, but any dreams of the company living up to the name were pretty much dashed when they signed the Backstreet Boys.

But there were actually a couple of early glimmers (rays?) of light suggesting that, hey, maybe Madonna knew what was up all along. For one thing, she signed DC hardcore heroes Bad Brains and released their reggae-heavy ‘95 album God of Love. Unfortunately Brains’ mainman HR was on a real tear that year and assaulted a bunch of people, including the group’s own manager, hastening the band’s (brief, but career-tanking) demise. And she also discovered LA rap-metal pioneers Proper Grounds.

Many would cite Rage Against the Machine as the first significant band to tread this thorny path. Rage are not a metal band and they don’t have a rapper, but okay, sure. Ice-T would point you to his incendiary thrash metal outfit Body Count. But that was a just a rapper playing metal.There were one-offs like the Public Enemy/Anthrax mash-up “Bring the Noize”; the lesser-known Sir Mix-a-lot/Metal Church head-spinner “Iron Man” in ‘88, and if we stretch even farther back, the mysterious hooded rapper The Lone Rager, who spat out a brief history of the genre back in ‘84’s ridiculous “Metal Rap” (“And Metallica? Spectaculah!”). 24-7 Spyz offered up funk-metal that edged into hip-hop territory, and Schoolly D, in his bid to wipe out rock n’ roll once and for all, merged metal riffs with hilariously angry lyrics on his 1988 album Smoke Some Kill (“Fuck Cinderella, fuck Bon Jovi, and motherfuck Prince, man.”). All that shit existed, sure. But none of them merged the gritty realities of life on the street with the intensity and velocity of heavy metal in the same way that Proper Grounds did.
 

 
Proper Grounds were, essentially, a panicky Grandmaster Flash with grungy guitars. Or maybe Stone Temple Pilots with scratching. Formed by frontman The Sandman and bass player/producer Danny Saber, they had a deep-rooted social consciousness that neatly subverted the mindless violence and material worship that engulfed rap in the 90’s and their take on metal, was elastic and acrobatic, avoided the genre’s chest-thumping excess. They called their particular brand of noise “anguish rap metal” and that pretty much says it all. Songs like “I’m Drowning,” “Backwards Mass,” and “Money in the Depths of a Plagueless Man” were so dark they were practically gothic. Their sole album, 1993’s Downtown Circus Gang, was a stark snapshot of life on the streets of LA in the wake of the ‘92 riots, bitter and hard and raw and real. Perfect for the 90’s, really.

More after the jump…

Posted by Ken McIntyre | Leave a comment
Gary Coleman, comic books & other disasters: Raging Slab were the assmasters of the 1990s
01.11.2017
02:00 pm

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Music

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Assmaster cover
 
It sorta all shook out the same way, really. Promising start followed by a long, slow slog to oblivion. While it might’ve been a one-off goof, Gary Coleman’s appearance in a 1993 video by New York boogie-rock champs Raging Slab was essentially the last real flash of light for both of ‘em. It’s probably the second thing on a pretty short list of what most people remember about Gary Coleman and the only thing most people remember about Raging Slab. And that’s a drag, because they both deserve better.

Raging Slab might be one of the most ill-starred bands this side of their spiritual and musical forebears, Lynyrd Skynyrd. The band was formed in NYC in 1983 by husband and wife team Greg Strzempka and Elyse Steinman (vox/guitar, slide guitar). The earliest incarnation of the band included future Warrior Soul riot-starter Kory Clarke on drums and one DJ Dimitri (later of house music legends Dee-Lite), and their aggressively retro southern rock style flew in the face of 80’s new wave and glam metal. Nobody wanted to sound like Foghat in 1983, not even Foghat. But Raging Slab did.
 

 
Despite their twirly mustaches and mid 70’s hustle, the band eventually carved out their own niche, and in 1987 they released their first album, the audacious-in-every-way Assmaster. It came with its own comic book, created by Marvel artists Pat Redding and Pete Ciccone, portraying the band as groovy, muscle-bound superfreak superheroes. It sounded like a comic book, too.  Much like dope metal heroes Monster Magnet, the band embraced 70s junk culture with religious fervor, creating a brightly-colored alt-world splashed with boogie vans, pot leaves and American flag motorcycle helmets with riffs that could topple evil space tyrants from the Forbidden Zone. They were like Elvis, the Fonz and Evel Knievel jamming on “Freebird” at the Grand Canyon forever and ever… And Assmaster was a stone-cold classic. No doubt about it.

Raging Slab signed to RCA and released a self-titled follow-up in 1989. It was a fitting successor to their debut, filled with tasty slide guitar and crunching riff-rock. Lead single “Don’t Dog Me” had a hot hit video, and the band toured the country, sometimes with southern rockers like Molly Hatchet and sometimes with glam-bangers like Warrant. Things were looking up, despite rapid turnover in the ranks, particularly in the drummer department. But RCA hated the next two records and didn’t even bother releasing them, eventually dropping them/pawning them off to Rick Rubin and Def American. Raging Slab been slipping below the radar for years so when comeback album Dynamite Monster Boogie Concert was ready to hit the bins in spring of ‘93, it was preceded by a single so infectious and a video so over-the-top that no one could resist it. “Anywhere But Here” featured the chick from the cover of Funkadelic’s Maggot Brain album (sorta), funky 70s puppet “Lester” (sorta) and real Diff’rent Strokes star Gary Coleman running around a magical mini-golf course while the band rocks out in front of a candy-colored castle. There’s fire and bubbles and shiny gold medallions and everybody looks like they’re having the time of their lives. Which is good, because that’s the best it got for all involved.
 

 
Gary Coleman starred in Diff’rent Strokes for eight seasons. Stricken with a rare kidney disease, Coleman stayed kid-size well into adulthood. Piles of sitcom cash would’ve lessened the blow but his parents mismanaged his fortune and left him in the unenviable task of being really famous and really broke. So sure, get dwarf-tossed by a couple of Mexican muskrat (?) marionettes on the set of a rock video, why not? Could be the start of something big.

It wasn’t.

Keep reading after the jump…

Posted by Ken McIntyre | Leave a comment
KISS, Sparks, & rock ‘n’ roller coasters: The legendary ‘Magic Mountain’ theme park of the 1970’s
01.11.2017
12:21 pm

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Amusing
Music

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On an incredibly hot memorial day weekend in 1971, Magic Mountain opened in Valencia, California just 18 months after construction began. The “theme” of this theme park was not entirely clear and it only had one roller coaster, however the park’s other offerings—the fireworks, rides, laser shows, arcade games, and nightly concerts—made “fun, magic, and rock ‘n’ roll” the name of the game. By the time the park was sold to Six Flags at the end of the decade, Magic Mountain had cemented a place in rock ‘n’ roll history by giving many young Southern Californians their very first live concert experience. Its three venues (7-Up / Dixi Cola Showcase Theatre, The Gazebo, and Kaleidoscope) were home to many great acts such as Fleetwood Mac, The Carpenters, Sonny & Cher, The Jackson 5, The Everly Brothers, and KISS who attracted a long-haired, beer can drinking parking lot crowd that didn’t meet Disneyland’s strict dress code and could afford the $5 admission price.
 

Sonny & Cher performed nightly from Sept 2nd-12th, 1971 at Magic Mountain’s 7-Up Showcase Theatre
 
When it first opened Magic Mountain secured a short-term deal from Warner Brothers to use their Looney Tunes characters, however when that agreement expired in 1972 a lineup of very unmemorable troll characters were introduced: Bloop, Bleep, King Troll (aka King Blop) and the Wizard. These bizarre, colorful, psychedelic looking walk-around characters became the most recognizable symbols of the park throughout the ‘70s. They greeted guests, posed for photographs, and appeared on all manners of merchandise and advertising before being discontinued in 1985.
 

“Trolls & Fountain” 1977 Magic Mountain postcard
 
By the mid-1970’s the park begun introducing faster and scarier rides such as The Electric Rainbow, Galaxy, and Jolly Monster. However, it was the Great American Revolution (the first modern, 360-degree steel looping coaster) in 1976 that gave the park its first real thrill factor. At the time Universal was filming a disaster-suspense movie called Rollercoaster about a young extortionist (played by Timothy Bottoms) who travels around the U.S. planting bombs on roller coasters promising horrific casualties to those who don’t meet his one million dollar ransom. The film’s climactic final sequence takes place during a huge rock concert celebrating the grand opening of Revolution. While teen-idol fan magazines Tiger Beat and Sixteen reported to their readers that the Scottish glam-rock band the Bay City Rollers were to perform in this film it was actually Los Angeles’ own Sparks who accepted the role having just relocated back to L.A. from England.
 
Sparks were documented on the big screen prior to their breakthrough commercial success during a strange transitional period for the band when they briefly dropped their quirkiness and demanded to be taken seriously. Concerned at the time that their music may have become stale, the Mael brothers left their synthesizers behind for a more “American” guitar sound on their Rupert Holmes produced album Big Beat. Although Rollercoaster was a modest success despite fierce competition from Star Wars at the box office that summer, Ron & Russell Mael of Sparks now look back upon the film with embarrassment. “Yes, you did see Sparks performing ‘Big Boy’ and ‘Fill’er Up’ in the film Rollercoaster during your last airplane trip,” said Russell Mael in the September 2006 issue of Mojo Magazine. “No, we didn’t know that the film was going to turn out like that. Rollercoaster movie proves that you have to be continually careful of what you do… You never know what’s going to last and what’s going to fall by the wayside, and man, does that last!” Sparks’ cameo in Rollercoaster is brief but fun and energetic, especially when Ron Mael gets rowdy and smashes his piano stool on the stage.
 

Russell Mael of Sparks performing in front of Revolution in the 1977 disaster film ‘Rollercoaster’
 
In 1978 at the height of KISS’ massive popularity, Hanna-Barbera Productions produced a made-for-television movie for NBC titled Kiss Meets the Phantom of the Park. Filmed on location at Magic Mountain, the film’s poor script revolved around an evil inventor living underneath the theme park whose nefarious plans are thwarted by an other-galactic rock ‘n’ roll group with superpowers (played by KISS). Despite the fact that all four members were given crash courses on acting, much of the dialogue recorded was unusable and had to be re-dubbed in post production. Ace Frehley was said to have become increasingly frustrated with the long periods of downtime normally associated with filmmaking and stormed off the set one day leaving his African American stunt double to finish his scenes (which made for perhaps one of the most noticeable and unintentionally hilarious continuity errors in the history of cinema). KTNQ’s “The Real” Don Steele (one of the most popular disc jockeys in the U.S.) gave away 8,000 tickets to see KISS perform live at the Magic Mountain parking lot which was filmed for the movies big dramatic rock ‘n’ roll concert ending.
 
Keep reading after the jump…

Posted by Doug Jones | Leave a comment
Mondo freako: Meet the Italian progrocker weirdos who influenced a young Peter Gabriel
01.10.2017
02:25 pm

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Music

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In one of those “one minute I was looking at this one thing, and then suddenly I was looking at this totally other thing” moments the Internet is so fond of bestowing upon us, this morning I was on eBay looking for posters of 60s/70s Eurobabe actress Barbara Bouchet (as I do…a lot lately) when I saw a listing for the soundtrack for Milano Calibro 9, a bloody and brutal 1972 poliziotteschi she co-starred in. The music for Milano Calibro 9 is a collaboration between the celebrated Argentinean-born composer Luis Bacalov—who is best known for the soundtracks to Django, Pasolini’s The Gospel According to St. Matthew, the Oscar-winning score to Il Postino and his work with Italian progressive rock groups—and the Italian progressive rock group Osanna.
 

 
I downloaded this soundtrack a few years ago—and I love it—but I never knew what Osanna looked like. And I wondered if maybe there were any vintage performance videos of the group in their prime that had been posted on YouTube? The answer to the first question is “total freaks” and to the second “yup, plenty!”
 

 
Apparently Osanna were one of the very first groups anywhere in the world to do a full on “theatrical rock” thing and they sound like a Neapolitan-tinged combination of Jethro Tull, Pink Floyd, the Mothers of Invention, Focus and Moody Blues with a sonic palette consisting of heavy guitar, flute, 12-string acoustic interludes and mellotrons. What’s more, if you look at photos of Peter Gabriel in 1971 vs. 1972, there’s a fair case to be made based on the available visual evidence that the lad was “influenced” by the opening act—that would be Osanna—that Genesis toured Italy with in 1972.

Osanna broke up in 1974, reformed again in 1977 and then broke up again two years later. They reformed again in 1999 and have performed and toured sporadically since then, including playing the entire Milano Calibro 9 soundtrack onstage in Japan in 2012.
 

“L’ Uomo” from 1971.
 
More after the jump…

Posted by Richard Metzger | Leave a comment
Extended footage of David Bowie as ‘The Elephant Man’
01.06.2017
01:21 pm

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Music

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This weekend brings the first “would have been” birthday for David Bowie, who would have turned 70 this coming Sunday, January 8. Of course, it’s been almost a full year since Bowie passed away of cancer two days after turning 69.

Bowie’s first and only attempt at an extended run as a stage actor occurred in 1980, when he took on the role of John Merrick in Bernard Pomerance’s play The Elephant Man, which had debuted at the Hampstead Theatre in London in 1977. As with many of the projects Bowie took on, it was a decided challenge and proved to be a striking success. Bowie had just spent a few years hanging out with Iggy Pop and Brian Eno in Berlin producing some of his most interesting albums—the timing of the request to replace the existing actor Philip Anglim, made by Jack Hofsiss, the director of the Broadway production, which had already done very well and which Bowie had already seen, was surely critical, as Bowie was likely seeking a change at the time. There was also a certain resonance in playing a type of Victorian monster since his most recent album bore the name Scary Monsters (And Super Creeps)

Bowie had such a striking physical presence, so ideal for the role of Thomas Jerome Newton in The Man Who Fell to Earth as well as for the physically deformed John Merrick in Pomerance’s play, which makes the interesting choice of eschewing makeup for the actor. The David Lynch movie that came out around the same time has no connection to Pomerance’s play, with its own, separate development. Oddly, both movie and film insist on referring to the historical Joseph Merrick as “John Merrick.”

As Bowie tells it, the producers of the play had Bowie try the role away from the intense media scrutiny of New York, so he did the play for six days (July 29-August 3, 1980) at the Denver Center of Performing Arts, where he could “die a quiet death” if it emerged that he wasn’t up to the challenge. After three weeks in Chicago at the Blackstone Theater, Bowie’s debut as a Broadway actor came on September 23, 1980, at the Booth Theatre for a run of a little longer than three months.
 
More after the jump….....

Posted by Martin Schneider | Leave a comment
Einstürzende Neubauten get violent, poetic, apocalyptic, beautiful & demonic all at the same time
01.05.2017
05:57 pm

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Movies
Music

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Although they’ve gone through several recognizable “eras” in their long existence—including crucial personnel changes—if I had to pick just one thing from their multi-decade oeuvre that best exemplifies the geräuschempfindlich gestalt of Germany’s avant garde heroes Einstürzende Neubauten to play for someone who’d never heard them before, I would without hesitation pick the 1985 film Halber Mensch (“Half Man,” also the title of their then current album, sometimes written as 1⁄2 Mensch). It’s a freaky, mutant masterpiece and in a cinematic category of only itself.

Obviously Neubauten is regarded primarily as a sonic proposition, but it’s crucial to see them live—or at least to see them in action on film or video—to understand how they do it to better appreciate the incredible prowess with which they do what they do. Not that any of the alchemical mystery of the group could ever be truly revealed under any circumstances, because… well I just don’t think that’s possible, but when you experience them in a concert hall setting able to muscularly reproduce the sounds they make in the recording studio onstage, it’s quite impressive. It’s easier for someone new to them to get it if they can see it, too.

Theirs is a form of self-expression that’s far too idiosyncratic to ever attempt to explain—although a hefty snort of speed would undoubtedly go a long way towards getting Neubauten’s point across, I should think—so why bother? Plus I respect what they do too much to try to interpret it, but if I had to describe them, and their unique artform—for God’s sake don’t compare them to Stomp or Blue Man Group!—I’d say they’re like Edgard Varèse meets the Droogs from A Clockwork Orange on the way to Karlheinz Stockhausen’s house to beat the shit out of him and burn it down.

How can something be so brutal, poetic, violent, apocalyptic, delicately beautiful and frighteningly demonic all at the same time?

Many times it’s been said of Einstürzende Neubauten that if there is a Hell, that they would be the house band and whereas this is… true of course, do you really expect that Satan would hire a hack KISS tribute band to perform for his guests? No way, dude.
 

 
Halber Mensch was shot in Tokyo by the highly influential Japanese director Sogo Ishii, the manic talent behind the dazzling “punk” indie Burst City. Sogo Ishii is not a name well-known outside of Japan, but in the early 1980s his highly stylized “cyberpunk meets Mad Max meets the yakuza” film (which featured actual Japanese punk groups like the Roosters, the Rockers, Inu and the Stalin as futuristic gangs) had made him the perhaps the hottest young “rebel” talent in the rapidly falling apart Japanese film industry of the day. Halber Mensch is one of those things where you can’t believe it exists, but clearly someone (oddly the film bears the copyright of The Seibu Department Stores, Ltd.) put up a not inconsiderable amount of money to make this film. It’s an incredibly slick and high tech looking, yet it’s also one of the most primitive things you’ll ever see. The group are seen in astonishing performances captured by Sogo’s highly choreographed camera moving across the ruined setting of the Nakamatsu ironworks, which would soon be torn down.

More after the jump…

Posted by Richard Metzger | Leave a comment
‘90s underground rock guitar kings Chavez return after 20 years
01.05.2017
09:44 am

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In 1994, a 7” was released by a band called Chavez, who were pretty much unknown outside New York. I picked it up because a concert promoter friend of mine advised me that A) it was right up my alley and B) the band was comprised of members of Bullet LaVolta and Live Skull, two bands that couldn’t have been less alike. Bullet LaVolta were a Boston band of the late ‘80s and early ‘90s that attempted a metal/punk hybrid which, though they were good players, really never quite connected, even in the nascent days of grunge when exactly their sound was becoming dominant in both independent and mainstream music. Live Skull were contemporaries of Swans and Sonic Youth in the 80s’ storied NYC noise rock scene. I kinda had to know what that chimera would sound like, and the price of a 7” didn’t seem too much to risk.

That record is fucking glorious. It has all the elements you expect from a ‘90s underground band—loud/quiet dynamics, sandpaper vocals, dissonance and texture often standing in for melody and harmony—but Chavez applied those familiar tropes in utterly transcendent ways. Guitarists Clay Tarver (Bullet LaVolta) and Matt Sweeney trafficked in trebly riffs that perforated eardrums like hot needles, and drummer James Lo (Live Skull) and bassist Scott Marshall possessed the power to inflict blunt force trauma, but they did so organically, without ever becoming overly stylized in Shellac/Jesus Lizardy ways. Their best tracks could absolutely soar, and they were a joy to listen to because you could practically hear the band’s members taking tremendous pleasure from the creation of their music.
 
Keep reading after the jump…

Posted by Ron Kretsch | Leave a comment
All you need is war: The Beatles vs. Hitler in the most fucked-up movie ever made
01.04.2017
02:02 pm

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History
Music
Stupid or Evil?

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If you thought the movie version of Sgt. Pepper’s Lonely Hearts Club Band was bad—and it is—here’s something that will really curl the toes of your Beatle boots.

All This And World War ll mashes up archival WW2 film footage with gung-ho Hollywood war epics and then tosses in a weird mix of rock stars covering Beatle tunes for its soundtrack. It manages to achieve a soul-deflating awfulness while occasionally allowing little worm like glimmerings of brilliance to ooze through the sprocket holes. Had it not been produced by 20th Century Fox, it might be mistaken for a long lost underground film directed by dadaist acidheads with a lot of rock and roll musicians for friends.

When it was released to theaters in 1976, ATAWW2 lasted all of a couple of weeks (critics hated it, audiences stayed away) before being pulled by Fox and buried forever. It has never appeared on VHS or DVD. Rumor had it that Fox had destroyed every existing print and negative of the movie (not true, but they probably should have). Even bootleggers found it close to impossible to unearth a copy.

Thanks to YouTube, it’s now possible to see this extravagantly misguided experiment as it lands on your screen with a sickening thud. An experiment that proves that if you put enough monkeys in an editing room and give them enough time and stock film footage they will create “something” that approximates a movie even if it’s no more than the cinematic equivalent of throwing shit against the wall.

I’m sure we can all argue which juxtapositions of song to images work, which ones are silly in the extreme or just plain irredeemably bad ... or all of the above. Helen Reddy singing “Fool On The Hill” as clips of Hitler unspool on the screen gets my vote for the movie’s maddest moment. Or is it Rod Stewart singing “Get Back” to footage of masses of goose-stepping Nazis? Or The Bee Gees singing “Golden Slumbers” as bombs drop on London and buildings explode in a maelstrom of smoke and fire? I don’t know. The film offers so many choices that my bad taste meter never left the red zone. And frankly, that alone is enough for me to recommend this anal wart of a movie.

Watch this thing, after the jump…

Posted by Marc Campbell | Leave a comment
Infamous London punks Cockney Rejects get banned by the BBC, 1980
01.04.2017
01:07 pm

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Class War
Music
Sports

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The 1970s were a hugely contentious time for the UK. In 1973 the country was reeling from a massive outbreak of worker strikes that were in retaliation to new bills that put harsh restrictions on pay increases. By May there were over 1.6 million workers walking the picket lines. On January 7th, 1974, hinging on measures introduced by then Prime Minister Edward Heath, a mandatory three-day work week was instituted. Initially a five-day restriction, the new three-day mandate came into play in order to avoid any further fallout due to the crisis-level lack of energy and fuel resources. Once the measure went into effect 885,000 workers applied for unemployment benefits. All of this discontent during this dangerously tumultuous time would be fuel for the fire of the Cockney Rejects.

The Cockney Rejects were hardass guttersnipes, the sons of East End dockers, who were inspired by the Sex Pistols. They sang about fights, how much they hated the police and how much they loved football. And there were songs about fighting over football and being arrested.

The original group consisted of the Geggus brothers, Mickey and Jeff, AKA Stinky Turner. Both brothers were good boxers and neither had ever lost in the ring. They were joined by Vince Riordan as their bassist in 1979. After getting their start as The Shitters, the band signed with EMI (tipped by Sham 69’s Jimmy Pursey) after playing a small handful of live gigs which would quickly become known for regularly descending into violent riots. Much of the contention stirred up by quad was based on their support of their beloved West Ham United Football Club.

When the group appeared on Top of the Pops on May 22nd, 1980 following West Ham’s ascension to the FA Cup Finals, the band literally wore their pride on stage donning their “West Ham” shirts in support of their team. Apparently after barely miming their way through their hit version of the West Ham theme “I’m Forever Blowing Bubbles” the band ran amok in the hallowed halls of the BBC and were subsequently banned from performing on the show again. Still just teenagers, the Cockney Rejects would continue to live up to their reputation by playing an equally unhinged live gig at The Cedar Club in Birmingham. That show, which left fans lying bloody on the floor would go on to be known as the “Battle of Birmingham” and has been called the most “violent” live show in British concert-going history.  It would also mark a turning point in the band’s career as future gigs would devolve into clashes between opposing groups of football fans and skinheads who followed the Oi! movement.
 

 
Journalist Garry Bushell, who covered the Oi! movement for SOUNDS later wrote:

With the Rejects, football was the trouble. And it was understandable because they’d been fanatically pro-West Ham aggro from the word go. Even at their debut Bridge House gig they decked the stage out with a huge red banner displaying the Union Jack, the West Ham crossed hammers and the motif ‘West Side’ (which was that part of the West Ham ground then most favoured by the Irons’ most violent fans). Their second hit was a version of the West Ham anthem ‘Bubbles’ which charted in the run-up to West Ham’s Cup Final Victory in the early summer of 1980. On the b-side was the ICF-pleasing ‘West Side Boys’ which included lines like: ‘We meet in the Boelyn every Saturday/Talk about the teams that we’re gonna do today/Steel-capped Dr. Martens and iron bars/Smash the coaches and do ’em in the cars’.

It was a red rag to testosterone-charged bulls all over the country. At North London’s Electric Ballroom, 200 of West Ham’s finest mob-charged less than fifty Arsenal and smacked them clean out of the venue. But ultra-violence at a Birmingham gig really spelt their undoing. The audience at the Cedar Club was swelled by a mob of Birmingham City skinheads who terrace-chanted throughout the support set from the Kidz Next Door (featuring Grant Fleming, now a leftwing film maker, and Pursey’s kid brother Robbie). By the time the Rejects came on stage there were over 200 Brum City skins at the front hurling abuse. During the second number they started hurling plastic glasses. Then a real glass smashed on stage. Stinky Turner responded by saying: “If anyone wants to chuck glasses they can come outside and I’ll knock seven shades of shit out of ya”. That was it, glasses and ashtrays came from all directions. One hit Vince and as a Brum skinhead started shouting “Come on”, Micky dived into the crowd and put him on his back. Although outnumbered more than ten to one, the Rejects and their entourage drove the Brummy mob right across the hall, and finally out of it altogether. Under a hail of missiles Mickey Geggus sustained a head injury that needed nine stitches and left him with what looked like a Fred Perry design above his right eye. Grant Fleming, a veteran of such notorious riots as Sham at Hendon and Madness at Hatfield, described the night’s violence as the worst he’d ever seen.

More after the jump…

Posted by Cherrybomb | Leave a comment
‘The Cat Piano,’ narrated by Nick Cave
01.04.2017
10:19 am

Topics:
Animation
Movies
Music

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The Cat Piano is an award-winning short animation directed by Eddie White and Ari Gibson and narrated by Nick Cave. For some odd reason the Wikipedia entry makes note not to confuse this with Keyboard Cat. So let’s not do that, okay?

A brief summary of the animation:

In a city of singing cats, a lonely beat poet falls for a beautiful siren. When a mysterious dark figure emerges, kidnapping the town’s singers for his twisted musical plans, the poet must save his muse and put an end to the nefarious tune that threatens to destroy the city.


 
Released in 2009, The Cat Piano won “Best Short Animation” at the Australian Film Institute Awards and “Best Music in a Short Film” at the APRA Screen Music Awards. The short’s bold animation style was achieved using Adobe Photoshop, with the artists drawing directly into the computer with Wacom tablets.

Watch it in its entirety, below:

 
h/t Coilhouse on Facebook

Posted by Tara McGinley | Leave a comment
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