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The Magick & Madness of Geoff Crozier, psychedelic shaman, trickster, evil court jester
03:12 pm


Geoffrey Crozier
Geoffrey Krozier

Although he (apparently) vanished off this mortal coil in 1981, three decades after his death musician/magician Geoffrey Crozier (or Jeff Crozier or Geoffrey Krozier or any number of variations on that theme) still makes ghostly appearances all over the world via documents of his work that have been posted posthumously on the Internet like freaky little occult bombs with long fuses.

Crozier was called “the high priest of exorcism-rock,” “the Mad Magician,” “High Priest of Magick” and billed as a “voodoo psychedelic magician.” To think of him as merely an Aussie Alice Cooper (or Arthur Brown for that matter) is to entirely miss the point of the truly impressive CHAOS this guy was able (and quite willing) to orchestrate as a performer. Alice is, and always was, just a stage act. This guy obviously meant it. Like a man possesed, Crozier was also clearly doing whatever it was he was doing for his own benefit and only secondarily for the audience’s entertainment.

Suffice to say, I don’t think anyone who ever saw the man perform, let alone they who performed with Geoffrey Crozier, ever forgot him. Although he played with quite an assortment of different musicians, it seemed like his modus operandi changed little throughout the years. Loud music. Pandamonium. Pyrotechnics. Flashing lights. Illusions. Always a distinctly Dionysian, if not downright evil, flavor to the proceedings. No matter who was backing him at a given time, the idea was to have them just “play”—that is play whatever, basically, I don’t think he was fussy as long as it was half or fully crazed.

Duncan Fry, who played guitar in one of Crozier’s earliest groups, writes:

What he wanted was free-form continuous music for the 30 minutes or so that he performed, while clouds of oily smoke, flashpots, and strobe lights alternately choked and dazzled the audience. Most of the musicians who turned up for the audition couldn’t handle such a laissez-faire attitude to the music side of things.

“But what songs are we going to play?” they would whine. “No songs, just play, play” Geoff would reply, setting off another flash pot.

While Crozier did his thing, he would talk-sing in a freeform surrealistic schizophrenic poetic manner, often using snatches of Aleister Crowley. The effect was not unlike a demon-possesed jabberwocky-spouting Vivian Stanshall in many respects.

Here’s a loose transcription of the sort of thing he’d…uh… rap, quoted from a fascinating 2006 post about Crozier on Julian Cope’s Head Heritage website:

“Pope Pubic, 13th of March, April 1972 and the year of rats as big as cats, hmmm, what a well-hung door… Flamshot was his well-oiled name, and he was a supreme and utter no nonsense around here mate or I’ll rip your lungs out and flush your entrails into my hair he said. Face me when you talk to me, son of a tinker’s curse, all hail the redback, and let’s take drugs together, and let’s get pissed together and let’s fuck one another and let’s drown in one another’s bubbling bloodbath as we cut each other’s throats… mmm I’d like to see you squirm, I’d like to see you burn, and finally the coin stopped spinning and fell back to earth, and they both got what they wanted… a Shiva hand-job!”


There are fragments of Krozier’s biography scattered here and there (the best perhaps being “Geoff Krozier – A Magik Story” an essay from his friend and collaborator Rob Greaves). The (very) short version is that he was born Jeff Crozier in Australia in 1948, started off as a stage magician/illusionist in the mid-60s at a young age. His act was becomes something darker and much wilder incorporating psychedelic rock music with the formation of what ultimately became known as Geoff Krozier’s Indian Medicine Magik Show, having previously been called The Magic Word, or when they performed in more conservative parts of Oz, the Magic Pudding!

He ends up in New York during the punk era, living on Staten Island in a tiny room with “a dog called Schroeder, a black cat named Quasar, a dove named Tweedledee and a monkey with the unlikely moniker of Sarcophagus Mayhem.” There he performs with Kongress, a mind-bending mid-70s NYC punk outfit that also included berserk No Wave legend Von LMO on drums and Otto Von Ruggins on synthesizers. (We’ve covered Kongress before on the blog here). After that implodes—Crozier and Von LMO apparently felt homicidal towards one another—he returns to Australia, is given the Australian Society Of Magicians’ Magician Of The Year award and in 1980 he hooks up with an electronic group called The Generator (or Rainbow Generator) and records and performs with them.

Crozier hung himself on May 17th 1981. With the details of his biography scattered hither and yon like digital ashes, it’s impossible to say too much about him with much assurance. Google him yourself and you’ll see what I mean. [Try alternate spellings of his name: Jeff Crozier, Geoff Crozier, Geoff Krozier, etc to tease out more mentions of this fascinating character.]

The clip below is an insane 1970 vintage performance of Geoff Krozier’s Indian Medicine Magik Show from an Australian television program called Hit Scene that has got to be the single most demented thing anyone did on TV (let alone in private) anywhere in the world that year. As I watched this, I wondered how such a thing could have been allowed to happen and I found that the answer that Krozier’s day job at the time was as a set painter at Channel 9, so he had connections at the various TV shows taped there and was able to fill in at a moments notice if another act cancelled, so that is the answer as to “how” something this insane occurred and was beamed into middle class living rooms some 45 years ago.

However it happened, I’m just glad that it did. Press play….

Posted by Richard Metzger | Discussion
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‘The Side Effects of the Cocaine’: Mini-comic about David Bowie’s coked-up, paranoid years
10:15 am


David Bowie

Nearly five years ago, in August 2010, Sean T. Collins (writer) and Isaac Moylan (artist) posted “The Side Effects of the Cocaine” on a Tumblr dedicated for the purpose. It had as a subtitle, “David Bowie 01 April 1975-02 February 1976,” which puts us squarely in the Thin White Duke era, of course, covering Station to Station (the title of the comic comes the title track of that album), Nicolas Roeg’s The Man Who Fell to Earth, Bowie’s appearance on Soul Train, Bowie’s Playboy interview, conducted by Cameron Crowe, who also wrote “Ground Control to Davy Jones,” a profile on Bowie for Rolling Stone that appeared in February 1976. As Peter Bebergal wrote in his excellent book Season of the Witch: How the Occult Saved Rock and Roll, “When a nineteen-year-old Cameron Crowe visited David Bowie for a Rolling Stone magazine interview in 1975, he found a coked-out Bowie lighting black candles to protect himself from unseen supernatural forces outside his window” of his home in Hollywood.

In that Playboy interview Bowie made some comments about the appeal of fascism that would get him into trouble:

Television is the most successful fascist, needless to say. Rock stars are fascists, too. Adolf Hitler was one of the first rock stars. ... Look at some of his films and see how he moved. I think he was quite as good as Jagger. It’s astounding. And, boy, when he hit that stage, he worked an audience. Good God! He was no politician. He was a media artist himself. He used politics and theatrics and created this thing that governed and controlled the show for those 12 years. The world will never see his like. He staged a country.

Bowie’s diet during this period was famously red peppers, milk, and cocaine, with more than a soupçon of fame and paranoia.

It’s one of Bowie’s best and most interesting periods—Station to Station is my favorite Bowie album—and in “The Side Effects of the Cocaine” Collins and Moylan take a peek at the romantic/fucked-up mythos of that period. What is the significance of the dates April 1, 1975-February 2, 1976? Well, April 1, 1975 was the date that Bowie severed ties with MainMan, Tony Defries’ management company, and it’s that scene that kicks us off in the comic. On February 2, 1976 was the start of his Isolar tour, in Vancouver, British Columbia, which ends the comic. You can read an account of that show by Jeani Read under the title “Sinatra Having a Bad Dream,” which presumably ran in the Vancouver Sun the next day (but I don’t know this):

Bowie performances are-have been-legendary for being massively orchestrated orgies of visual and musical sensationalism. Which makes the current offering the biggest no-show of his career. And possibly the best. The thing was absolutely brilliant, maybe for its sheer audacity than anything else, but brilliant nonetheless.

Dressed in black 40’s style vest and pants, white French-cuff shirt, edge of blue Gitanes cigarette pack sneaking out of his vest pocket. Posturing-a naked kind of elegance now, brittle and brave-in front of a bare essential band of guitars, keyboards, drums and bass, on a bare black stage in the bare glare of white-only stage and spots. Looking about as comfortable as Frank might fill-in as lead singer for Led Zeppelin, and even within that assuming total control over the proceedings.Bowie has always said that on stage he feels like an actor playing the part of the rock star.

Collins and Moylan take a slice-of-life approach with Bowie’s life, with the proviso that his life wasn’t anything like a normal person’s at this time. Towards the end some of the panels feature Bowie making utterances from his Playboy interview.

Click here to read the whole thing.






Here’s “Station to Station” being rehearsed in Vancouver prior to the Isolar tour in 1976, for those who want to hear the title line. Note that Bowie forgets the lyrics, but the band soldiers on:


Posted by Martin Schneider | Discussion
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‘Songs of the Witch Woman’: Exclusive footage of Marjorie Cameron reading ‘Anatomy of Madness’
09:56 am


Marjorie Cameron
Jack Parsons

MOCA, the Museum of Contemporary Art in Los Angeles has extended their Marjorie Cameron exhibit by a week—it’s closing now on the 18th—so if you’re in town and haven’t seen the show, you still have a chance to catch it. In order to bring attention to these extra dates, MOCAtv‘s director Emma Reeves has kindly offered Dangerous Minds readers this exclusive glimpse at some never before seen footage of the artist/occultist reading poetry at the Barnsdall Art Park in East Hollywood in 1989.

The show’s catalog is titled Cameron: Songs for the Witch Woman and it’s quite worth owning if you like this sort of thing.

Via MOCAtv:

Prior to “Cameron: Songs For The Witch Woman,” October 11, 2014–January 18, 2015 at MOCA Pacific Design Center, the largest survey of Marjorie Cameron’s artwork was “The Pearl of Reprisal,” a retrospective at the Los Angeles Municipal Art Gallery in 1989. The exhibition spanned thirty years, from the notorious Untitled “Peyote Vision” (1955) to Pluto Transiting the Twelfth House (1978-1986), pen and ink drawings that lent insight to the artist’s psychic state at the time.

Before the opening reception, Hedy Sontag introduced a program titled “An Evening With Cameron: The Pearl of Reprisal.” Sontag screened two films that feature Cameron: Kenneth Anger’s Inauguration of the Pleasure Dome (1954) and Curtis Harrington’s lyrical documentary The Wormwood Star (1955). After the screening, Cameron emerged barefoot to give a dramatic reading of her poetry by candlelight. Pleasure Dome cast members Samson De Brier and Paul Mathison were among those in attendance.

The reading, which was art directed by Sontag, evokes Cameron in her Topanga Canyon studio, deep in thought as she detaches from the lived world and navigates the subconscious. A prolific writer who shared her work with friends, Cameron was private when inspiration struck. She was known to write in her notebook in social settings, fervently and silently; she forbade visitors to her studio, a sanctum where art-making and writing mingled with astrology and occult ritual.

Though the dates of these journal entries and poems are not known, in their language of mourning and invocation, and use of sacred and Romantic imagery, they are of a piece with the notebooks Cameron kept after the death of Jack Parsons in 1952, as well as the verses she recites in The Wormwood Star, which describe the birth of a spiritual child born of psychic union with Parsons. Notably, Cameron reads prose from “Anatomy of Madness” [5:39], a mixed-media folio included in the exhibition and on view at MOCA. First published in Wallace Berman’s Semina 1 (1956), the text recounts a life cycle of death, rebirth, metamorphosis, and finally, a transcendent spiritual breakthrough.

This never before seen footage, courtesy of the Cameron Parsons Foundation, is a rare document of an artist whose practice had delved further inward, away from the public eye. Due to the quality of the recording, this video has been subtitled. Every effort has been made by MOCA and the Cameron Parsons Foundation to ensure accuracy of the transcription. Please note that the original footage was edited in camera and portions of the reading and poems were omitted by the cameraperson.

Posted by Richard Metzger | Discussion
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‘Doorways to Danger’: Christian occult scare film warns of gateways to Satanism

Woman playing ouija board
Doorways to Danger is a 1990 British short film warning of the risks in flirting with the occult. Here’s the description from the Amazon listing:

Dabbling in the occult is widespread and often thought of as harmless entertainment. But this video shows why it is dangerous to get involved with spiritism, fortune telling, witchcraft, magic, and Satanism. The program introduces the real life stories of those who have been involved in these activities and shows the way out based upon a Biblical perspective.

A description also opens the video, and what comes next is pure gold: A cheesy montage of occult images with a song poem-esque number underneath warning of the hazards of looking up your horoscope and fooling around with a ouija board. And we’re off!

The anecdotal evidence that follows—offered up by supposed experts and decidedly non-experts alike—often seems scripted and/or total B.S., and the “slippery slope” examples given as gateways to full on devil worship (playing Dungeons and Dragons; watching Ghostbusters II!) are a hoot-and-a-half. One of the highlights is the segment with the band Heartbeat (“one of Britain’s top Christian groups”), who we get to see recording and then have an obviously rehearsed conversation about occult dabbling. The late ‘80s fashions they’re sporting will also surely induce a chuckle or two (and dig those hairdos!).

The video was produced by an organization calling itself the “Christian Response to the Occult.” Forming in 1982 by the Deo Gloria Trust, “to give a Christian answer to the inroads that occultism was making into society at that time,” the group later merged with the existing and ideologically similar, Reachout Trust.

Here’s Tom Poulson, the director of the CRO and the man behind Doorways to Danger:

We have a divine commission both to warn and inform our friends, family and neighbours that there is an enemy of God, actively engaged in both blinding them to and drawing them away from Jesus. We neither want to shout ‘FIRE!’ so loudly that people rush towards it, nor remain silent and see people receive life-endangering burns from their involvement with the occult.

Indeed, no one actually shouts “FIRE!” in Doorways to Danger, but to say that believing in things like “bad luck” could lead you into the arms of Satan comes pretty damn close.

Posted by Bart Bealmear | Discussion
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‘The Magus’: Drawings of fallen angels, demons and the Antichrist from 1801
06:28 am


The Magus
Francis Barrett

Francis Barrett’s pictures of fallen angels and demons remind me of a few recalcitrant boozers fleeing the bar on a Saturday night. The sketches were included in his book The Magus—a compendium of several esoteric books, most notably works by Cornelius Agrippa and Peter d’Abano—which was once considered a primary source for occult and ceremonial magic when it was first published in 1801. The book led to a revival of interest in spiritualism, magic and the occult and was a highly influential religious text on minds as diverse as Joseph Smith and his Church of Latter Day Saints, the Freemasons and occultist Eliphas Levi.

Published over two volumes, The Magus begins with an introduction to “Natural Magic” which Barrett described as “a comprehensive knowledge of all Nature”: which we search out her secret and occult operations throughout her vast and spacious elaboratory; whereby we come to a knowledge of the component parts, qualities, virtues, and secrets of metals, stones, plants, and animals;

He goes on to discuss charms, amulets, “occult virtues,” and magic before giving a history and instruction on “alchymy” and the Philosopher’s Stone, and a long section on “The Celestial Intelligencer,” which primarily deals with talismanic magic. The second volume examines magnetism, the “Cabala” and ceremonial magic, the practice and composition of the “Magic Circle,” various rites and a word of warning to would-be adepts, before concluding with a brief history of key occultists—from Zoroaster to John Dee.

For those with an interest in such arcane writing, you can read the whole book here.
More occult angels and demons, after the jump…

Posted by Paul Gallagher | Discussion
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Satanic Christmas sweaters let you flip the bird (or the goat horns) at the holidays

The ironic phenomenon of ugly Christmas sweaters hit shark-jump levels of cultural saturation so rapidly that I actually can’t even remember any early window of time when it wasn’t irritating (though in all fairness, I get irritated pretty easily). Entirely apart from its annoying ubiquity, the whole thing feels kind of shitty, like it’s not really mocking Christmas to wear them, it’s more like mocking people who just happen to like gaudy sweaters. And is that not punching down?

The upside of this dopey annual crap-pageant has been the profusion of cheeky takedowns. The Descendents have been making awesome gag Christmas sweaters for years, and now, the twisted bastards at Middle of Beyond have given the world outright Satanic Christmas sweaters. MoB, regular DM readers may remember, are the preposterous visionaries who gave the world devil tarot card throw rugs and winter gear patterned after the carpeting in the Overlook Hotel from Stanley Kubrik’s film version of The Shining. I actually plunked for one of those Shining scarves, and to my horror, I found, when it arrived, that it was 100% acrylic (my own fault for neglecting the fine print). But for Christmas sweaters, that material isn’t just a requisite, it’s positively a boon. Designs include a straight up old-fashioned Satanic goat head snugly nestled in a red pentagram, Cthulu, Krampus, and a zombiefied Santa Claus festooned with braaaaaaiiiiiiins. So why settle for giving Christmas the finger when you can flash it the goat horns?




Previously on Dangerous Minds
Merry Krampus: ‘horribly distasteful Christmas sweater’
Righteous Motörhead Christmas sweater

Posted by Ron Kretsch | Discussion
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Sword for sale: Warning might be cursed and haunted
11:59 am



Fancy buying a sword that maybe cursed, haunted by ghosts and source of chaos? Well, if you do then an elderly woman in Austin, TX. is selling just that very thing on Cragslist: a mighty double-handed 18th century broadsword that looks nearly as tall as its seller stands.

How does this wise old lady know it’s haunted? Well, since the sword has been in her home, life has descended into chaos. If that weren’t enough to convince you, when her knitting group came over to visit “they all said they could feel a strange energy in my sword room”. Quite.

Here’s the advert:

Sword For sale WARNING might be haunted - $150

This sword is from the 1700s. I got it at an antique store in my memaw’s home town back in 1984. The person who sold it to me told me to be careful because there is a 90+% chance that it is cursed. Since it’s been in my house my life has descended into pure chaos. My knitting group came over and they all said they could feel a strange energy in my sword room (I have a collection of over 100 swords. This is my only haunted sword). Since i got this sword, about 3 times a week a crucifix will fall off of my wall for no reason. I am 76 years old. I cannot have this cursed item in my house anymore. Please take it off my hands!!

Okay, I admit I am intrigued and think this haunted weapon could be a fun thing to have around the home—though anyone who’s read Joe Hill’s Heart-Shaped Box, in which a rock star bought a haunted suit, will know what could follow.
Via io9

Posted by Paul Gallagher | Discussion
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Hawkwind’s ‘Galactic Tarot’ deck, 1971
10:44 am



A couple of weeks ago Arthur’s Jay Babcock tweeted that he had stumbled upon a fascinating two-page Hawkwind spread while “trolling thru the online International Times archive.” It turns out it wasn’t just any Hawkwind spread, it was a full Hawkwind tarot deck! Here’s a look at the spread, rotated 90 degrees. (If you click on the image, you can see a much larger version.)

This spread appeared in Issue 117 of International Times, or IT, which bears a publication date of November 18, 1971, a date that coincides neatly with the release of Hawkwind’s second album, In Search of Space or X In Search of Space, depending on who you ask, which had come out just a few weeks earlier. Linking to Babcock’s tweet a couple of days later, John Coulthart speculated, “Is this an overlooked Barney Bubbles design?”

Bubbles had designed the cover for In Search of Space, which featured a die-cut interlocking foldout. Coulthart himself designed the covers for the 1980s Hawkwind comps Zones and Out & Intake. According to Paul Gorman’s Reasons to Be Cheerful: The Life and Work of Barney Bubbles, Coulthart once credited Bubbles with inventing “cosmic art nouveau” in his early work for Hawkwind.

For any readers of IT wanting to make a deck of their own, the following instructions are provided: “Paste this page down onto a stiff sheet of cardboard. Wait till it’s dry. Then cut out each card until you have a pack of 21. Shuffle and deal into three rows of seven. Read the image / word combinations thus formed. The Galactic Tarot does not speak of the future or the past, for all galactic time is contained in the present.” Yeah, man, faaaar out….. (Cannabis and quaaludes are not mentioned.) If you’d like help deciphering the text, this page is very helpful.

Here are the cards. The text on the cards is a little bit puzzling. If you forgive a transposed word or two, the cards contain the full text of two Hawkwind songs: “Born to Go” and “Infinity.” (If you order the cards Earth-Atlantis-Pluto-Jupiter-Flying Saucer-Sun-Pyramid-Alien-Horus-Machine, you get the verses and chorus for “Born to Go,” and if you order the cards Winged Hero-Icarus-Mercury-Time Card-Aquarian Age-Galaxy-Mars-Saturn-Venus-Infinity, you get the verse and chorus for “Infinity.”) The truly bizarre thing is that neither of those songs appears on In Search of Space—“Born to Go” first appears on the live album Space Ritual, which was released in 1973, while listeners had to wait eight solid years, until 1979’s PXR5, to hear “Infinity.” (Since not everything works out so neatly, the left-over “Space” card has a line from “Black Corridor.”)

Earth: “We Were Born to Go / We’re Never Turning Back”
Pyramid: “We Were Born to Go / As Far As We Can Find”

Atlantis: “We Were Born to Go / And Leave a Running Track”
Flying Saucer: “We Were Born to Blaze / A New Clear Way Through Space”

Space: “Space Is the Absence of Time and of Matter”
Alien: “We Were Born to Blow / To Blow the Human Mind”

Time Card: “Infinity So Beautiful / Has Turned My Soul to Ice”
Machine: “We’re Hatching Our Dreams”

Sun: “A Way Out of the Maze / That Held the Human Race”
Winged Hero: “I Used to Be of Human Kind / I Had a Life to Lead”

Galaxy: “I Met Her in a Forest Glade / Where Starbeams Grew Like Trees”
Horus: “We’re Breaking Out of Our Shell / We’re Breaking Free”

Icarus: “But Now I’m Frozen in a Dream / My Life Is Lost It Seems”
Aquarian Age: “And Crystallized Eternity / For All My Future Time”

Infinity: “In a Dream / Infinity”

Mars 12a: “I Did Not Take Her for a Witch / She Wasn’t What She Seemed”
Jupiter 12b: “We Were Born to Learn / We Were Born to Grow”

Saturn 12c: “She Led Me to a Palace Gate / With Constellation Towers”
Venus 12d: “She Is the Keeper of My Fate / I Sleep Locked in Her Powers”

Pluto 12e: “We Were Born to Go / And Leave No Star Unturned”
Mercury 12f: “She Turned the Key / Of Endlessness and Locked Me”
“Born to Go”:


Posted by Martin Schneider | Discussion
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‘Witchcraft and Black Magic’: Surreal occult fantasy paintings
06:37 am


Jan Parker

In 1971, artist Jan Parker, who’d been a sketch artist on the set of 2001: A Space Odyssey, executed a series of macabre illustrations for Witchcraft and Black Magic by the prolific occult author Peter Haining.

Though he wrote some reference works on Doctor Who, Haining may have become most well known for arguing, in two books, a claim that Sweeney Todd was a real person. That assertion has never been widely embraced, and Haining passed in 2007. Jan Parker, on the other hand, is alive and well, and remains active as an artist. But if all you know of him is work like we’ve reproduced here, you wouldn’t recognize his current output. No longer a dark and surreal arbiter of fantasy and the arcane, he’s now a painter of almost flourescently vivid impressionistic abstractions. Though some of his newer pieces are indeed quite striking, the lurid horrors below are more our speed.



More after the jump…

Posted by Ron Kretsch | Discussion
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Graveyard Rock: SICK SOUNDS from Intoxica Radio!
08:28 am



For all of you fellow rock and roll monsters, here’s my ninth annual Halloween radio show. It can be played or downloaded free or just press play below. I’ve spent my life collecting records and horror film memorabilia among tons of other pop culture items. The combination of horror, monsters and rock n roll is the ultimate for me and many thousands of creeps worldwide. This is the original insane punk music.

There is a big difference between some of this stuff and silly novelty music, which I also like and play on the show, but you won’t hear the “Monster Mash” here, ever. You will hear “Graveyard Rock” by Seattle’s answer to Vampira, the Tarantula Ghoul, and many other crazy 45’s by horror hosts from TV across fifties and sixties America. You’ll also hear teenage garage bands, rockabilly lunatics and wild ads for old live spook shows, horror movies and monstrous toys. I even speak into an echo machine. This is something I do every week, not just on Halloween, hahaha), but THIS is the most special show of the year. Enjoy it!

The show’s basic description is this:

Howie Pyro plays the weird stuff… 50’s and 60’s rock and roll, psycho surf, garage, rockabilly, hillbilly horrors, voodoo R & B, insane instrumentals, religious nuts, teenage hell music, vintage global garbage, peppered with bizarre old movie ads & radio clips & general echo-fied screaming….wild, unhinged primitive 50’s and 60’s rock n roll played every Tuesday at 9PM (California time) from original 45 RPM records at Luxuria Music—Running wild since 2006!

Past guests include Kid Congo Powers (Cramps, Gun Club, Nick Cave), Miriam Linna (Cramps, Norton Records, Kicks Books), , Kim Fowley, ? of the Mysterians, Thee Midniters, Sylvain Sylvain, Cheetah Chrome, Tim Warren (Crypt Records), Reverend Beat Man, Boyd Rice, El Vez, J.G.Thirlwell, Todd-O-Phonic Todd, Sweeney Todd, Lee Joseph, Haunted George, Richard Elfman, Thee Cormans, etc.


Posted by Howie Pyro | Discussion
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