X: Stage 48, New York, NY (9/21/2017)

I've always liked X. I was first exposed to them in the late 80's via their appearance in Urgh! A Music War! I wasn't sure what to make of the cross-eyed harmonies of John and Exene. Over time, they made perfect sense. However, I'd missed the opportunity to see them as they broke up shortly after 1993's Hey Zeus. And the following reunions didn't see many, if any, visits to New York.

I have to say, it was completely worth the wait. The band was in completely top form. John Doe had far more energy that I expected him to have. Guitarist (and saxophone player, apparently) Billy Zoom, who is still recovering from a 2015 bladder cancer diagnosis, played guitar in a chair and played sax on a few songs standing up (the sax was bolted to a stand). He seemed virtually unaffected by anything and was giving it 100% all night. Drummer DJ Bonebrake came armed with a marimba which he played for a few songs. Vocalist Exene was in fine form as well. Making herself very available; chatting with the audience when she wasn't singing and signing autographs for whomever wanted one.

The songs. With the glaring omissions of "The New World" and "White Girl" (which were in the set virtually every night leading up to this night's show...sigh) the band played virtually every song I wanted to hear by them. The awesome singe "Blue Spark", the anthemic "Los Angeles", their debut single "Adult Books", the punky rockabilly of  "Beyond & Back" (from both Urgh! and The Decline Of Western Civilization), the brooding "Nausea", their cover of Jerry Lee Lewis' "Breathless" (from the forgotten Richard Gere film Breathless) and the classics "The World's A Mess It's In My Kiss", "Motel Room In My Bed" and "Johny Hit And Run Paulene".

The highlight of the evening was easily "The Hungry Wolf". It featured an extended section with a long drum solo in the center (think the Buzzcocks' "Moving Away from the Pulsebeat"). It seemed to somehow pick up momentum by the time it came back to the vocal part. Amazing. The band performed twenty-three songs in all and had the audience captivated for the entire set. John Doe even muttered something about putting on the disco ball during the retro slow-dance song "Come Back To Me", and withing seconds, his wish was granted. It was a special night and the band was on.

I was lucky to see X in such excellent form. I seriously hope they'll start touring regularly so I won't have to wait so long to see them again.

Hüsker Dü: Candy Apple Grey (Warner Brothers/1986)

Hüsker Dü's fifth album Candy Apple Grey is their major-label debut for Warner Brothers. The band released three albums and an EP for legendary indie SST signing a lucrative deal with Warners in 1985. There isn't anything on the album that screams sell-out; it was produced by Grant Hart and Bob Mould, recorded in Minneapolis, and contains the same approach as Flip Your Wig does.

The album starts off with the Mould scream-fest of “Crystal” which clearly indicates the band isn't going soft just because their sudden major-label status. The albums two singles are both written by Hart and they are absolute classics; “Don't Want To Know If You Are Lonely” is a perfect kiss-off pop song and even charted at number 96 on the UK singles chart. It was later covered by Green Day and is featured in the series Halt And Catch Fire and the film Adventureland. “Sorry Somehow” features mournful minor-key organ and a mid-tempo arrangement.

“I Don't Know For Sure” sounds like Mould was trying to rewrite “Makes No Sense At All” and Hart's “Dead Set On Destruction” doesn't really go anywhere memorable. “Eiffel Tower High” references getting high and going to the movies and “All This I've Done For You” is a perfect slice of Du PopPunk. The album features three acoustic classics;“Hardly Getting Over It” which deals with death in a mature, thoughtful way, “No Promise Have I Made” a stately piano piece that is a nice lyrical example of what makes Grant Hart such a special songwriter and “Too Far Down” is a Mould song that is almost a blueprint for his solo work. All three work well within the cold, Wintery-feel that pervades the album as a whole.

The album was well-recieved at the time by the mainstream music press but was generally snubbed by the bands hardcore following. It charted at a dismal 140 in the Billboard Top 200. It is generally overlooked after the acknowledged classic trilogy of Zen Arcade, New Day Rising and Flip Your Wig.

It certainly deserves wider-currency.

Here's the video review:

Rancid, Dropkick Murphys, Bouncing Souls & Jake Burns (Stiff Little Fingers) at Coney Island Ford Ampitheater, Brooklyn, NY (9/6/2017)

Rancid are currently on their From Boston To Berkeley tour in support of their Trouble Maker album. Joining them on tour are the Dropkick Murphys, Bouncing Souls and Jake Burns of Stiff Little Fingers. I attended the New York show at Ford Amphitheater on Coney Island.

The venue was literally right alongside the boardwalk, which is a stones-throw from the ocean. It was a very nice location for such a place and the it was a beautiful day. The venue is basically a large, round tent. The acoustics of the show were completely abysmal. It was the wrong venue for a punk show in general; in my opinion punk rock shows need to be in small, acoustic-sympathetic bar/clubs. The show was still loud, it just sounded terrible.

I missed Jake Burns' set entirely, which is a shame seeing that he's something of a legend himself, having fronted the great Stiff Little Fingers. Perhaps Ireland's first proper punk band. We arrived about 30 minutes after showtime (which was 6 PM sharp, apparently) and the Bouncing Souls were halfway through their set. They were probably my favorite band of the evening. Such classics as "Gone", "Kids and Heroes" and "True Believers" were all performed with much youthful enthusiasm. I really wish I'd caught their entire set.

Dropkick Murphys were up next. Despite being a fine live act, their performance felt a bit hollow. I really didn't feel too much of a connection with their music at all. Maybe I've heard "I'm Shipping Up To Boston" in one too many commercials. Also, poor sound marred any potential chance of any true enjoyment.

Headliners Rancid took the stage with definite purpose. Their newest album Troublemaker is basically more of the same old Rancid, for better or worse. The band was tight with Tim Armstrong and Lars Frederiksen in fine form. Their twenty-song set included a whopping eight tracks from their platinum break-through album ...And Out Come The Wolves (including the classic singles  "Ruby Soho", "Time Bomb" and "Roots Radicals"). "Nihilism", "Radio" and "Salvation" from Let's Go also got proper airings. As did a few from their newest album, including the single "Ghost Of A Chance".

The absolute highlight of the evening was Rancid & Dropkick Murphys performing an encore four-song set of "Take 'Em All" by Cock Sparrer, "Cretin Hop" by The Ramones, "Folsom Prison Blues" by Johnny Cash and "If The Kids Are United" by Sham 69.

Off!: The First Four EPs (Vice Records/2010)

Off! is a Los Angeles hardcore punk rock supergroup. Formed by Keith Morris of Black Flag and Circle Jerks and Steve McDonald of Redd Kross, Mario Rubalcaba of Rocket From The Crypt and Dimitri Coats from Burning Brides in 2009. The band recorded and released The First Four Eps 7” box set in 2010 on Vice Records.

The First Four EPs box set contains four 7" EP records, a very nice booklet with artwork from Raymond Pettibon and a download code. Produced by Coates and engineered by McDonald, the release is sixteen songs in just eighteen minutes. The package itself is beautiful. The tracks themselves are uniformly excellent. The music is simultaneously simple yet challenging. It's simply a must-have release for fans of classic punk rock.

Very most highly recommended. 

Here's the video review:

Buzzcocks: Irving Plaza, New York, NY (10/1/2016)

Manchester (Bolton), England's The Buzzcocks have been touring to celebrate the band's 40 anniversary. The band played Irving Plaza earlier this month, and by and large the show was a success. Given the longevity of the band (read: age) I wasn't expecting them to be so full of natural intensity. However the band gave credible, excellent readings of the majority of all the classics. The sound, as it generally always is at Irving Plaza was wonderful. It's still my favorite venue for rock shows in Manhattan.

Just a few songs in, it was crystal clear as to why they're the acknowledged pioneers of Pop Punk. The busy yet efficient drums parts, decidedly individual yet lovelorn lyrics, thoroughly melodic basslines, the crystalline crunch of the guitars and the harmony vocals of leaders Steve Diggle and Pete Shelley. Their brand of  Ramones wall of guitars with their own romantic concerns spawned the likes of The Descendants, Hüsker Dü, Green Day and Blink 182. 

The band performed a twenty-one song set in just over ninety-minutes. The classics "What Do I Get?", "I Don't Mind", "Ever Fallen In Love", "Promises", "Love You More", "Autonomy" and "Orgasm Addict" were all performed and sung-along-to-loudly by the crowd (whose ages seem to range from teenage to retiree). My favorite songs of the evening were "You Say You Don't Love Me", "Why She's A Girl From The Chainstore" and the sublime "Harmony In My Head". The best performance was the bands' trance-y "Moving Away From The Pulsebeat".

A great show from a legendary band. 

The Replacements: Boink!! (Glass Records/1986)

Minneapolis' The Replacements are one of few bands on a personal shortlist of a half-dozen or so bands that changed me as a preteen. They informally introduced to American post-punk rock, American alternative rock, and boozy proto-alt country. They are what The Smiths from the United Kingdom, were to American teens in the 1980's in that they were a beacon for disaffected, alienated youth looking for a spokesman to speak for them. And they found on in Paul Westerberg. Or so I've always believed in any case.

Boink!! was an eight-song compilation album released in 1986 for the UK market on Glass Records.

In consists of three songs from Hootenanny - “Color Me Impressed”, “Within Your Reach” (which had it's widest exposure in the Cameron Crowe film Say Anything... and “Take Me Down To The Hospital”. Three songs from The Replacements Stink (the should've-been-a-single “Kids Don't Follow”, the bluesy rave-up “White And Lazy” and the mini-epic “Go”) albums. Plus the B-Side to their debut single “I'm In Trouble” (the fantastic, would-be-Merle Haggard song “If Only Your Were Lonely”) and the previously-unreleased Alex Chilton - produced “Nowhere Is My Home”. Alex Chilton was almost the producer for the band's Tim album, however Sire Records wanted someone with more name-recognition so they in-turn went with Tommy Ramone. Who did a fantastic job. “Nowhere Is My Home” is a fantastic song and also appears on the 2008 reissue of Tim.

Boink!! is a wonderful, if seemingly random selection of tracks and the album is pretty rare. In fact I've only ever seen it in record stores maybe five times tops.

Here's the video review:

Off! : Live At Generation Records (Vice Records/2011)

Off! Is something of Los Angeles hardcore punk rock supergroup. Formed by Keith Morris of Black Flag and Circle Jerks and Steve McDonald of Redd Kross, Mario Rubalcaba of Rocket From The Crypt and Dimitri Coats from Burning Brides in 2009. The band quickly recorded and released The First Four Eps 7” box set in 2010 on Vice (Magazine) Records. The band is amazingly effective and and direct and have a refreshingly raw sound. Considering the bands' ages, they could come across really ineffective. Thankfully, that's not the case.

On October 22 in 2010 the band played a free show at Generation Records in New York. I attended the show and it was pretty awesome. Vice Records recorded the show and released the four-song Live At Generation Records 7”the following year on Record Store Day 2011. It's a well-performed, well-recorded affair. And it only hints at the loud greatness that was the show. The band sonically resemble early Black Flag, which shouldn't suprise anyone considering Morris was Black Flag's first ever vocalist.

Highly recommended for the punk rock set.

Here's the video review:

Zorro Zero & The Warlocks: A Very Special Krizmas Gift For You (Fanatical Army Records/2014)

Now this Holiday offering comes from an eccentric New York art-collective known as Zorro Zero & The Warlocks. They started out in the late 90's in a more punky vein (i.e. thirty-second guitar-based outbursts about Pathmark, V-8 and Weebles). Zorro Zero is the cult leader/lead singer. And the Warlocks are Denver Gillette and Groove Champion, who both handle the production/music end of things.

This release is a would-be traditional Christmas album, except it's creepy, tripped-out and the vocals border on satire. "Sleigh Ride" features left-field outbursts from "cult leader" Zorro Zero like "let's bang a pigeon", "All I Want For Christmas Is You", sung but Denver Gillette, sounds like Axl Rose in a karaoke bar, and "Santa Claus Is Coming To Town" is sung a tad too excitedly by Groove Champion.  There are deep shades of homo-eroticism to spare in "Christmas Wrapping" (the Waitresses cover) and "Baby It's Cold Outside". There are three tracks of banter from the band members to coax the listener even further into Holiday cheer. Kudos for the sped-up bridge in "Marshmallow World" and the crazy Nintendo-esque music in "Let It Snow".

If you can find this unusual Christmas album, by all means, pick it up.

Social Distortion: Demo '81 7" EP (Bootleg/2011)

Social Distortion is one of few bands from the late 70's/early 80's Los Angeles punk scene that is still actively releasing new music and touring. Their debut album Mommy's Little Monster and their early compilation album Mainliner (Wreckage From The Past) are two of my favorite albums punk rock albums to come out of Los Angeles. Both of those are jam-packed with riff-driven emotionally-alive material. Lead singer and guitarist Mike Ness's sneering vocals have always resonated with me.

So it should come as no surprise that I really like this bootleg 7" EP artlessly titled Demo '81. It features material to later appear on early compilation albums Hell Comes To Your House  and Someone Got Their Head Kicked In. In fact, it's basically the recordings that later appeared legitimately on the Mainliner (Wreckage From The Past) compilation in 33 1/3 RPM on a seven-inch single. The sound quality is fairly good and I'd highly recommended fans of this band's early material so seek it out. My personal favorites are "Moral Threat", "All The Answers" and their blazing cover of The Rolling Stones' "Under My Thumb"(which later appeared as the B-Side to their "1945" single).

Here's The Video Review:

Fear: The Record (Kicked In The Throat/2004)

Fear were part of the original Los Angeles, California's punk scene in the late 1970's. Part sincerity and part tongue-in-cheek, Fear were what you'd call “humorously offensive”. With cartoonishly homophobic, misogynistic and misanthropic lyrics, they were what one might describe as being an acquired taste. I remember Trouser Press Record Guide liking singer Lee Ving's vocals to a drunken baseball fan bellowing from the bleachers. Fear had their most widespread exposure in 1981. First in the Penelope Spheeris' classic The Decline Of Western Civilization motion picture and on the Halloween episode of Saturday Night Live in which, as per mega-fan John Belushi, the band played a mini-set (which is worthy of an episode itself).

Nonetheless Fear's debut album The Record is easily something of a classic and one of the best-recorded debut albums from the entire LA late '70's punk scene. The playing is technically very skillful and well-above average in terms of your standard up-start punk band. “Camarillo” has a difficult time signature, “Getting The Brush” is darkly imaginative and “New York's Alright If You Like Saxophones” is kind of hilarious. “I Don't Care About You”, “Let's Have A War” and a re-recording of the 1978 single “I Love Livin' In The City” are bonafide punk anthems in the classic-sense.

Initially released in 1982 on Slash records, this issue is the 2004 Kicked In The Throat release and features their 1982 Holiday single “Fuck Christmas” as a bonus track.

Highly recommended for any and all fans of punk rock. 

Here's the video review: