Obituary - Sylvain Sylvain

On Wednesday 13 January 2021, Sylvain Mizrahi, better known as Sylvain Sylvain, co-founder and guitarist of NEW YORK DOLLS, passed away at his Nashville home. The cause of death was cancer. He was aged 69. 

Sylvain was born on 14 February 1951 in Cairo, Egypt. His mother, Marcelle, was of Syrian descent while his father, David, a banker, was originally from Turkey. 

The Suez Canal crisis of 1956, precipitated when Egypt’s president, Gamal Abdel Nasser, nationalized the canal, led to the family’s emigration, initially to France before heading to New York in 1961 - originally Buffalo before moving on the New York City borough of Queens.

Prior to joining the NEW YORK DOLLS, he had a band with school buddy and future Doll, Billy Murcia, called THE POX before ACTRESS which featured future DOLLS Arthur Kane and another school friend, the infamous Johnny Thunders. He also ran a clothing company with Murcia, Truth and Soul, in the mid-60s.  

It was the formation of and his participation in the NEW YORK DOLLS that Sylvain will be most remembered. The band made two classic albums in 1973’s self-titled debut and the successor, ‘Too Much Too Soon’, the following year. - both of which had very limited success on release. 

Much has been written about the NEW YORK DOLLS. There’s a great book written by Nina Antonia entitled Too Much Too Soon and a documentary, ‘All Dolled Up’, both of which tell the story far better than I can. However, the brash, gender-bending, unapologetic influence of the band should not be understated, least of all its influence on the early Punk Scene. Sylvain is quoted as saying to Brooklyn Vegan in 2006, “The reason why the Dolls got together was because of the boredom with the norm of the day, which was like the stadium-rock era. The 20-minute drum solos, songs that were a big operetta. They were sort of boring, they'd lost their sex appeal."

When the Dolls split in 1977, Sylvain was the only original member left in the band along with vocalist David Johansen, for whom he went onto play on a number of solo albums. The demise of the band was hindered by one Malcolm McLaren, who had the Dolls playing in front of a hammer and sickle flag and Johansen clutching Chairman Mao’s Little Red Book. McLaren then tried to lure Sylvain to the UK for a band he was assembling. The band was SEX PISTOLS; Sylvain’s role never fulfilled. 

He started his own band, THE CRIMINALS, and then landed a solo recording deal with RCA which resulted in the 1979 self-titled album. 

Various one-off projects appeared - SYL SYLVAIN AND THE TEARDROPS in 1981, ROMAN SANDALS in 1984 and a CRIMINAL$ release in 1985. 

In the early 90s, he moved to the sunnier climes of Los Angeles and released another solo album, ‘Sleep Baby Doll’, in 1998. Around the same time he got involved with LA Punks, THE STREETWALKIN’ CHEETAHS for some live work. 

2004 saw big news in the reformation of The Dolls releasing another three albums between 2006 and 2011. During this time, he also hooked up with ex-DEAD BOYS guitarist, Cheetah Chrome, for the band BATUSIS which released an EP on Smog Veil in 2010.  

2013 saw him hook up with former SEX PISTOLS bassist Glen Matlock on the Sex Doll Tour before emerging with a new band in 2015, SYLVAIN SYLVAIN AND THE SYLVAINS. 

2018 saw the publication of his autobiography, There’s No Bones In Ice Cream on Omnibus Press. 

He lived in Atlanta for several years before moving to Nashville in 2015. On 27 April 2019, he announced he had cancer. 

He is survived by his wife, Wanda O’Kelley Mizrahi, his son Odell and his sister, Brigitte.

I never saw Sylvain live, but via the NEW YORK DOLLS, I have been listening to him for a clear 30 years. Sure, Mr Thunders and My Johansen may have got all the attention, hogging the spotlight as their egos demanded, but it was the solid, rhythm guitar of Sylvain that seemed to hold the band together - a band that could, and did, so easily devolve into chaos. If you haven’t heard his 1979 solo album, it’s worth trying to track down being a neat mix of Rock ‘n’ Roll and Power-Pop cool.
Another legend, and one that can firmly be described as such, has left us. RIP Syl and condolences to all those that knew you who have been left behind.  

Obituary - Pierre Kezdy

On Friday 9 October 2020, Pierre Kezdy - bassist with the bands NAKED RAYGUN, PEGBOY and STRIKE UNDER among others - passed away at a Hospice in Glenview, Illinois. He was aged 58. The cause of death was Cancer. 

Born on 4 January 1962 in Chicago, Illinois, he was the younger brother of then-future EFFIGIES frontman, John Kezdy. 

In 1979, he formed the band STRIKE UNDER which released the ‘Immediate Action’ 12” on Wax Trax! in 1981 before forming TRIAL BY FIRE in the same year following the departure of STRIKE UNDER’s vocalist. In 1982, that band split and Kezdy went on to join NAKED RAYGUN for the band’s second album, ‘All Rise’. It was a band he stayed loyal to for ten years - writing fan favourites ‘Vanilla Blue’ and ‘Home’ among others - before joining PEGBOY in 1994 (just in time for the ‘Earwig’ album). The band that was formed by former NAKED RAYGUN guitarist, John Haggerty.

Throughout this time, Kezdy kept his day job of plumbing. 

NAKED RAYGUN started playing again in 2007 and in 2011 Kezdy fell victim to a stroke. Being forced to leave, he recovered sufficiently to rejoin the band for some live shows in 2013. 

In 2007, Kezdy was also interviewed for the film You Weren’t There, a film that looked at the Chicago Punk scene. 

Besides the bands mentioned, he also played in RAINBOW GIRLS (with his brother, John), THE INTECEPTORS and ARSENAL, which also featured Santiago Durango of BIG BLACK and NAKED RAYGUN fame. 

In addition to his brother John (who fronted THE EFFIGIES), Kezdy is survived by his wife Heather, children Nicole, Mary, Peter and Delphine and his brother Andre.

I never got to see Kezdy live. Much as I love NAKED RAYGUN, it is PEGBOY that had the biggest impact. I interviewed the band’s guitarist John Haggerty in issue two of Scanner, back in 1998 just after the release of the band’s third album, ‘Cha Cha Damore’. Kezdy did come up in conversation when I asked about his joining the band. Haggerty replied that original bassist Steve Saylors wanted to leave the band and, having thought they had exhausted all possibilities that, “it dawned on me that Pierre wasn’t really all that busy with Naked Raygun anymore, so we called him and he said yeah!”.  

Obituary - Walter Lure

On Saturday 22 August 2020, Walter Lure, best known as the rhythm guitarist and co-songwriter in JOHNNY THUNDERS AND THE HEARTBREAKERS, passed away. He was aged 71. The cause of death was due to complications arising from liver and lung cancer.  

Lure was born Walter Charles Lurh Jr on 22 April 1949 in Floral Park, in the Queens borough of New York City, the son of Eillien Luhr (ne: Kealy) and Walter Lurh, a retail banker. He grew up in Queens Village while his teens were spent in Floral Park, Nassau County. 

On graduating from Fordham University - where he majored in English and minored in Chemistry - he tested safety products for the Food And Drug Administration in Brooklyn. 

In 1975, after playing in a number of cover bands, he joined THE HEARTBREAKERS. In his autobiography published earlier this year, To Hell And Back: My Life In Johnny Thunders’ Heartbreakers, he wrote of his meeting with the band at Richard Hell’s East Village apartment where his hair was cut off and Jerry Nolan cooked up a shot of Heroin: “Everything I would experience during that period, but especially throughout the life span of the Heartbreakers, would ultimately be refracted through the lens of my addiction.”

He had distinct opinions on how a Rock ‘n’ Roll band should sound, writing in the same autobiography: “It was as if everybody was so concerned about somehow sounding ‘unique’ that they forgot that, sometimes, the kids just wanna rock. That was the niche that the Heartbreakers slipped into, and that was why they’d excited me so.” That was directed to his NYC contemporaries TALKING HEADS and TELEVISION. 

Within THE HEARTBREAKERS, he performed on and wrote several songs on what became one of the late-70s most iconic, influential and down-right enjoyable albums, ‘L.A.M.F’ - this included taking over lead vocal duties on such classics as ‘One Track Mind’ and ‘All By Myself’. The band played all of the NYC hotspots of the era, plus the infamous ‘Anarchy’ UK tour of 1977 with SEX PISTOLS.  He left the band in 1978 but returned a number of times through to 1991.

Post-HEARTBREAKERS he scored a job as a stock broker on Wall Street running financial date for a computing company - a job he supposedly garnered via his father’s connections. This lead to a position at a brokerage firm overseeing a team of 125 and a long career in finance that lasted until he retired, in 2015.

In 1988, he managed to sober up and dry out after years of drug abuse. Throughout this time, he intermittently played several HEARTBREAKERS reunions, continued to work with JOHNNY THUNDERS on his solo work, augmented RAMONES on both ‘Subterranean Jungle’, ‘Too Tough To Die’, worked with the bands THE BLESSED, THE HURRICANES and THE HEROES  plus his own band, WALTER LURE AND THE WALDOS which released its debut album in 1994 with ‘Rent Party’ and a final album in 2018 entitled ‘Wacka Lacka Loom Bop A Loom Bam Boo’.

The last surviving member of the iconic HEARTBREAKERS line-up, Lure passed away peacefully in hospital surrounded by family and friends. 

Lure is survived by his son, Damian Da Costa, a brother William Luhr, twin granddaughters and his partner, Mr Andy Le. 

I never got to see Walter Lure live. I am a massive Johnny Thunders fan and have watched a lot of videos, listened to a lot of records (official and bootlegged) and, without a doubt, Lure was the best accompaniment for the Thunders talent.  He seemed to provide a bit of grounding, with his centre stage position. It’s also clear that his tracks on ‘L.A.M.F’ gave it that extra dynamic that pushes it into a different league.  And let’s face it, if Johnny Ramone can allow him to cut guitar parts on three RAMONES albums, then the talent speaks for itself. 

Obituary - Steve Hanford

On Thursday 21 May 2020, Steven Hanford (also known as Thee Slayer Hippy), best known as the drummer in Portland based band POISON IDEA, passed away.  He was aged 50. The cause of death was a heart attack.
Hanford was born in Walla Walla, Washington in 1969 before moving to Portland with his family at the age of two. He was playing drums by the age of eight - the same age he allegedly started smoking pot. After playing in a few bands (including Portland’s MAYHEM), he joined POISON IDEA at the tender age of 15, making his recording debut two years later with the album ‘War All The Time’ which not only featured Hanford’s drumming but was also produced by the then-teen.
Come 1990, ‘Feel The Darkness’ heralded what is arguably the greatest of all POISON IDEA albums featuring classics like ‘Taken By Surprise’ and the monumental ‘Just To Get Away’. Again, Hanford produced, this time with aid of the band. It was with this album that the band’s reputation for excess became legendary, with Hanford not being left behind!
Following another intense album in 1993’s ‘We Must Burn’, the band split.  Hanford soon formed a new band, GIFT, with POISON IDEA’s vocalist Jerry A, which released a single album in ‘Multum In Parva’.
He also lended his production skills to albums by Portland post-Hardcore band HEATMISER and indie two-piece CARDINAL.
His addiction, both to drugs and alcohol, lead to a failed suicide attempt and to him spending over seven years in jail (at Oregon State Penitentiary and then Pendleton Correctional Facility) following a succession of pharmacy robberies.  This was in October 2008 and followed an abortive attempt at rehab in which private information was made public by one of the staff.  It wasn’t exactly wasted time though as Hanford joined various inmates and apparently recorded 13 albums with various bands, including two on which he sang lead vocals. 
On release, he collaborated with fellow inmate Sam Redding who started a music programme at Pendleton, on a BLUE OYSTER CULT tribute record and in 2016 went on tour as a hired sticksman with Chicago doomsters, SKULL. More importantly, he stayed clean following his release.  
Coming right up to date, Hanford’s latest project, FETISH, released its debut album ‘World Eater’ in 2019 and included ex-POISON IDEA members, Eric Olsen and Brandon Bentley.
A mere month after that album’s release saw Hanford join THE ACCUSED AD as touring drummer and produce Nick Oliveri;s MONDO GENERATOR’s latest ‘Fuck It’.

It’s kind of a tragedy that I saw POISON IDEA just twice - once at the London Astoria in, I think, 1994. I’m pretty sure the ball of flying hair behind the drumkit was Hanford - surely sounded like it! The second time was several years later at the Highbury Garage - around five years later I guess.
A truly stunning drummer with a fine ear for sound quality, hence his production credits.

Obituary - Kim Shattuck

On Wednesday 2 October 2019, Kim Shattuck - best known as founder and vocalist in THE MUFFS - passed away peacefully in her sleep at her home in Los Angeles, America. She was aged 56. The cause of death was due to Amyotrophic Lateral Sclerosis (also known as Lou Gehrig’s Disease - a nerve condition), a disease she had been fighting for the last two years.
Shattuck was born Kimberly Dianne Shattuck on 17 July 1963 in Burbank, California. Her parents, Kent and Betty, raised Shattuck and her siblings (brother Kirk and sister Kristen) in Orange Country, California. While at Orange Coast College, she began playing guitar while studying photography.
Shattuck’s first band of note was as bassist for the all-female band THE PANDORAS from 1985 through to the 1990.  The band’s sound mutated from Paisley Underground-esque Garage Rock through to Hard Rock. Judging by Shattuck’s comments, she had little influence on the band’s direction.
In 1991 she switched to guitar and formed the band with which she would be most known for, THE MUFFS. The band released six albums, achieving peak popularity in 1995 with the ‘Blonder And Blonder’ album and a cover of Kim Wilde’s ‘Kids In America’ which was included in the Clueless soundtrack. 
In 2001, Shattuck formed side project, THE BEARDS with Lisa Marr and Sherri Sollinger, releasing ‘Funtown’ in 2002.
In 2013, Shattuck replaced Kim Deal as bassist in THE PIXIES; however she was dismissed after a mere five months, a decision she has said she was “super disappointed” with. No reason was given, but it has been cited that that she thought it was possibly because the rest of the band were ‘more introverted people.’
Shattuck also guested on a number of other releases; when NOFX recorded ‘Punk In Drublic’ she sang on ‘Lori Meyers’, BOWLING FOR SOUP’s 2009 track ‘I’ve Always Remember You (That Way)’ and THE DOLLYROTS ‘Some Girls’.
THE MUFFS reformed in 2014 with the come back album ‘Whoop Dee Doo’. A new album entitled ‘No Holiday’, was recorded while Shattuck was fighting the disease that ultimately took her life,  and is due for release late in October 2019.
Only this past July, another project was announced in THE COOLIES which reunited Shattuck with original MUFFS member, Melanie Vammen. With a six-track EP released the same month, ‘Uh Oh! It’s...The Coolies’, Shattuck announced that all proceeds would go to ALS - although she abstained from revealing she was suffering from it herself.  Asked why they had chosen an ALS research charity, Shattuck responded, “Sadly, it runs in my damn family, and that disease is a mystery to just about every scientist! We are definitely interested in finding a cure for ALS! Cure it already!” Other interviews also mentioned that ALS had afflicted her father’s side of the family.
Shattuck is survived by her mother, two siblings and husband of 16-years, Kevin Sutherland.

Somehow, I missed out on ever seeing THE MUFFS live. I’ve loved the band ever since the self-titled debut from 1993, revelled in the mastery of the band’s ability, and more specifically Shattuck’s writing ability, to fuse raging guitars to near-perfect Pop moments and be constantly astounded at that wild, guttural scream that infuses every MUFFS album.
It’s well known Shattuck had a genuine and abiding love of THE BEATLES, and the influence can be directly heard on that debut album.  The very fact Shattuck’s songs are being talked about in the same breath as those of Lennon and McCartney without sounding trite is testament to the quality and originality of her songs.
To read a really intimate and sincere obituary about Shattuck, I’d like to send you to the LA Times where MUFFS drummer, Roy McDonald, has penned a deeply personal account of their friendship and experience recording the soon-due album.

Show Time

BEYOND AND BACK: WAR STORIES AT THE ROXY

Roxy Theatre, Los Angeles, USA - 7th October 2018

By Matt Powell - Photos by Dianne Carter
This is no place
To be addicted
To another pace

Only the occasional green-haired weirdo or leather dominatrix crawls along the Sunset Strip and into the Roxy Theatre this night, their scant numbers a faint reminder of a time when the streets of Hollywood were flooded with freaks peacocking their membership in a special, sacred order.
A glorious sunset sprawls across the October sky, orange and pink and baby blue, so clean and bright. Like the emerging poshness of the new Sunset Strip itself, it is almost too pretty for tonight.
Such is the modern world.
And in some ways the modern world hovered over the event held within the Roxy’s black walls Sunday evening. War Stories is just as described: "Tales of ‘70s and ‘80s punk mayhem told by the perpetrators themselves." Seated across the Roxy stage where so much sweat and blood and beer was spilled, eight seminal musicians and documentarians sat on folding chairs (the audience did as well — folding chairs in the Roxy!) and shared tales of the vibrancy and debauchery of Los Angeles’ brief but bright punk days.
This was the second War Stories evening, following a February appearance at El Cid featuring a slightly different lineup. The ringleaders are Pleasant Gehman and Theresa Kereakes, who co-founded the punk fanzine Lobotomy in 1978 combining Kereakes’ photography, Gehman’s high school typing class skills, and a shared limitless lust for punk life.   
Sunday’s Roxy show featured Gehman, Kereakes, Abby Travis (THE GO-GO'S, THE LOVEDOLLS, KFMDM) Chip Kinman (THE DILS, RANK AND FILE), Dave Catching (THE MODIFIERS, TEX & THE HORSEHEADS, EAGLES OF DEATH METAL), Jennifer Finch (L7), Mike Watt (MINUTEMEN), and Flea. 
It was an event steeped in nostalgia and remembrance of a movement born from a rejection of traditional norms. Yet there was a pervading reminder that this could simply never happen again.
As with all scenes (musical, artistic or otherwise) you had to be there. War Stories was designed to celebrate a vibrant and now-dead scene that took place in a particular window of time in a particular place among a nebulous but ultimately limited group of participants.
In a tradition as old as recorded history, one purpose of such remembrances is the passing on of what once was for those who weren’t there, in the hopes that some part of the way the people on this stage and their cohorts lived their lives and made their art can seep a little into the consciousness of younger generations.
The crowd, mostly, seemed to have been there, peppered with a few of the young and hip and curious: those who can never know the feeling of sneaking into a club with a bad ID, or no ID (barcode technology makes that impossible now. Travis observed how the crackdown on underage club-going in Los Angeles really began in earnest with the arrival of the 1984 Olympics, a seminal moment that split Los Angeles into the clearly defined pre and post), or of wandering rows of cars in Hollywood parking lots looking for an unlocked Cadillac in which to fornicate, fog the windows for a few minutes, and be gone before the owner, none the wiser, returned (everything is locked today and cameras capture all). There were stories of crash pads like Gehman’s infamous Disgraceland left unlocked for days or weeks on end, or landlords removing apartment doors altogether in a futile attempt to get Flea and his deadbeat degenerate cohorts to vacate.
Before technology and ubiquitous surveillance, one could get away with all manner of crazy shit.
Kereakes, who self-identified as "punk rock’s designated driver," pulled these seemingly hedonistic remembrances together into a poignant observation: her and her merry band were virtually, if not literally, unemployable. While many see punk as a movement of destruction, in Los Angeles’ first wave at least, it was an artistic movement of creation and, perhaps unintentionally to some, of entrepreneurship.
"We had to rely on word-of-mouth, calling people on the phone, talking to them at social gatherings and making the commitment to be somewhere at a given time and place," says Kereakes. "Once you left the house, you expected someone to show up. Your only recourse was to find a payphone. We were analog and happily so. We were entrepreneurs and didn't realize it. We invented a new way of doing business."

Who were these punks? Some were freaks and wannabes and hangers on, for sure. There were drunks and junkies and dropouts and dealers. There were musicians foremost. And there were scribes and photographers, or fans and scenesters who were addicted to the energy and had access to a Xerox machine. It didn’t matter; collectively they built an infrastructure faced with the dual rejection of and rejection by mainstream society. They built their own magazines, record labels, bands, and even venues (Many punk clubs began as Chinese restaurants. Chip Kinman recalled an early DILS gig at a pizza parlor in Garden Grove). "If you’re in a band you’re an entrepreneur whether you like it or not," Kereakes observed.
It was a time of total freedom and lack of judgement, of unfettered creativity born from the cultural desert of 1970s Los Angeles. Bands as seemingly disparate as THE GERMS, THE BLASTERS and BLACK FLAG shared bills and, eventually, fans. There was diversity of style, of presentation, and of influence. "I think that without being the ‘politically correct police’ we were a much more accepting group," says Kereakes. "We were misfits and outcasts to begin with and that was our bond. We appreciated other weirdos and their output, their lifestyle, their fashion. Although, if someone was displaying bonafide unacceptable behavior, we would most definitely call them out."
Flea, the baby of the group (along with Finch), recalled his initial disinterest in the punk scene that was flowering in Hollywood. Flea explained that, although he was a troubled kid with a drug problem, musically he was into jazz and classical at the time, and punk seemed to him like "another thing with an arbitrary set of rules." But then he saw a FEAR show while on acid, and shortly thereafter auditioned for the band when it was announced they had fired bassist Derf Scratch. Flea got the FEAR gig and his friends, including many sharing the stage this night, celebrated with an 18-day party because one of their own had actually joined a "real band."
As with Angeleno R and B, blues, jazz and, to a certain extent, country music, Los Angeles’ indigenous punk music has always been given short shrift by unapologetically ignorant eastern critics. (This phenomenon continues into the present day with regular, unintentionally hilarious articles from New York based writers failing, or even trying, to grasp Angeleno culture.) London claimed punk’s origins and New York claimed the higher artistic ground. What did a bunch of pretty kids in the land of sunshine railing against their perceived petty problems have to say?
But to dismiss Los Angeles punk is to miss the point of Los Angeles altogether, ground zero of the detective novel and film noir — a bright and guilty place where dark things happen in harsh light. Gehman has written about the two Hollywoods that existed at the time, one of the Tinsel Town Dream Factory, and the other of her Hollywood Boulevard: "a seedy carnival midway... its pink-and-black granite "Walk of Fame" was dull and littered with beer cans, used condoms, and fast-food wrappers and dotted with spit and chewing gum."
There is a kind of surrealism in the juxtaposition of these outcasts carving their way in a company town where Old Hollywood was ageing but still very much alive. Gehman recalled smoking a joint with Tony Curtis. Catching, who briefly held a legitimate vocation as a pizza delivery driver, recalled delivering pizzas to stars like Anthony Perkins.
The very unique nature of Los Angeles, and Hollywood specifically, helped shape and fuel the theatrics and debauchery and tone of the scene. "The intersection of Old Hollywood, film noir, bright sunshine and punk rock is what gave L.A. punk and new wave its distinctive personality," says Kereakes, "just as every town imprints itself on its art."
So what if L.A.’s punk scene was born from relatively harmless kids making noise from no deeper motivation than their own boredom and an urge to party until the days change at night, change in an instant. Surely there is no more noble a deed than creating something from nothing. Locked out of the stale Hollywood establishment, these latchkey kids chose to build their own empire out of nothing more than their energy, some safety pins, and rudimentary typesetting skills as a testament to the great Angeleno tradition of invention and reinvention.
Sunshine be damned.
The prevailing theme of the night, reinforced from all who spoke, was the sense of true community. The community was healthier, more vibrant and robust in a time before social media. Camping out for concert tickets was social media. The level of superficial connectivity in the 21st century has killed the ability of true local scenes to develop.
"You had to be engaged in real life, not virtual life, on an interpersonal level, face to face," says Kereakes. "Scenes could grow and develop in their own world on their own timeline, organically."
Another theme that emerged is that the participants, despite the blur of endless parties and mayhem, knew at the time that they were a part of something special. Even as it was unfolding, musicians and scenesters alike were cognizant of which bands were "first wave," (Flea mentioned the SCREAMERS, an early L.A. punk band who never made an official recording, calling them "the Buddy Bolden of punk rock," a reference to the pioneering New Orleans jazz cornetist whose music was never captured on wax) versus "second wave," (quintessential L.A. punk band, X) and the skeptical "new wave" (Mike Watt recalled an existential crisis on a pivotal night when he was forced to choose between X opening for DEVO in Long Beach or the GERMS at the Masque. He chose the GERMS).  

Despite the name of the event, and the accessory baggage that comes with the term "punk," the war stories this evening weren't especially deranged. Some petty crime, sure. Lots of booze and drugs and public sex. But these hi-jinx seem almost quaint from today’s vantage.
The evening was nostalgic, but it was funny, charming and in some ways inspiring. Perspective is a funny thing. Looking back at a wild burst of energy and art, of the perfect people in the perfect place at the perfect time, one is faced with both the thought that it can never be duplicated and the thought that it should never be. It is up to the artists of today to make their own way. The eight people on the Roxy stage this night proved you can build anything you want, so long as there is a will. Skills are helpful but not required. Don’t ask for permission. Don’t give anyone the opportunity to stand in your way. Just roll right through the noise and do your thing, and do it righteously. 
War Stories will continue, incorporating themed nights (the all-women "L.A. Woman" panel is in the works now) and the show plans to hit the road, featuring a regular lineup augmented by local punks wherever the stories may take them. While War Stories focus on the L.A. scene, punk was a universal explosion.
"Scenes developed a personality and identity that gave all the bands strength and power once one of them broke through," says Kereakes. "It gave long-time local fans of these bands ownership and a sense of family and community pride."

Obituary - Steve Soto

On Wednesday 27 June 2018, Steve Soto, founder and bassist for both AGENT ORANGE and ADOLESCENTS passed away in his sleep; the coroner’s office has stated that this was due to natural causes. He was aged 54.
Soto was born on 23 August 1963, the son of Mexican parents. His first foray into music was in 1979 with the formation of legendary Surf-Punk band, AGENT ORANGE. His tenure in the band was shortlived, as the following year he formed the band with which he would be most associated: ADOLESCENTS.

Releasing the self-titled debut album in 1981, it would go onto be considered a classic of the genre and was among the very first Hardcore records to be distributed throughout the USA. Soto went onto become the only constant member of the band.

Besides ADOLESCENTS, he was also a member of LEGAL WEAPON (1981-’82), JOYRIDE (1989-’94), MANIC HISPANIC (1992-2017), the supergroup 22 JACKS, his own solo project which he fronted - STEVE SOTO AND THE TWISTED HEARTS and BLACK DIAMOND RIDERS.

Other musical projects included being a member of PUNK ROCK KARAOKE with members of NOFX and BAD RELIGION, an 80s cover band FLOCK OF GOO GOO, and being part of CJ RAMONE’s touring band. It is with CJ that I caught him live in New Zealand back in 2015.

Besides being infamous in the history of Southern California Punk Rock as a musician - and gaining the reputation as ‘the nicest guy in Punk’ - he also spent time in the 90s booking bands at the well-known Anaheim venue, Linda’s Doll Hut. His bookings would include the famous (OFFSPRING, BAD RELIGION), through to the unknown.

Although suffering with weight and health problems, he quit drinking at the age of 31 and is quoted in interview as saying, "Sobriety is good, I get more accomplished."

Just prior to Soto’s passing, on 24 June, he played with ADOLESCENTS in Boston, MA. This would be his last live performance before he travelled back home. On 26 June, he got together with JOYRIDE friend, Greg Antista and producer Jim Monroe where talk was positive about life and future musical endeavors - including the imminent ADOLESCENTS album, ‘Cropduster’. Antista dropped Soto off at his parent’s house in Placenita, CA where he fell asleep for the final time.

A memorial service was held on Saturday 7 July at Richfield Community Church, Yorba Linda, California - the church he attended weekly with his girlfriend, Stephanie Hough. Antista coordinated the service with Soto’s immediate family.

A much louder celebration of his life was held the following evening at Alex’s Bar, Long Beach, where numerous friends performed Soto songs acoustically and culminated with a performance by CJ RAMONE.

Although having been married twice, Soto had no children. He is survived by his parents and immediate family.

Obituary - Nick Knox

On Thursday 14 June 2018, Nick Knox - best known as the definitive drummer for THE CRAMPS - passed away. According to his sister, Jeanne Goldberg, the cause was cardiogenic shock. He was aged 65.

Knox, whose real name was Nicholas George Stephanoff, was born on 26 March 1958, the only son of Boris and Virginia Stephanoff.He first found notoriety in Cleveland proto-punks, THE ELECTRIC EELS when he joined the band as drummer in 1975. Although this line-up with Knox recorded a series of demos, which included the posthumous 1978 released single ‘Agitated’ on Rough Trade, it was to prove short-lived as they performed just the one gig before splitting up.

In 1977, he joined THE CRAMPS, replacing original drummer Miriam Linna. His tenure with the legendary Rockabilly/ Garage/ Punk band would last through to 1991 and saw him perform on many of the band’s most popular records including the four studio albums: 1980’s Alex Chilton-produced ‘Songs the Lord Taught Us’, 1981’s ‘Psychedelic Jungle’, 1986’s ‘A Date With Elvis’ and 1990’s ‘Stay Sick!’ - along with 1987's live 'Rockin n Reelin In Auckland, New Zealand'.

His stoic demeanour, quiffed jet black hair and shades added to the cool appearance the band had already created. He can be seen drumming with the band in the 1980 film, URGH!, A Music War, cranking out ‘Tear It Up’, which culminates with a flying cymbal and again on the infamous ‘Live At Napa State Mental Hospital’ performance recorded in 1978.

On leaving the band, Knox largely retreated from the music world, returning to Garfield Heights, Ohio. In 2003, he made his last live appearance, this time with Cleveland legends THE PAGANS. Although he did occasionally do some Djing, his next notable music venture was working with CLEVELAND STEAMERS, playing drums on three tracks from the band’s 2013 debut album and being credited as ‘Senior Advisor’ on the band’s recently released ‘Best Record Ever’ album. He filled the ‘Senior Advisor’ role for ARCHIE AND THE BUNKERS also, who lovingly referred to him as ‘Grandpa Nick’.

Linna wrote the following in a Facebook post: "I last saw Nicky – Nick Knox – who most you know as the drummer of note for 70s bands the Electric Eels and The Cramps, last weekend, in intensive care at the Cleveland Clinic. It was heartbreaking, as I had spent a few great days with him at the end of April."

A service was held on Wednesday 20 June at 11:00 AM. Interment was at St. Theodosius Cemetery, Cleveland Ohio.

Knox is survived, in addition to his sister, by nephews, a niece and cousins.

Obituary - Tony Kinman

On Friday 4 May 2018, Tony Kinman, bassist and co-founder of THE DILS and RANK AND FILE, passed away due to a particularly aggressive form of pancreatic cancer. He was aged 62.
Born in 1956, he grew up with his family - which included brother Chip - in Carlsbad, San Diego, where the brothers formed a few bands, including THE NEGROES and THE DUDS. Come 1976, the brothers formed THE DILS, an overtly political Punk band, playing many of the city’s first Punk shows, often alongside THE ZEROS.
They decamped briefly to the more vibrant, and Punk-friendly city of San Francisco, before moving again, this time to Los Angeles. September 1977 saw the band release its first single, ‘I Hate The Rich’/ ‘You’re Not Blank’ on What? Records which was followed just two months later by the classic ‘Class War’/ ‘Mr. Big’ single on the infamous Dangerhouse Records. The band also landed a part in the film, Cheech And Chong’s Up In Smoke performing ‘You’re Not Blank’ in the Battle Of The Bands scene.
The Kinman brothers then moved back to San Francisco only to record their final EP, ‘Made In Canada’ in Vancouver, Canada. Although the band secured a supporting slot with THE CLASH and were in discussion with John Cale (of the VELVET UNDERGROUND) about a collaboration, the band split in 1979, before the ‘Made In Canada’ EP had even been release. Tony then had a brief spell with San Fran band, THE AVENGERS.
Following the break-up of THE DILS, the brothers relocated again, this time to Austin, Texas and continued to work together in RANK AND FILE - a Roots Rock/ Cowpunk band. They landed music in the film, To Live And Die In L.A while their 1982 album, ‘Sundown’, earned them the title of Country Band Of The Year from The Austin Chronicle. The band split in 1987 after the hard-rock driven self-titled third album.
Following RANK AND FILE, there were various music collaborations including a Techno-Metal deal in BLACKBIRD and Country and Western influenced (with emphasis on the Western) COWBOY NATION. 
More recently, Tony worked behind the scenes on the new FORD MADOX FORD album, ‘This American Blues’, which also features Chip's son, guitarist Dewey Peek and was released in February.
In March, Tony was diagnosed with cancer and began what was expected to be a six-month program of chemotherapy, according Chip's wife, Lisa Kinman. However, the cancer turned out to be extremely aggressive.
On Thursday 3 May, Chip Kinman's Facebook page alerted fans of his brother's condition: "Tony is home with his family. He is no longer receiving treatment and is comfortable and at peace. I have read him everything that people are posting and he is very moved. I will let everyone know when it is done. I love you all. Thank you, Chip."
The following day, Tony Kinman passed away. Besides his brother Chip, he is survived by his wife, Kristie.

Obituary - Mike Hudson

On Friday 27 October 2017, Mike Hudson, author, journalist and most notably, vocalist of THE PAGANS, passed away at his Los Angeles home, due to sepsis from a recently lacerated bowel. He was aged 61.
Hudson was born in Collinwood, Ohio before moving at an early age to Wickliffe, Ohio, about 30 minutes from Cleveland. He quit school in his sophomore year and hitched around the country, but always returned to Cleveland. Along with his brother, Brian, he acquired an extensive juvenile record, ranging from underage drinking, pot possession, carrying a weapon and assaulting a police officer.
In 1974, along with Brian on drums and himself on guitar, he formed the garage rock band, MAD STAGGERS, which mutated into VENUS IN FURS and then THE PAWNS. Come 1977, they added vocalist Robert Conn and formed the band that Hudson would become most infamous for - THE PAGANS. A single ‘Six Of Change’ was issued before Hudson took over vocal duties in 1978, with Mike Metoff joining on guitar. What followed were three classic singles - ‘Street Where Nobody Lives’, ‘Dead End America’ and ‘Not Now No Way’ before the band split up in 1979 after a failed album session.
The split didn’t last long however as in 1982, Hudson and Metoff reunited to start Terminal Records and form LES RAVING SOUNDS which morphed into a new line-up of THE PAGANS. After releasing what became known as ‘The Pink Album’, the band split-up, once again, the following year.
1986 saw another line-up, resulting in the live ‘The Godlike Power Of The Pagans Live’ in 1987. This line-up split in 1989, although numerous recordings have appeared on compilations.
The 90s became a bit of a lost decade for Hudson musically. He played briefly with GG ALLIN AND THE MURDER JUNKIES and recorded his solo album, ‘Unmedicated’, which remained unreleased until 2006. He also sang for THE HIGHROLLERS and the avant-garde band THE STYRENES.
In 1991, his brother Brian died. At this stage, Hudson, who had always been a heavy drinker, hit the bottle harder than ever. He moved to New York in a state of depression, but got a job at the Irish Echo. It was also here, in the East Village along with DEAD BOYS’ Cheetah Chrome, where the ‘Unmedicated’ tracks were recorded.
2011 saw him reform THE PAGANS again, this time as a legacy band and toured Europe and America, with an offer of Japan arriving just before his passing.
Besides THE PAGANS, Hudson had a career as a journalist having worked as editor for the Cleveland Sun, crime reporter at the Corry Evening Journal, and literary critic at the Irish Echo. Further work appeared in Rolling Stone, Hustler, and the New York Post among others.
In 1998, a move to Niagara Falls marked what he would be most remembered for in journalistic terms. After scoring a reporting job at the Niagara Gazette, he was fired in 2000 for, allegedly, arriving drunk - which he disputed. So, in true DIY spirit, he created the Niagara Falls Reporter. He remained editor-in-chief through to 2012 when he sold his shares to move to Los Angeles.
His journalistic style was hard-hitting - the term muckraking has even been used. It was this hard-hitting style that resulted in him receiving a beating by three members of a local labour union.
He was also a noted author, having written six books including the biography of THE PAGANS, Diary Of A Punk.
In 2004, his son Ritchie died, leading to a further alcohol dependency.
In 2005, he was hospitalised and given last rites. He survived but after only a few months of sobriety, he returned to the bottle. 2007 saw him in hospital again, this time with liver failure - and was again given last rites.
In Los Angeles, he spent his time writing articles, books and songs and got heavily involved in a dog rescue programme.
In 2016, he made it back to Cleveland to do one final PAGANS show. On the afternoon of 26 October, and following intense abdominal pain, he was admitted to the emergency room of a local hospital. A physician reportedly told him he needed immediate surgery or death would ensue from sepsis, plus he appeared to have advanced colon cancer. Even if the operation were successful, he was told he might have only two months to live.
Mike declined surgery, saying he did not want to die on the operating table, and chose to return home. He was given pain medication; hospice was called, and within 24 hours he succumbed, surrounded by several friends and his two dogs.　

At the time of Mike’s passing, I was on vacation in Australia. Being someone who tries to avoid all things computers while on holiday, the news of his death completely bypassed me. Since I interviewed him, we had remained in touch via Facebook conversations and he always forwarded me an autographed copy of his latest book. I now treasure the Diary Of A Punk book greatly.
I have to confess, I had not noticed a lack of correspondence with him since returning from Australia. Christmas appeared, then New Year, other stuff happened - you know, life in general. It was via a post from Stefan at Just4Fun Records that sent alarm bells to me. A brief follow-up message to him confirmed that Hudson had indeed passed away.
It still feels odd; a genuine Punk icon, who I was in contact with has now passed. Not really a surprise I concur, but my listening to tracks like ‘No Now No Way’, ‘Dead End America’, ‘Downtown Beirut’, ‘Wall Of Shame’, ‘I Juvenile’, ‘She’s A Cadaver’ and ‘Brian Always Said’ - tracks that have lived with me for many years (decades) - are now seen in a new light.
RIP Mike - you lived a life on the edge and I am forever grateful.

Obituary - Grant Hart

On Wednesday 13 September 2017, Grant Hart - founder, drummer and vocalist for HUSKER DU, guitarist and vocalist for NOVA MOB and a renowned solo artist - passed away at University of Minnesota Medical Centre. The cause of death was terminal Liver cancer that he had been diagnosed with in recent months; he was also afflicted with Hepatitis C. He was 56.

Born on 18 March 1960 in St Paul, Minnesota, Grantzberg Vernon Hart was the youngest of his family, born to a mother who worked at a credit union and a teacher father, and attended South St. Paul High School. Aged ten, he inherited his brother’s (who was just two years older) drum set and records after he was killed by a drunk driver. During his high school years, Hart was in a cover band named TRAIN, playing keyboards.

On leaving school, he landed jobs at various record stores, including Cheapo Records where he worked with Greg Norton. It was at this shop that he met New Yorker, Bob Mould. The three went onto form HUSKER DU.

The history of this great and influential band (arguably, the most influential US band after the RAMONES) has been widely documented, from the blur of ‘Land Speed Record’, through to the groundbreaking ‘Zen Arcade’ double album and onto a major label deal with Warner Bros and the ‘Warehouse: Songs And Stories’ double album swansong. There’s been the book, Husker Du: The Story Of The Noise-Pop Pioneers Who Launched Modern Rock, the chapter in Michael Azerrad’s book Our Band Could Be Your Life and the extensive Husker Du Database - to name but three - so I won’t detail too much of this iconic band’s history.

However, it should be noted that besides writing and singing songs, he was also responsible for most of the band’s artwork. He also designed a number of other sleeves, notably fellow Minneapolisians, THE REPLACEMENTS and their album, ‘Hootenanny’.

During the band’s tenure, Hart developed a Heroin habit and was also incorrectly diagnosed as being HIV-positive in 1986, just as the band’s major label debut, ‘Candy Apple Grey’ was released. It is said that it was Hart’s drug addiction that lead to to the 1988 break-up of the band. That was no doubt partially true, but the feuding between Mould and Hart about who should retain most creative control was another major factor. Then the band’s manager, David Savoy, committed suicide. If that wasn’t enough, the fact that during the end of HUSKER DU, Hart had already got together a project named SWALLOWS no doubt indicated Hart’s dissatisfaction and rankled Mould's ire further.

Following HUSKER DU’s demise, Hart released the ‘2541’ EP in October 1988 - a mere six months following the split. This was followed early in 1989 with the ‘Intolerance’ album. Later the same year, he formed NOVA MOB, taking on guitar duties along with vocals. It was an often misunderstood band and its fortune was not aided when Rough Trade, the label that released the band’s 1991 debut album, the excellent ‘The Last Days Of Pompeii’, declared itself bankrupt on the very day the album was released.

A second NOVA MOB album was released in 1994 before the band split following a European tour. From then on, Hart continued to play intimate, career-spanning sets and releasing impressive solo albums, culminating in 2013 with the epic ‘The Argument’, a double album based on John Milton’s Paradise Lost and William S Burrough’s adaptation of the same book as Lost Paradise. In that same year, the feature length documentary ‘Every Everything: The Music, Life And Times Of Grant Hart’ was released.

At the time of his passing, Hart was working on another concept album about Ted Kaczynski, the Unabomber, titled ‘Pop Manifestos’.

Hart is survived by his wife Brigid McGough Hart, his adult son Karl, granddaughter Grace and siblings Nett, Roxanne and Craig. 　

 

Putting into words the importance of Hart and his music is no easy task. I was fortunate to see HUSKER DU at the very end of their career - at the 1987 Glastonbury Festival no less. Sure, it wasn’t the ideal venue or the most intense period of the band’s existence but I felt, and still feel, very fortunate to have seen the band before they imploded.

It is without a doubt that of all the bands that were spawned by the US Hardcore boom, it was HUSKER DU that pushed the boundaries the most, be it the warp-speed of ‘Land Speed Record’, the influence of psychedelia as typified in what must be one of the best cover versions ever in the band’s take of THE BYRDS’ ‘Eight Miles High’, an unerring Pop sensibility often channelled through Hart’s uplifting vocal, through to the ultimate taboo of signing to a major label. 

Hart himself challenged the pack too - long-haired, usually barefoot, openly bisexual and in possession of a voice that could soar to the heavens. I had my own personal nickname for him: Mr. Golden Tonsils.

I was fortunate to see him live here in New Zealand in 2016 - and he was stunning. Classic song followed classic song and yes, those tonsils were still golden! I managed to have a conversation with him also - something I am profoundly grateful I did now. We spoke of that Glastonbury performance and the turd who threw a bottle - which exploded as it hit his vocal microphone. We spoke of NOVA MOB too, a band I also saw at the London Marquee in 1991. And, rather embarrassingly, I mentioned his 'golden tonsils'!

Hart’s passing is tragic on so many levels. Not only was he so young, but he was still stunningly creative. ‘The Argument’ could be his finest work in fact, laden with stunning songs and invention. I desperately hope the album he had near-completion when he passed will be released.

Go well Grant and always Shine, Shine, Shine....

Obituary - Brandon Ferrell

On Tuesday 31 May 2016, Brandon Ferrell, a member of such bands as GOVERNMENT WARNING, CAREER SUICIDE, DIRECT CONTROL, WASTED TIME and MUNICIPAL WASTE, passed away.

He was born on 28 April 1984 and at the time of writing, the cause of death is unknown.

In addition to being involved with the Hardcore bands above in a capacity as drummer, guitarist and/ or bassist, Ferrell ran No Way Records. He also opened, and was the original owner of, Vinyl Conflict records in Richmond, VA. Ferrell also had his own thrash project on Tankcrimes called OBSESSOR, where he played everything. It's worth noting Ferrell did the artwork to IRON REAGAN's 2012 demo.

He is survived by his wife Lauren and their twins, Darby and Zoe.

Obituary - John 'Stabb' Schroeder

On Saturday 7 May 2016, John ‘Stabb’ Schroeder, best known as the vocalist with GOVERNMENT ISSUE, passed away at a Hospice center in Rockville, Maryland after a battle with stomach cancer. He was aged 54.

Born John Dukes Schroeder in Washington on 12 July 1961, he grew up in Rockville and graduated from Magruder High School in 1979. His first marriage, to Mika Ackerman, ended in divorce. On St Patrick’s Day 2016, he married his long-term partner Mina Devadas.

Stabb formed GOVERNMENT ISSUE in 1980 (originally called THE STAB) and remained the band’s only constant member.

GOVERNMENT ISSUE’s history is well documented elsewhere, but the band released six studio albums and a myriad of EPs, morphing from the DC Hardcore sound of the 1981 debut, ‘Legless Bull’ EP released on Dischord Records, through wider experimentation with psychedelic tones and slower rhythms, culminating with the final studio album, ‘Crash’ in 1988 and the ‘Strange Wine’ EP the following year when the band split.

Following GOVERNMENT ISSUE’s demise, Stabb continued to front several DC bands including STAIN, EMMA PEEL, WEATHERHEAD, BETTY BLUE, THE FACTORY INCIDENT and, up until shortly before his passing, HISTORY REPEATED.

Over the years, GOVERNMENT ISSUE played a series of reunion shows including 2007, 2010 and most recently in 2015.

Stabb was renowned for bucking the trend of Hardcore Punk fashion by growing out his hair, wearing all sorts of flamboyant, bright clothing and leisure suits. This is emphasized in the Going Underground book where he states: "I didn’t care if it was a purple velour women’s pants outfit with a vest with pleats for breasts; I’d wear it."

In recent years he had been working on his memoirs, entitled Hear The Scream which chronicles his troubled childhood, his time in GOVERNMENT ISSUE and recent life events.

Following a series of hospital visits at the end of January 2016, Stabb was diagnosed with malignant stomach cancer. At a HISTORY REPEATED show on 19 January 2016, he announced to the audience that he had appendicitis and would need to go to the ER after their set. After a misdiagnosis, he was rushed back to the hospital on 29 January, where doctors performed emergency surgery to remove two tumors from his gastrointestinal tract. 

Stabb is survived by his wife, Mina and his two brothers and two sisters.

While GOVERNMENT ISSUE never released a duff record, the two that always have most affect on me are ‘Joy Ride’ from 1984 and more specifically, ‘You’ from 1987. Dr. Strange Records released the band’s entire catalogue (bar the ‘Legless Bull’ EP which can be found easily on Dischord’s ‘The Year In Seven Inches’ comp) on two twin-CD packages in 2000, which remain a great place for the curious to start. 

Unfortunately I never got to see the band live, although I was aware of them playing in the UK. In fact, the insert of the ‘You’ album included a photo taken on Brighton Beach.

 

Show Time!

Grant Hart

GRANT HART CONSPIRACY - BLACK SCIENCE - LOUD GHOST - King’s Arms, Auckland, New Zealand - 19 February 2016

I’ve always thought those discussions about the preference over Bob Mould or Grant Hart’s post-HUSKER DU work a little frustrating. I mean, both individuals output has been impressive. I loved SUGAR but I also loved NOVA MOB. With regard to the solo albums, both have released a body of work that has been equally stunning and occasionally bewildering.

With that taken into consideration, I kinda surprised myself with the realization that this is the first time I had seen GRANT HART post HUSKER DU, compared with at least a dozen MOULD experiences. Would old ‘Golden Tonsils’ Hart live up to his former colleague and sparing partner in a live situation? Without a doubt, he did.

The night got off to a shit start though - and that is through no fault of any band. I travelled up to the gig on the Intercity Bus Service. It was due to arrive in Auckland at 7pm. Doors opened at 8pm. First band on probably around 9pm. That’d give me two hours to get from the bus station, grab some food and get to the gig. However Intercity fucked up royally!!

The bus left an hour late and somehow, the driver (that’s a broad statement - he seemed to have his handbrake on the entire way and actually apologised for his lack of pace as he, "had to get used to the gears - they're all a bit different you know!") managed to add yet another hour on the drive. So, I arrived at 9pm and by the time I got to the gig only caught the last five minutes or so of LOUD GHOST.



Black Science

And that’s a shame as they seemed to be cranking out some seriously damaged sounds fusing something like the rock ‘n’ roll drenched sound of (early) GUN CLUB with the intensity of BIG BLACK. Given I only saw a fragment, that could be way off the mark but it was an impressive quagmire of noise for a few minutes.

Auckland’s own BLACK SCIENCE was up next and cranked the jams with some seriously fuzzed guitar lines, catchy songs and some disjointed, splintered beats. Big comparison has to be MUDHONEY with a bit of LEMONHEADS, SONIC YOUTH and MC5. No idea about song titles but the trio put on an enjoyable set, even if some of the guitar histrionics went a bit overboard at times.

Somewhere during the interval following the BLACK SCIENCE set, Grant Hart appeared at the left of the stage dressed in a brightly flowered shirt, wide braces, hobo jeans and stunning red shoes. Somehow, he looked cool as fuck too.

Grant Hart Conspiracy

His latest band, THE GRANT HART CONSPIRACY, is a four-piece consisting of what appears to be pretty seasoned musicians and, from the opening, ‘Back From Somewhere’, it was clear that Hart had amassed some solid players around him. It was also clear that this was gonna be a ‘Best Of Hart’ type set with the following songs being ‘2541’ and a spine-tinglingly magical ‘Diane’ - which proved he still has those Golden Tonsils albeit ones that broke occasionally.

From there, the set spanned HART’s entire career with particular highlights being ‘Pink Turns To Blue’, a set-stealing ‘You’re The Reflection Of The Moon On The Water’, ‘Now That You Know Me’ and a ringing version of ‘The Last Days Of Pompeii’. A number of songs from his recent album, ‘The Argument’, were featured too, with ‘Morningstar’ being particularly effective.

Grant Hart

It was good to hear he remains outspoken. One point toward the end of the set saw him state that we should, "remember to tip the bar staff." A rather bellicose member of the audience shouted, "FUCK OFF," - Grant then chastised him and it appeared the gig maybe over. On another occasion, he requested that cat owners ‘meow’, followed by dog owners ‘barking’. The analogy was that if ‘some musician’ from Minneapolis could get a crowd on the other side of the planet to make animal noises that easily, imagine what Donald Trump could do en masse. Yes, it was rather simplistic - but so are those that follow Trumpton.

Another notable point was that HART possessed the ability to stop the band a few bars into a song and with a matter of three words, lifted the song to another height. That usually indicates an egotistical rock star; here it showed someone who actually knew how these songs work best. I have say the guitarist was particularly good too - he could do the droning tone of HUSKER, add some subtle lead work that appeared simplistic but created added depth, and enhanced the songs with some understated backing vocals.

After 90 minutes or so, the band finished. The house music came on - only for HART to return and do another half-hour with just his magical voice and guitar. Highlights?? Have to say - every song performed this evening left me in awe but this solo set saw some jaw-droppingly magnificent takes on ‘Admiral Of The Sea’, a set-closing ‘The Main’ and ‘Don’t Want To Know If You Are Lonely’.

And then it was over. For the first time in many years, my ears were ringing viciously. That was compounded by the fact that the sound was the best I’ve ever heard at the Kings Arms. I had a very amicable chat with the man and his guitarist before walking back on a massive high, grinning like some kinda long-haired, Punk Rock clown.

So - did HART match MOULD live? Ohhh yes.... I probably have to say that this gig transcended Mould’s bluster and I sensed that with the set of songs performed here, I’d witnessed a genuine songwriting maverick - someone on par with Dylan even.

Yeah, that’s a massive statement but, three plus weeks since the gig, one I still believe.

NB: If anyone has a song-by-song set list, please let me know