ARCHIVES – more older posts (13)
May 14th, 2012 by Larry

Friday, July 23, 2010

Sound and Fury 2010

Unfortunately we here at DCXX couldn’t make it out to this year’s Sound and Fury fest, but if you’re in the area, check it out and let us know how it all goes down. -Tim DCXX


Wednesday, July 21, 2010

Underdog poll wrap up

I had a minority vote in this one, and I’m actually surprised that the LP got as many votes as it did. Everyone seems to consider the 7″ a classic – and it is – no question. From iconic cover artwork to solid production to athemic lyrics and of course the great and catchy tunes, it’s top drawer stuff all the way that always leaves me wanting more. I actually would have guessed that the classic EP would have pulled 75% of the vote.

That said, the 7″ doesn’t have three things that the LP does: “A Lot To Learn,” “Back To Back,” and “The Vanishing Point”…my 3 favorite Underdog songs that always point me right towards the dance floor. Throw in tunes like “Over The Edge,” “Mass Movement,” and “Underdog” as well, and you have one hell of a great record – quality and quantity in abundance. I’ve been able to see past the weirdo reverby, thin, treble-soaked recording (I’m not even sure how to describe it), and although I didn’t see the band in the eighties, I caught the 1998 and present versions of Underdog, which means that I know these songs kill live.
Some people diss Chuck Treece’s guitar style and the leads, or the rasta-infused tracks and Richie’s vocals, but it all works if you ask me. The Vanishing Point is a band at the top of their game, blending all sorts of coolness together into a genre-bender without going overboard. While the recording simply didn’t get executed in the way it deserved, it’s still the winner for me.

If your collection is missing either of these, go check out – it’s “never too late”… -Gordo DCXX

Underdog 7″ – 54%
The Vanishing Point – 45%

Arthur, Richie and Russ with Underdog, Photo courtesy of: Underdog

Tuesday, July 20, 2010

Eddie Sutton – Leeway/TRUTHandRIGHTS round IV

Tell us about how Leeway evolved after the release of Born To Expire. How did the band change or grow over the next few records, and what do you think of each album? How had the NYHC scene changed over the course of the band, and where did Leeway continue to fit within that world? Stand out memories during the rest of Leeway?

After Born To Expire was recorded in November of ’87, we all know a ton of bands went up there to capture the same strength in sound, but the full-length wasn’t released until January of ’89. I guess a lot of people who don’t know the full history just see the timeline of Leeway and assume we just came out then in ’89. By the time that record came out the songs were then 4 to 5 years old.

We had a great run of luck, and that summer we toured the states with the original BAD BRAINS which was, for me an education and life experience to say the least. My first full tour. So many great shows. Doc, Darryl, and Earl put an arm around all of us and brought me on their tour bus for the whole 12 weeks we were out on the road. I’ll never forget what they did for me personally let alone the band. I learned so much from them, and they took so much time out to offer us whatever we needed. No band at that time ever did a full tour with them, and it’s remained that way.

We toured Europe with them as well, and I saw the complete transition they too went through these past 20+ years doing what they do best. I’m privileged, and grateful for the experience. That whole summer has so many beautiful and wild memories to me I couldn’t just pick one at this time.

Now, Desperate Measures was pretty much written by the time Born To Expire came out. We went a bit overboard I guess when it came to some of the songs being incredibly long. Who can dance 5-7 minutes to a song? Hahaha…even though we had that on DM, there were some great songs that helped maintain our strength and credibility.

The scene as a whole started to change. I think people assumed there was a scene after 1990 (that’s arguable), but this was a transition period where a lot of bands started to go their own way within the scene. I noticed so many different styles coming out, but the sound still had restrictions, in my opinion.

I always believed HC was a lifestyle of true heart, aggression, passion, and it’s the music that brings us all together. I always felt the music needed to evolve as well, and this is why Leeway always tried to expand and do new things musically with each release. I always wrote my stuff for myself first and it was never formulated to target an audience. The fact that it was appreciated is wonderful, but I needed to be true to myself if I was going to offer this to anyone.

I’m not sure at this point if we actually were fitting in anywhere with the direction we went towards after Desperate Measures, but we did our thing, and you can’t say we didn’t. That’s for shit sure. If it didn’t satisfy a hardcore purist I guess it is because they weren’t willing to open their minds to the fact that hardcore isn’t just a sound. It’s so much more than that. We still did hard songs, but we also tried to write true compositions and didn’t run with the general formula. We didn’t get it completely right with Adult Crash, but Open Mouth Kiss proved to me personally that we went the distance as a group. Each release proved that more and more.

When I listen to the music today I am proud. Very proud. It took years for Open Mouth Kiss to be fully appreciated, but it is now, and the fact that all 4 full-lengths brought something new to the game shows where we were at that given moment, good or bad, and it shows growth and progression.

Eddie goes face to face with the City Gardens crowd, Photo: Ken Salerno

A lot of people don’t know how or why Leeway came to an end, and what you were up to afterwards. Can you give us a recap? In that time, what were you interested in musically, and were you trying to put anything together?

The first time I broke the band up was in the early part of the millenium. Half ass business assumptions and getting to a show in Philly late where the show got cancelled before we got there was what made me stop then. Same old shit. The others didn’t seem to care and skipped off and away to eat. I was travelling into New York from Pittsburgh on weekends after settling down out there, and I just realized it was the same old shit while I watched the Olympic torch go by as it was carried on to Utah for the winter games. It was the holiday season. When they came back I told them I was done.

The reunion in 2006 was more of the same, but we had a great 8 month run. Again it was the same shit where individuals who were sheltered by living with parents their whole lives thought they were above me, and it was obvious we were losing respect for one another. I’m used to being the bad guy in Leeway as if it’s all my fault we didn’t reach our potential, but decision makers sat on the fence all the time and couldn’t pull a trigger when it came to decisions and we lost just as many opportunities that way as well.

In September of ’06, our bass player thought it was more important to have his father put a down payment on his condo in the Carolinas after his wife filed for divorce – this happened when we had the opportunity to play the last 5 nights at CBGB’s with the original BAD BRAINS and make history. OK, so his wife kicked him out and asked him to leave, but I realized then it was the same old shit and I called it a day for the band for good. Whatever.

I learned about more betrayals over the years. I’m glad I’m in the position to now be with true, honorable men who actually do have my back now with TRUTHandRIGHTS.

Regardless of my demons, we all had a part and role in the demise of this band over the years. I was the one who actually lived and died by Leeway 24/7/365 regardless of what I was going through. I was out in front. For most, when you hear the name Leeway it’s my face that pops into mind, like it or not…it is what it is. There are many more wonderful and great times over the bad.

AJ did what he could to try and keep me out of the press over the last 15 years because I was never politically correct. This ain’t arena rock…it’s hardcore. It’s what you expect from a bunch of kids with a limited future who got to travel the world through this music and lifestyle. It kept some of us alive and gave us a chance to be something. It’s a priceless gift I would never take for granted…it is what it is, though. Let’s keep it real here.

As I said, we lost respect for each other in the end…like a bad marriage, especially me and AJ, over the others. Me and AJ were able to write some incredible songs. We have fans who are much younger than most songs. That shows an impression you cannot deny. We did some great things together, but all things come to an end. I personally will never forget the good times, but we move on in this thing of ours as we do in life.

I’m just a grateful man in all honesty to have even done it, and I now get to do what I always wanted again with another group of players and good men. Let’s face it, I’m just lucky to be on the this planet with all the shit I’ve gone through… just like many others in this music. Life is a challenge for most of us. It’s a blessing without a doubt to just be able to do what I do. I am grateful so don’t get me wrong here. I’m just being brutally honest. We all have our faults…we all have to look at ourselves in the mirror…we’re all just human.

Leeway at City Gardens, Trenton NJ, Photo: Ken Salerno

How did the Leeway reunion shows come together, and how did that lead towards you putting together TRUTHandRIGHTS? What have you wanted to accomplish with TRUTHandRIGHTS and what can we expect in the coming months? What would you want someone who hasn’t heard it to know about the band and sound?

At the time I broke up Leeway for good I was already talking to the members of AGENTS OF MAN about working together, but it didn’t start to actually happen until a year later and after I recovered from a broken neck. It took a long time to get my skills back…this is how TRUTHandRIGHTS began to form. We’ve been at it 3 years. Once DIMI started playing drums for us we really became a group.

We had our live debut in Philly on May 23rd, and then we flew out to Tacoma, Washington to play Rain Fest over the past Memorial Day weekend. We didn’t even have a proper release out. That’s an achievement in itself. I personally enjoy this new start and paying dues all over. I don’t believe in sitting on your ass on your past success like these reunion acts who can’t write new shit. I think their outta gas, personally.

We now have a release date for our single EP before we release our full-length in the late fall. It’s coming out on SIX FEET UNDER Records this Friday the 13th of August. That’s the first night of THIS IS HARDCORE in Philly. We’re playing on the last day, Sunday afternoon, and it’s our big move for the summer as we now start to play out more. The EP is a limited edition vinyl/single which will be hand-numbered sequentially with surgical marker. It will of course also be available on iTunes as well. I never had the opportunity to put out a 7-inch so it’s something new to me. There is a print run of 2010 copies. Two different versions of green vinyl. One more rare than the other for the record collectors.

It’s obviously going to be compared to both Leeway and Agents of Man. Other than the Merauder demo, I’ve only done the one band – plus I have my own style that stands out, so the armchair fantasy players will have their say. Whatever. I think it’s a whole new approach for me and for the rest of the musicians collectively. There is no way I’m writing now the way I did before. I’m older, wiser, and can honestly say I’m completely inspired playing with men and not boys who live with their parents. That’s the diference here. No stuck up attitudes or self-righteous egos.

Something I always wanted to do…I’m finally getting a chance now after all these years. That’s an incredible feeling…a beautiful thing.

One more round? Well, in the words of Judge Mills Lane…let’s get it on…

Eddie mugs it up in Philly, Photo: Keith Franco

Monday, July 19, 2010

Jonathan Anastas – DYS part II

The official Modern Method and Taang! promo/press shot for the release of “DYS” (album #2), Photo: Elisa Katz

Returning for part II of our interview with him, Jonathan Anastas delivers the answers to our questions about early Boston and DYS. Plenty more to come, just in time for the return of DYS in Boston on August 29. -Gordo DCXX

Everyone views SSD as the DYS big brother band. What was the relationship like? Did SSD pave the way for DYS in any way, or do you feel like you both did it together?

Early on, Andy, Dave Smalley and I spent a lot of time with SSD and the rest of the core Boston Crew. We roadied all the major SSD shows and came along on many of the road trips to see Black Flag or the Bad Brains. Mixed it up in New York, hung out in DC.

I felt like the three of us were going to “SSD University” in terms of how to handle yourself on the road, at a show. Professionalism, precision, on time, right equipment, full crew. Sound check, stay close, watch each other’s backs, no partying.

And we were not the only band to do so. The Lasts Rights dynamic was pretty much the same. Choke, Pat and Ritchie were along for the same lessons.

To this day, I don’t think any band was heavier and more influential than SSD during the “Get it Away” era.

On top of the shows, SSD taught us how to “manage the business” – merchandise, recording, finding pressing plants, distributors, promote shows, rent halls.

We tried to bring all of that to DYS. Over time, we became more focused, the songs heavier. Dave’s more DC vibe giving way to a harder look and sound.

Again, from SSD and Black Flag, we copped a pretty serious work ethic. This wasn’t going to be the Sex Pistols where Sid just flailed away, pretending to play bass. We practiced at least 3 times a week as a band. If we started off as a bit of a joke, we were determined not to end up one.

Personally, I also really thought Jaime Sciarappa brought it and I learned a ton from him too: chops, stage presence, taste. And he was about the best, straight-up, guy on the planet. You could count on Jaime for anything. A funny aside, after seeing Motley Crue together, Jaime and I both custom ordered Hamer Blitz basses, just like Nikki’s, even as far as the Kahler tremolos, his Hamer in black, mine in pearl white.

Later, by the time of “Break It Up” and “DYS,” I feel like the dynamic changed from sitting at the feet of SSD, to being more like equals. There were things they were better at and things we were better at. A sound they moved toward (more AC/DC and Aerosmith-inspired boogie-based rock) and a sound we moved toward (really influenced by the early Metallica and Iron Maiden records). By our last show together at the original Rock Hotel (Now the Jane Ballroom), I felt like we were just two really solid rock bands whose personal and musical chemistry gelled well. And there was nothing like pooling equipment and playing out of like six Marshall stacks.

Jonathan Anastas and Dave Smalley with DYS at The Rat, Photo: Steve Risteen

How did you view SSD as a fan? Kids or Get It Away?

Then, and now, hardcore to me is about Black Flag, the Bad Brains and SSD. It takes more guts to blaze the trail than follow it. And all three bands were willing to be contrarian and true to their own beliefs in the face of both mainstream society and the hardcore scene. It takes guts to play “Police Beat” with 10 Boston cops at your show (or play a Reggae set to hardcore fans). And it takes guts to play “Break It Up” to an audience that wants to hear “Glue.”

Kids serves as an amazing totem of time and place, but Get It Away – to me – holds up better to regular listening today.
What about XClaim! as a family? Did it feel that way?

The Boston Crew was a family. X-Claim! was a logo.

XClaim! was – by design – a brand, a trademark of quality, like a hardcore Good Housekeeping seal. It never felt like a family as it wasn’t supposed to. There was no “XClaim! House” like the Dischord House. Al and Chris Foley didn’t “work at the label” like Ian and Jeff. If you wanted to put out an XClaim! Record you simply asked Al. And, maybe, he’d give you some vendor phone numbers for covers or pressing. But, aside from getting the logo, and permission to use it, you did it yourself. And I mean that in the best way.

The goal of XClaim! was to become a “reason to buy”- not unlike the way one might have bought any Blue Note album or (using today’s examples) see any Pixar movie. We bought anything with the Dischord logo on it, or the SST logo on it. Al wanted X-Claim! To be Boston’s version of that.

DYS on the cover of xXx Fanzine issue 9

Recording “Brotherhood”:

“Brotherhood” was recorded at the legendary Radio Beat studio, with Lou Giordano engineering and mixing. Production done by Lou, assisted by Mike Bastarache, a local lawyer (if I’m remembering right), record collector and friend of the Newbury Comics founders who loved punk and hardcore. This was the team that had done “Kids Will Have Their Say.” It’s fairly common knowledge that Lou went on to an amazing career producing and doing sound with bands like Husker Du.

In fact, Lou was scheduled to record with the guys in Husker Du after one of our vocal sessions and – as they were already in the studio – were recruited to sing originally un-credited back-up vocals on “Wolfpack” and other tracks. I remember the band peppering us with Boston questions like “Is it true that people will pin us down and shave our heads” (they had long hair) and “Do people really walk around at shows slapping beers out of people’s hands” (they were – certainly – not Straight Edge).” Even pre-Internet, Boston’s reputation as a militant Straight Edge town had made it across America.

Stealing liberally from one of Brian Baker’s moments in “American Hardcore,” the production during the “Brotherhood” sessions was minimal and pre-production totally absent. The focus was really on getting through the performances and takes without error. We recorded the basic tracks live as a four piece band. There was no talk of “can you hang back behind the beat and find the pocket on the verse” or “what if we tried the chorus 10 Beats Per Minute slower” or “should we double the chorus and play the second in double time.” We just didn’t have the vocabulary yet or – even – the sense of songwriting. It’s been really interesting to play those songs again, ask those questions and experiment with the results.

We had minimal recording experience, no budget and no real vision beyond getting the songs onto tape. I remember we had a really hard time getting Andy’s guitar sound the way we wanted it. We couldn’t get the tone we heard in our heads – or even in the room – on tape and just had to compensate for that by just making them louder in the mix. This may have contributed to the other issue we had later – the level of Dave’s vocals post-Mastering. Something shifted between final mixes and the test pressing and we lost some vocal volume and presence. Almost to the point of wanting to go back and re-master. We had no money left, so it was “get it out now” or – maybe – not get it out for a long time. A shame of budget and in-experience. Dave should be a bigger sonic presence on the record. As far a we know, the Masters are long gone and we’ll never have the chance to do that.


Sunday, July 18, 2010

Hands Tied August 2010 shows

Aside from playing this year’s “This Is Hardcore” fest in Philadelphia on August 15th, Hands Tied has lined up a full weekend of shows with Mindset, Get The Most and ON. I was stoked to see the flyers for all three shows and thought I’d post them up here on DCXX for anyone that might be interested in checking out any of these shows. We’ll also have the brand new two song Hands Tied “Through The Wreckage” EP for “This Is Hardcore” as well as the other three shows to follow. -Tim DCXX

HANDS TIED on Facebook

Tuesday, July 13, 2010

Why Be Something That You’re Not invades Cleveland

This Friday, July 16th, there will be an invasion (INVASION!) of Cleveland! I, Tony Rettman, author of ‘Why Be Something That You’re Not – Detroit Hardcore ’79 – ’85’ and the Dutch Hercules himself, Tesco Vee will descend upon the town and bombard it with primo aggro Midwest vibrations. First off, we will be doing a book signing at Visible Voice Books at 7 pm. PLEASE come out and get a book signed, say ‘Hi’ and shoot the shnyder with TV and I.

After that, head over to that swingin’ joint, NOW THAT’S CLASS for the first official dual release party for both books. It’s gonna be a boss time, I assure you. The bill includes the revamped TESCO VEES HATE POLICE as well as those L.A yucksters WHITE FLAG (First midwest show EVER!) And let’s not forget Livewire recording artists HELLMOUTH delivering their souped up Satanic scree. Throw in sets by locals McSHITZ and ANTISEPTIC and you’re talking fun time central, Jackson! Show starts at 9 PM. Feel free to buy me a Victory Hop Devil. I won’t mind, I assure you.

Obviously, I will have books for sale (feel free to ask me to sign one) but we’ll have some other awesome stuff there as well. Firstly, we will have the ‘WBSTYN FUN PACK’ which includes a complete set of all three re-printed issues of Burp! Fanzine (An early 80’s Midwest ‘zine done by John Brannon and Todd Swalla under assumed names) and a Davo Schiech (dude who took all the photos on the NA 7″) print in a polybag. These fun packs are limited to 100 copies and will cost ten bones.

We might also have t-shirts if we pull it off in time. They will have a classic Midwest flyer on the front and the WBSTYN logo on the sleeve ala Wishingwell. Those will be ten bucks as well.

Alright, hope to see some Clevo people there. I’m really looking forward to it! -Tony Rettman




Tesco Vee armed and ready

Monday, July 12, 2010

Vatican Commandos

Vatican Commandos were
a key band in the 80’s Connecticut Hardcore scene, and are reuniting to play the Everybody’s Scene Book Party show in NYC on July 17th. Also worth mentioning is the fact that one of the fellas from the VC was a guy you may have heard of: Moby. We got to pick the brains of Jim Spad (bass) and Chuck Wheat (vocals) about some CTHC history. -Gordo DCXX

How did you guys meet each other in the CT scene, and how did VC come together?

Jim: We all went to the same high-school. Moby and I went to the same elementary school and lived pretty close together, so we met first. Our original drummer Chip Moody was also in neighborhood. He named the band and help write a lot of early lyrics. We met Chuck later in High School and after that Chuck and I hooked up with Mike Pollock on guitar and Dave Hower on drums. In the real early days, with Moby, before Hit Squad for God I was the singer and we used to do Sex Pistols and Clash covers.

Chuck: We all went to the same Darien High School. Moby and I went to the same grade school and Junior High school. Jim, Moby, John Farnsworth, and Chip Moody started a band during High School. I remember them playing at the battle of the bands against a bunch of crummy cover bands…they were great. Jim did most of the singing at first. I was friend with them and when they decided they wanted to add a singer I tried out and the rest is history. John Farnsworth and Lindsey were in the band when I joined and as I recall Moby was not…then Lindsey and John were out…and Moby was back.

This is when we recorded the Hit Squad stuff…then Moby was out…and we found Mike Pollock to replace Moby. Chip around that time left to play with CIA and then 76%, and we found Dave Hower to play drums. This was probably the longest and most stable lineup. For a while Bill Knapp took over on drums (ask him but I think he has played for most CT bands at some point in their history), but eventually things like school and work made keeping it all going too difficult. As far as the scene The VC’s pretty much grew up with the CT hardcore scene.

Vatican Commandos at the Stamford Anthrax, Photo: Jamie Keever

What local punk bands were you aware of when you started playing? Was VC meant to fit into any specific punk scene? How would you describe the VC ethos and sound?

Jim: There were no local bands at first, it was just us. We were really too young to get out of town when we first started playing. I remember buying Never Mind The Bollocks in an import bin at the local phonograph shop in Darien. Moby and I were probably 12 or 13 at the time. That record really did it for us. As we got a bit older, we ventured out and discovered other local bands, CIA, Lost Generation, Reflect From Pain – there was a whole scene out there.

I don’t know how to describe our sound. We were influenced by lots of different bands and each recording session has a different sound. When we released Hit Squad For God we had just heard This iI Boston Not LA and Flex Your Head, but most of the songs on the record itself pre-date the release. We listened to a lot of different bands, I really liked LA bands like Bad Religion, Adolescents, Circle Jerks, but we were hungry for new music anywhere we could find it. We were pretty diverse in our tastes.

Chuck: Local bands that we knew and hung out with included CIA, Reflex From Pain, Seizure, Contraband, No Milk On Tuesday, Youth Of Today…to name a few.

How did you meet Brian and Shaun Sheridan and come to know about the Anthrax?

Jim: I think Brian saw us at Pogo’s in Bridgeport and said, “Hey we have this art gallery with a basement, would you like to play?” We were one of the first hardcore bands to play there. I remember we were blown away that such a place existed just one town over from us. Brian and Shaun were totally cool. I can’t imagine what those years would have been like without the Anthrax.

Chuck: I can’t remember who first told me about the Anthrax, but as a group the band was pretty much involved from the begining. We even practiced there for a while during the week. Brian and Shaun were great! They would both pretty much give you the shirt of their backs if needed.

Moby hangs out in front of the Stamford Anthrax, Photo: Paul Yates

Can you give a run down of your releases and recordings?

Jim: Our Facebook page has a pretty complete list.

Unfortunately, we have had more recording session that went unreleased then released. We are going to do a bit of recording the day before the show. That material will probably be added to our unreleased collection. Ha!

What live shows did you play that stand out now?

Jim: We played in Orlando, Florida with Battalion of Saints back in 1984. The show was supposed to be in a bar, but it go cancelled so we played in an abandoned house with a generator outside. I remember it was hot as hell in this house, pouring rain outside, and totally packed inside. Everyone was slam dancing and there wasn’t enough room, so some enterprising folks tore a wall down during our set! After the show, rednecks in pick ups drove by and beer bottles were thrown in both directions. It was totally hardcore. Lots of other interesting shows, but that one I’ll never forget.

Chuck: We played some great shows. Ones that stand out for me are the show at Pogo’s where I fell through the ceiling over the exit in the middle of singing It’s So Scary for YOU, and then crash! – Through the ceiling I went. I finished the song hanging from a 2×4 clutching the mic. Pretty sure I didn’t miss a word. We played another great show in Florida in an abandon house that someone had been squatting in. Also, when a club cancelled one of our shows during that same tour we played for a bunch of people outside a storage unit.

Vatican Commandos, Stamford style, Photo: Louann Kruger

Why did Moby leave the band?

Jim: I’ve told some people I kicked him out of the band and that really shows what an excellent judge of talent I am!! But joking aside–I recall it being a mutual thing. We both had very strong ideas about music (and other things) and we just moved in different directions.

Chuck: You could say Moby and Jim had some creative differences at the time. Moby also had another band at the time AWOL that was a bit more “New Wave” that he was more into.

Tell us about the lost “Crusading” LP, and also about the unreleased “Love Cannon” LP.

Jim: Well, we have about two albums worth of unreleased material. Not bad for a band that only has EPs and compilations released! We also have two sessions of material that was recorded before Hit Squad For God. One additional session with Moby and another with John Farnsworth and Lindsey Anderson on guitar. John and Lindsey are going to join us for a few songs during the show in New York, that should be fun.

The Crusading LP is tough. We had no interest in releasing it ourselves. It was too much work and at that point me Chuck were already in college and starting to get interested in other things. So, we heard from this guy Dickie Yuck who had a decent fanzine and had interest in releasing it. We sent him the original tape. Pretty dumb thing to do.

Crusading had really excellent artwork from Vince Rancid who drew the first record cover. It was pretty distinctive musically–all the songs were varied and we had two guitars at that time. Matt Craig, who sadly, died quite a few years back, played rhythm guitar.

I think the only song that was ever released from that session, was “Last Wish” which wound up on Flipside #4 complication. We heard that Dickie moved to Alaska, then we didn’t hear anything, and then, well life goes on and Chuck, Mike and myself really left music behind to pursue other things. Dickie Yuck if you’re out there–please send the tapes back–no questions asked.

Chuck: Any copies of these songs that I have are in pretty crappy condition. I had a cassette tape of some of them in a walkman that got stolen so I think that’s pretty much it, they are lost. Some of those songs were pretty good but we only played them a bit at some later live shows.

Chip with the Vatican Commandos at the Stamford Anthrax, Photo: Louann Kruger

Now that you are almost 30 years removed from that punk scene, what type of interest have you retained in punk rock or any aggressive music?

Jim: I still love to listen to hardcore and early punk. I listen to a lot of other types of music too-but that was true when were in the band, too.

Chuck: I have a pretty varied music taste…My current pandora mix of stations includes classic rock, Ramones, Agent Orange, adult contemporary, Blues Traveller, Dave Matthews, Dick Dale, Black Sabbath, Damned, X, Foo Fighters, Gang of Four, Texas Blues…and a few more…

Did your experiences with VC shape who you became as adults? How so?

Jim: Absolutely. I own a technology company and we develop hardware and software, it’s all project-based. Putting out a record or organizing a tour, it is similar, the band taught me how to organize projects and get things done. I’d like to write book some day called, “All I Really Need to Know I Learned in a Punk Rock Band” (ha).

Chuck: Probably, and who knows.

How do you feel about modern punk rock? Is it weird to see the way it is now essentially in the mainstream?

Jim: I think over time acceptance is natural and in retrospect was bound to happen. It is still a bit weird to think there are “punk rock stars” Still, I enjoy listening to mainstream punk bands like The Hives and Green Day.

Chuck: I guess we were ahead of our time…

Any expectations for the July 17th show? How will it feel to play these songs live again?

Jim: I’m really looking forward to it. I lost track of a lot of friends, really looking forward to connecting with everyone. I moved to the West Coast after the band and never really came back. Also, I literally put down the bass for 25 years–so to play again, even practice has been a pleasure. I’m glad too that my son Andrea and daughter Caterina are going to be able to see the show. They’ll get to see a side of their Dad that they won’t easily forget.

Chuck: We had a great time playing at our first practices and will get together again to work out the bugs before the show. I think it will be fun…I recommend ear protection…it’s going to be loud!


Black Flag

A finely tuned wrecking machine known as Black Flag, Photo: Glen E. Friedman

Everybody’s Scene NYC show July 17th

Mercury Lounge, 217 E. Houston St. NYC

Friday, July 9, 2010

Misfits – “Walk Among Us” poll results wrap up

I’m actually pretty damn impressed, this Misfits poll really brought in the votes. I’ve always looked at “Walk Among Us” as THE Misfits album and from the look of things, so do a lot of our readers.

As far as what song won this, it’s nice to see that I’m not alone in my love for “Skulls”. Not that you can really find many songs that don’t shred on this album, but for me, “Skulls” has always stood out and remained one of my favorite Misfits songs ever.

Thinking back to when I first discovered punk and hardcore, the Misfits we’re easily one of the first band names I was always hearing. Granted, Glenn had moved on to Samhain by the time I was getting my feet wet in the scene, but the Misfits were still the band that everyone was talking about.

Misfits with John Brannon of Negative Approach up front and singing along, Photo courtesy of: 7th House

Before hearing a single note, my introduction was through the imagery of the Misfits. All the skulls, gore and violence led me to believe that the Misfits most likely had a chaotic, insanely fast, destructive sound similar to a band like Septic Death. Boy was I ever wrong.

I still remember the first time I heard the Misfits, a friend and I were skating and doing bonelesses off the trunk and bumper of an old car. I seem to remember my friend playing a mix tape through his boom box as we thrashed it up. Everything I was hearing back then was pretty much new to me, but when the Misfits came on, it was the song “Skulls” and my mind couldn’t calculate what I was hearing. A melodic, well sung, well written song that so pleasantly spoke of hacking the heads off little girls and hanging them on a wall. What the fuck planet did this come from? I was used to hearing some pretty fucked up shocking lyrics, but sung like this and to music like this? I was confused to say the least.

Glenn Danzig… just about as cool as it gets, Photo courtesy of: 7th House

The beauty and attraction to the Misfits back then was that they were so catchy and sounded like something you could play in front of your parents, but once you paid attention to the lyrics and saw the imagery, forget about it, mom was throwing that tape right out the damn window. Luckily for me, I made sure to keep the truth about the Misfits well hidden and my listening went over without a hitch (unlike my listening to Septic Death!).

Close to 25 years later, I’m still listening to the Misfits and every time “Skulls” comes on, the stereo gets jacked a little bit higher. Love him or hate him, yet another reason why Glenn Danzig is a freaking’ genius. And the blood drains down like devil’s rain, we’ll bathe tonight. -Tim DCXX

The Misfits clearly in a league of their own, Photo courtesy of: 7th House

Tuesday, July 6, 2010

Hands Tied – 1996 / 2010

Tim with Hands Tied in Connecticut, 2002, Photo: Traci McMahon

Tim and I have been hesitant from day one about using Double Cross to serve as a vehicle to promote any of our own music-related projects. That said, DCXX is a blog about hardcore, Hands Tied is now back on the scene as a current hardcore band, and I’d also like to think that the readers of this site are fans or potential fans of the band. So, DCXX seems like the place for HT. Plus, I feel like I can still talk about Hands Tied from a fan perspective, because long before I was in the band, I was a fan.

Allow me to give a little background…

In the mid-1990s when Mouthpiece was going full throttle, I was a big fan, had all their records, and thought they were THE band playing straight edge hardcore at the time. But I was also too young to make it to any of their shows with the exception of one (Spanky’s in Stroudsburg, Pennsylvania, 1995). By the time I was able to convince my parents to let me leave town with older friends for shows, Mouthpiece had called it a day and I realized I had just missed out on really being a part of a great band’s existence.

Almost immediately however, I learned that Tim and Sean from Mouthpiece were doing a new full-on straight edge hardcore band along with Mouthpiece roadie Ed McKirdy and NJ skater Pat Guidotti. I knew right then and there that I already dug this band and would be at as many of their shows as possible. Alongside Floorpunch and a new crop of bands popping up playing traditional styled hardcore, Hands Tied had a strong buzz going and were at the forefront of the whole “hardcore revival” people were talking about.

Ed McKirdy on the Les Paul, Photo: Traci McMahon

I would end up seeing Hands Tied eight times between 1996 and the beginning of 1998, with almost every line-up version during their short lifespan, and they never disappointed. Although they only had an EP out on Equal Vision and weren’t a full-blown touring act, I viewed them as an established, legit band that had no weaknesses.

Keep in mind, at that time, fast styled hardcore bands were popping up quickly, and many couldn’t pull it off. The enthusiasm of some bands may have been there, but the songwriting, performance, delivery, and execution were way off. Hands Tied knew how to do it right. This wasn’t intricate prog-rock, but it was well-written, high energy, 1988 styled hardcore that sounded like a perfect blend of east coast and west coast straight edge pioneers.

Hands Tied played the tri-state area and momentum was building with a re-vamped line-up, but after returning from a European tour in ’97/’98, the band fell apart. This was a real bummer to me, because the songs they had been writing with Dan Hornecker on guitar and Geoff ‘TDT’ Sayreville on drums were fucking great – harder and with an early NYHC intensity, but still undoubtedly in-your-face, aggressive SEHC. They never recorded them, and to me, the band never even had a proper send off. While many people loved Mouthpiece and viewed that as Tim’s prominent band, I felt as though Hands Tied were equally as great, if not better. Plus, they were only around for a year and a half, and were just getting into high gear when they called it quits.

Gordo brings the percussion, Photo: Brian Froustet

Over the last ten years, Hands Tied played a few reunion shows with different line-ups, and I was glad to see that the songs held up, and people still were totally into them.

In the meantime, Tim, Ed, and I had also grown to be very close friends, and I was starting to fiddle around with a drumset. After a few years of playing, I was able to carry a beat, and we started goofing around and jamming together. Hands Tied was never even on the radar, but we were having a blast playing hardcore riffs and cover songs, and it gave us a reason to hang out, eat a lot of food, talk incessantly about hardcore, and basically act like idiots…which seems to have become more difficult to accomplish for all of us as we’ve gotten a little older (even though I’m still the baby).

Anyways, we wrote two songs, titled “These Hands” and “Empty Words,” and decided to record them. We all thought the stuff was really good…we just didn’t know what to call this band project, and weren’t sure what it was shaping into. In the back of my mind, it sounded a lot like what Hands Tied had been writing towards the end of the band…and the spirit felt like Hands Tied. Keep in mind, we would also jam out some Hands Tied songs when we would practice, and they felt totally natural and sounded great. Just then, Tim said, “you know…this sure feels like Hands Tied to me…”

We decided to then record three Hands Tied songs that were written in 1996/1997 but never recorded by the band: “What’s Right,” “Shifting Days,” and “Gagged And Bound.” Nobody had to talk me into this, because I thought these songs really shredded and deserved a proper recording. The recordings came out awesome.

Mike Clarke getting in some practice time, Photo: Chris Bavaria

We sorted out some logistics, got Mike Clarke from Mindset in on second guitar alongside of Ed, and Tim “THE KREEP” Kriependorf from Triple Threat in on bass, and decided that doing Hands Tied as a current, active, relevant band was pretty much a no brainer. It wasn’t some forced “rebirth” or “reunion” or anything silly – it just felt right.

While we clearly aren’t reinventing any musical wheel here, we are doing something that feels timeless, as well as natural and overdue for us. For me personally, it’s a little surreal to now be playing drums in a band I used to go bonkers to when I was 14 years old, and I’m psyched. It’s a cool coming of age for me.

With a new EP right around the corner, some summer shows booked on the east coast, and a discography due right after that, things are already moving, and it’s pretty exciting.

Whether you are talking 1982, 1988, 1997, 2010, or any other time…I think this band is what Straight Edge Hardcore is all about. -Gordo DCXX

HANDS TIED on Facebook

The Kreep drops the bass, Photo: Nicole Kibert

Monday, July 5, 2010

The Killing Flame – “Save Yourself”

We’ve been going back and forth with Marc Maxey and Gavin Oglesby from Orange County California’s The Killing Flame for a couple of months now, trying to get this together. Finally here it is, for all the readers of DCXX, this is The Killing Flame’s last album, “Save Yourself”, with commentary by Marc Maxey and lyrics by Joe Nelson. Hope you guys enjoy. -Tim DCXX

The year was 2004. George Bush had just been re-elected and Joe Nelson was pissed off. The Killing Flame had just finished an extremely fun 2 ½ week tour of Brazil playing mostly with a great band called Dead Fish, as well as a couple shows opening up for The Lemonheads and All Systems Go. The best part of every show was when Joe would introduce our song “We Are The Patriots”, and explain that we loved living in America, loved our country, but seriously, “Fuck George Bush”. The crowd would ROAR their approval.


This is the end of the story

I feel it in the coming store
And with a whimper we close the book
Sleep tight America
We keep looking over our shoulder
Thinking help will arrive
But why would we think that way
Living in complacency USA

Why would we expect a change?
When people refuse to rise
We’re losing the real fight
We made an oversight

You know it’s a little deeper then some twin towers revenge
It’s deeper then oil, or a power grab, or chasing ghosts on Iraqi soil
It’s a Templar treasure hunt in a modern Saladin dance
Just know come checkmate, “Great Satan” is to blame

Why would we expect a change?
When people refuse to rise
We’re losing the real fight
We made an oversight

Keep your eyes on the prize

Wake up

We’ve made an oversight

Joe belts it out with The Killing Flame, Photo courtesy of: Marc Maxey

After we got home, we had high hopes of turning The Killing Flame into a consistent, vacation-making band. We’d tour Europe, Japan, Australia, Hawaii, and any other exotic locale we could fly to for a week at a time. When world domination didn’t happen, we ended up playing a great show with Insted…in Corona, CA with Joe Foster sitting in on guitar and Alex Barretto on drums while Casey sat on the sidelines with 3 broken fingers.

Los Angeles

So you say you’re a little lost
Well come on in anyway
You have some doubts and that’s fine
Just sit down and give us some of your time
In the city of Helter Skelter
We’re selling some shelter

There’s no peace
On these cracked and worn
City streets
Where you’ll soon come to find
That you’ve aligned with all the hollow fallen stars
Who’d trade it all to get back into the line

Welcome to the good life
Where the sun always shines
Where your only motivation
Is to end your desperation

There’s no past
No future you’ll find here
Just empty plastic days
You’ll pray will last forever
When they have the cocaine, glamour, and cash
You’ll drink the Kool –Aid and beg for another glass

Welcome to the good life
Where the sun always shines
Where your only motivation
Is to end your desperation

This is your Jerusalem
A new improved Babylon
Your Los Angeles

Marc with The Killing Flame, Photo: Fred Hammer

In 2005 Joe Foster decided he wanted to rejoin the band. Cool, great guitarist, great songwriter, and a fun guy to hang around. Unfortunately after a handful of practices it became apparent that Foster didn’t really want to play any material that he didn’t write, which included our entire last album, as well as the new song Gavin had just written. So that was pretty much that. We did get one new song out of those rehearsals though – “One Summer”. Classic Foster riffs.

One Summer

Just trying to make it out alive
As I’m wading through
The venom dripping from your lips
Like you want it to
There must be a point to this that I’m missing
There has to be something I’m just not hearing
As The sun went down on me

One summer
You let us slip away
Went from undercover, to going under
One summer
My heart stopped on a dime
But reach out; I’ll save you every time

Now everyone’s coming to me
Telling me all about you
And your fucked up new toy
You don’t understand me
Penning this fiction
Into a book I’ll never read

One summer
You let us slip away
Went from undercover, to going under
One summer
My heart broke on a dime
But reach out; I’ll save you every time

And if you ever wonder what hell looks like
Just take a walk in my shoes
And if you ever wonder about me, well I’m fine
I’m always fine

One summer

And if you ever wonder about me I’m doing fine
And if you’re going under reach out I’ll save you every time

Casey Jones with The Killing Flame, Photo: Fred Hammer

So now we’re well into 2005 and we’ve settled in as a 4 piece with Gavin writing a bunch of new material with a bit of a different feel to it. The only problem is, our 2004 release, Nine More Lives, has still only been released in South America. We did manage to find a label in Italy to release it in Europe, and we thought we had a US label lined up, but then once we sent them all the artwork and music, they stopped returning our calls and emails…

I did manage to sell 118 copies online of the CD that we had brought home from Brazil. Then I got a call from Hot Topic that they wanted to order 200 from us. I only had 12 left. Never mind then. So much for our chance at fame and fortune on the Warped Tour…

Already Dead

“Take all the breath out
Of my lungs
I don’t want to use them anymore”
She said to me.

Running around
Trying to figure it out
How to act in a world
That I’m nothing about
And it takes, yeah it takes
Every last bit of my sanity

There’s something inside of me
That nobody ever sees
Just another victim of this disease
So judges look on till your sick in the head
But take this note

Time is running out
And I’m going to kick and shout
At the T.V. screen dictating to me
Products to buy to feel more alive
And pills I can take to feel human inside
God, help me escape
Everything everyone else celebrates

There’s something inside of me

That nobody ever sees
Just another victim of this disease
So judges look on till your sick in the head
But take this note

I’m already dead

Just a victim of the Western disease
Just another victim of your disease

So you judges you look and look
Just take stock of the things that you took
Cause I’m dead
I’m already dead

The Killing Flame, Photo courtesy of: Marc Maxey

Sometime around late 2005 we went into the studios at and filmed live performances of two or three songs from Nine More Lives. The videos showed up on Youtube for a short while, but now they are gone. They never did end up on the actual website that filmed us. They don’t return our emails either…

Helpless Hopeless

Drink down all that you can get
Forced now to scrape for the scrap
We still take it now
Don’t we?
300 million people locked down
Inside this burning house

Hopeless, Helpless
So content here in our sleep
Hopeless, Helpless
We’re so content to die in our sleep

Hopeless and Helpless

Jesus are you watching tonight?
Are you laughing?
At the sight of this nation that we built just for you
Built to fail just for you

Hopeless and Helpless

Disenfranchised, disengaged
Hopeless and helpless
Sleep talker, Death walker
So helpless

America’s most dangerous frontman, Joe Nelson, Photo by: Fred Hammer

Early 2006 comes around and Gavin, Casey, and I are still practicing on the regular, writing new material, but Joe Nelson sightings are few and far between. We pretty much decide to call it a day, but the 3 of us want to keep playing, and Gavin really wants to record all the new stuff we’ve written. So we book some studio time with Derek O’Brien and crank out all the basic tracks to 9 new songs in, I believe, 2 days.

The Last Gravediggers

Step right in and take your seat
You were born just in time to see
The end of days, of everything
In this apocalyptic dream
Hold on tight
With your blank stage fright
Are you really asking how?
How we choked?
You must be joking?
You must be fucking joking

We are the last of our kind
We are the last of the world’s grave diggers

Watch as all the rivers run dry
Taste the blood drops from the sky
Choke on all the burning green
This is our true paradise
Now the puppets met
To discuss the best laid plans
To really talk the walk
Did you trust in them?
Did you believe their lies?
Those fucking parasites

We are the last of our kind
We are the last of the world’s grave diggers

The clock’s a half step to midnight
It’s meet your maker time
We’ve come a long way I know
But it’s time to dig our grave

Are we the last of our kind?

We toy around with the idea of getting a different singer to do vocals for the songs and starting up a whole new band based around them (maybe even the singer who wrote another well known song called “Save Yourself”). Offers are extended, possibly even considered, but ultimately declined. The songs then sit untouched for a few months.

Marc at The Killing Flame’s practice space, Photo courtesy of: Marc Maxey

Save Yourself

I am what you say that I am
A lost soul, no redemption
In a house of cards you’re the prophet
Preach your words while the foundation rots

Save one, save some, save everyone
Save yourself
Save your words, and wisdom
For someone else

A good Sheppard always milks the flock
Salvation is measured in the things you’ve bought
Who do you think you’re fooling you fuck?

Save one, save some, save everyone
Save yourself
Save your words, and wisdom
For someone else

The blood on the cross
The blood on your church
The blood in the sand
The blood on your hands

You will burn in hell
So save yourself

Gavin Oglesby with The Killing Flame, Photo: Fred Hammer

Summertime comes and we hear that Gorilla Biscuits are touring. With Joe being as tight as he is with those guys, we figure, hey maybe The Killing Flame can pick it up again and hop on a weekend’s worth of shows on the East Coast. Of course that didn’t pan out, but we did end up playing their Southern California show with them, and we even played one of the new songs that Joe had put some vocals to.

Paper Champion

Paper Champion
Yeah, here you are once again
You’re battered, and bruised
As everyone around you questions every little fucking thing
Are you crumbling?
I can see your fear and insecurity
I know that you’re starting to lose hope

Paper Champion it’s time
You put your heart on the line
Stepped into the ring
Went toe to toe
Let it all fly
Leave nothing to chance
Cause you’re only judged by this
Just this

Paper Champion
Doesn’t anyone remember?
Your honor
Your compassion
Or the good fights
Or does it all come down to this moment
I believe you still have some tricks up your sleeve
I hope you’ll pick yourself off the ropes

Paper Champion it’s time
You put your heart on the line
Stepped into the ring
Went toe to toe
Let it all fly
Leave nothing to chance
Cause you’re only judged by this
Just this

It really is up to you
Will you seize the day or fade away?

Our last hurrah came at my 40th birthday party in January 2007 where I ingeniously decided to get every band I’ve ever been in back together for one show. So Justice League, The Killing Flame, and 3 bands you’ve never heard of played to a small crowd of 30 and 40-somethings in a warehouse in Oceanside. It was a fitting end, and actually a really fun night.

The Killing Flame… 8 track style, Image courtesy of: Gavin Oglesby


This is the end of everything
Final picture, final frame
The eternal , long black fade
Don’t pray for me my friend
Cause I know where I’m going
To a waiting coffin
A soul selling , last gasp auction

Without a trace
From this fucking race

Those kids I use to run with
They ran so far ahead
They made some turns down roads
I never wanted to travel on
Left me here standing on this crumbling ledge (straight edge)
But I wouldn’t trade places with them

Without a trace
From this fucking race

No real home to speak of
I’m on the this dead mans run
Yeah I know
No faith, no hope, no heart, no God
I’m on my own
Oh Lord I know

Without a trace
From this fucking race

A few months later, Joe and Gavin went back to the studio and finished up the songs that you can finally now download here for free, 3 years later.

DOWNLOAD: The Killing Flame – “Save Yourself”


Thursday, July 1, 2010

D.R.I. – “The Five Year Plan” live at The Ritz, NYC, 6/27/1987

D.R.I. – “The Five Year Plan” off of their 1987 album, “Crossover”. This was filmed at The Ritz in NYC, June 27th, 1987 for their Metal Blade video, “D.R.I. Live at The Ritz”. Jeff Terranova (Up Front/Smorgasbord Records) posted another part from this video over on the Livewire board today and I thought it was so damn cool that I searched it down myself to see more parts. This particular track, “The Five Year Plan” has always been my favorite off this record, so I felt compelled to post this up on DCXX. Whether your a D.R.I. fan or not, this is classic, quality footage documenting the band, venue and scene in a near perfect way. I win, you lose-Tim DCXX

Tuesday, June 29, 2010

SSD and Motorcycles

A strip of original SSD stickers from Al to Scott and now to Gordo, Photo: Gordo

The story I’m about to tell could be viewed by many as relatively insignificant – even amongst a hardcore audience…but if there is in fact an audience for it, I figured it is here on Double Cross. Plus, it seems like there are more and more grown up hardcore/punk/skate dudes into motorcycles as I’m getting older, which is awesome.

Some backstory: I’ve been obsessed with motorcycles since I was a little kid. Specifically, old style, custom-built, Harley-powered bikes that are blatantly illegal and ridiculous looking…classic, cool “choppers” and “bobbers” if you will. I have minimal mechanical aptitude and am lacking the necessary tools and machinery, so building my own ride as desired has always been an illogical pipedream of sorts. In the meantime, I had settled on a Harley Sportster, excessive daydreaming, and the sad conclusion that in some far off time and place where money and time was abundant, I would obtain a wild machine that oozed of 1960s/1970s gasonline-drenched testosterone and koolness.

Gasoline-drenched Boston Hardcore, Photo: Gordo

In the meantime, my buddy Evan is a long time straight edge dude who has been into punk/HC since the eighties, helped me a lot when I was coming up, and taught me a ton about motorcycles as I got into them more and more. Some of you may even know him, as he plays guitar for Wisdom In Chains and has been around forever. He has built three sick, old style custom Harleys on his own and is a motorcycle genius, and he recently decided he’d sell me the first custom bike he built himself. It’s a kick-start only, four speed, rigid framed beast with a 1972 Shovelhead motor and everything you’d deem appropriate on such a subtle monster, and it’s been one of my absolute favorite motorcycles since the day I saw it eight years ago right after he finished it.

When he unexpectedly decided to sell it, I drained my savings and sold all unnecessary material possessions without hesitation. Now that I have it a few weeks later, I’ll just say that I have again concluded that money can in fact buy happiness (just be sure to pay cash). Of course I wish I could say I built the bike myself, but there’s always a ‘next bike.’ Either way, it was cool to buy my dream bike from him after all the cool shit he’s exposed me to, and I think he’d agree I was the appropriate new owner.

Scott Hill with Fu Manchu, notice the original SSD sticker under his strings, Photo courtesy of: Scott Hill

So – back to SSD…

I wanted to have something on the bike that gave a somewhat subdued but appropriate nod to my similar obsession with punk/hardcore/straight edge. Crimson Ghost sticker or The Bars? Already seen it done on bikes. Minor Threat sheep? Eh. SSD sticker? Woah, that would be awesome, and that would say it all. I instantly thought of the fact that Scott Hill from Fu Manchu plays Dan Armstrong guitars that often times have a black/yellow original SSD sticker under the strings next to the pick up. I thought it was cool because that sticker in a way sends a very concise but clear message to anybody in the know. It’s loud, it’s bold, it’s stripped down, it’s confrontational and commanding…and that is exactly what hardcore is to me in an aesthetic design sense. Oh, SSD is one of my all-time favorites, too.

I wrote Scott and asked me if he could scan me the sticker for the purpose I had in mind, because I honestly considered having a replica one-off made, and I knew Scott digs bikes. Scott asked me my address, and without expecting it, I realized he was clearly going to be sending me something. Only a few days later, and voila:

Letter from Scott with accompanying SSD stickers, Photo: Gordo

Woah! Just like that, dude sent me an original SSD sticker from 1983 that he had gotten direct from Al Barile. Now, I guess this is “only” a sticker and some may think my enthusiasm is a little goofy…but I have visions of Al getting fan mail and orders for Get It Away nearly 30 years ago, and firing off stickers to a young Scott Hill all the way out in SoCal. To me, that’s awesome. So not only is Fu Manchu awesome and one of my favorite bands, but Scott is THE MAN for just hooking me up like that (and it’s not the first time either!).

Perhaps a crazy move, but I put the sticker on the oil tank of my bike, and it’s honestly one of my favorite things about it now. Simple, brutal artwork being placed on simple, brutal artwork…paying my respects to SSD and Boston, and giving a nod to Fu. It’s hardcore and motorcycles, two of my favorite worlds colliding, and both make perfect sense together in my mind. When I’m ripping down the highway and someone sees “SSD” next to an evil kicker pedal, I want them to feel like they just got slayed.

I thought I’d share the story as well as some good pics of the sticker.
Big thanks to Al SSD, big thanks to Evan, and big thanks again to Scott Hill.


ps – Mike Judge and Todd Schwartz: dudes, let’s ride!!!


Gordo’s machine in all its glory, original SSD sticker included, Photo: Gordo

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