Tuesday, August 25, 2009
Old school Boston “Pigpile” at the SS Decontrol, Gang Green, Jerry’s Kids show at The Media Workshop 1981.
Al Barile in the back with the X’s on his hands, Jake Phelps with the “Stick man” drawn on his forearm. Steve Grimes (FU’s) with the green on his shoulder. Photo: Drew Stone
SS Decontrol at the Media Workshop 1981. Bob Furapples (FU’s Drummer) in the red shirt leaning against the wall next to John Sox (FU’s singer) in the Blue shirt. Jon Anastas on stage wearing the old school “Hand made” Teen Idles” shirt behind a sitting Al “Lethal” Barile.
Photo included in the upcoming “Oral History Of Boston Punk & Hardcore” by Drew Stone, Photo: Drew Stone
The Misfits in the Channel dressing room, Photo: Steve Risteen
Bill Wilson: Is this the club where the legend of Anthony hitting kids with a table started to stop a brawl?
Anthony Comunale: I tried to stop a fight and hit nobody.
Bill Wilson: Yes, that’s the miracle of the hardcore grapevine. You tried to stop a fight and 3 weeks later you are the incredible hulk.
Anthony Comunale: That sucks because it was such a great club. The shows were put on by the Griggs sisters, Meredith and Nicky and I think Jenny Buck.
Salt Lake City, Utah 1989. Bad Brains, Leeway and Sick Of It All, Photo courtesy of: Joe Bossler
Monday, August 24, 2009
And I always thought it stood for Society System Decontrol… Photo: Tim DCXX
Driving north on Route 1 yesterday here in New Jersey I spotted a large orange sign on the south bound side with what appeared to have the letters SSD on the back of it. Now granted I have an eye for anything hardcore related, but this stuck out like a sore thumb. Not only did it say SSD, but they actually used the exact same SSD font (City Bold), at least that’s the way it appeared as I quickly flew by the sign that was at least 80 feet away.
On the way home late that night I had to pull over and check out the sign and confirm to myself one way or another what I thought I saw. Guess what… my eyes did not deceive me. Of course I had to pull out the camera and snap off a few shots. Strange coincidence to say the least. -Tim DCXX
SS Decontrol at the Media Workshop, 1981, Photo: Drew Stone
Sunday, August 23, 2009
Original Revelation Records Judge Bringin’ It Down ad
Here are some poll results I gotta discuss. Bringin’ It Down…perhaps one of the heaviest (by every definition of the word) SE records of its era, and one that still sparks debates and varied opinions to this day.
Maybe eventually we’ll do a full blown examination of every single aspect of this masterpiece, for now I wanted to share some of my thoughts on the results, especially because they were somehow in line with my own rating of the songs almost to a T.
The title track took the victory spot here, and was my #1 vote as well. With a blistering verse, enormous fast chorus, and crushing breakdown/mosh, this song clearly showcases JUDGE’s absolute magnitude to write a song that makes me unable to decide whether I want to scream along at the top of lungs, dive off of every object in sight, or dance as hard as humanly possible. Throw in lyrics that (albeit a bit strangely) align drug and alcohol abusers along with racist bigots and wish the same fate upon both, and you basically have one of the angriest and best songs ever. The chorus lyrics during the mosh are some of the best SE lyrics ever, hands down…”A beer, a joint, like a gun at your head.” Jesus. The original lyrics ended with the absolutely EPIC line, “You stay off the tracks when JUDGE is coming through.” The omission of this on the actual Bringin’ It Down recording is the only mishap here. If I could write a song half as good in this my life I would die content.
Porcell photo from Bringin’ It Down, Photo: BP
The runner-up spot was also my selection, the album-closing Where It Went. Best known for the video and its consideration by some as the album single of sorts, this is in many ways JUDGE at their most progressive on the album. A heavy, dark bassline opens into a “pack it up front at City Gardens and put your fists in the air while GUS SE dives over you” singalong that almost brings me to tears considering I was born about 10 years too late to have done such a thing. The fast part of the song has a very “SE dudes listening to Leeway” feel and the slight cross-over vibe here is a good example of how JUDGE got pegged with the “metal” tag on the record. The lyrics here are Mike’s best…if they don’t hit you in some way, well then I’ve got nothing for ya.
I won’t go into the rest of the songs other than to say that to me, there are no weak links on this record, just songs that maybe aren’t as incredible as the others. I was a little surprised that Like You placed as high as it did (I love it but know that many don’t) and that Take Me Away wasn’t a second place winner. Porcell once told me that was one of his favorite songs ever (especially the intro), and I thought most people felt the same. I’d detail some of the background and tidbit info on the actual Normandy Sound recording, but I will save it for a later date and say that if you haven’t checked that Decibel article, you definitely should as it gives some cool info.
Whether you are a fan or not, it’s tough to imagine JUDGE gaining the notoriety they gained if the Chung King recording was the only representation of these songs. Whether the production is a little too slick here or not, Bringin’ It Down has come to represent the JUDGE we know and love. Oh, by the way…
STAY OFF THE TRACKS… -Gordo DCXX
Bringin’ It Down – 77
Where It Went – 61
Like You – 52
Take Me Away – 46
The Storm – 46
I’ve Lost – 20
Hear Me – 19
Hold Me Back – 16
Give It Up – 11
Judge at City Gardens during the filming of Where It Went, Photo: Ken Salerno
Wednesday, August 19, 2009
Walter and Kevin hang outside a CB’s Sunday matinee, Photo courtesy of Kevin Egan
I have a thousand great memories of shows. The one that’s popping in my head right now is when I first saw Bad Religion. I had actually never heard of them. This was in ’88 I think. Raw Deal was opening for them and that’s who I went to see. I was catching a ride with Anthony from Raw Deal back to Queens where I was staying that night so I had to stick around until Bad Religion finished. When I walked into CB’s, it looked exactly like those old PUNK/HC cartoon album covers where people are spinning in the air and flying off the walls. That’s what it really looked like. And Bad Religion were just incredible. This was when “Suffer” (their best LP) came out and they were blazing through the songs one after another. It was an impression that has still stuck with me to this day.
Kevin and Tom with Beyond at the Pyramid Club, NYC, Photo courtesy of: Kevin Egan
Tuesday, August 18, 2009
Cappo with Youth Of Today, photo was used on the Shelter “Perfection of Desire” LP.
We’ve been posting photos from the Revelation files since this past April and we’re finally coming towards the end. We’ll most likely be doing at least one more entry, but if you’ve missed any of these entries, definitely go back and catch up, there’s been some gems.
What we’ve got here are a few photos used in record layouts and a couple random photos I found floating around Rev. Cut out the rules or call it quits… -Tim DCXX
Sammy eyes up the “Have Your ID’s Ready” sign on the CBGB’s door.
And down it goes!
O.C. Sloth Crew Allstar and DCXX contributor, Joe Nelson, hangin’ with Matt BOLD at a baseball game.
Alex Brown, Dylan Schreifels and Lukey Luke ham it up for the camera.
Monday, August 17, 2009
Navy Jim between Walter and Tom Capone on the Beyond / Project X Niagra Falls roadtrip 1988, Photo courtesy of: Navy Jim
One show that always sticks out in my mind is the famous “Shutdown” show that happened at CB’s: Y.O.T, Gorilla Biscuits and Side By Side. I remember that in the weeks leading up to it, CB’s and The Ritz stopped stage diving and added more bouncers, etc. For some reason, at that show people were going out of their minds, I remember seeing guys hanging and swinging on the PA speakers that were chained to the ceiling!
At the end of the show the place went crazy and that was it for shows for a couple weeks. The next week in the Village Voice, the CB’s ad just said CANCELLED for the Sunday matinee. It lasted a couple weeks but that was a turning point in the scene. YOT, GB and Side By Side on the same stage, with every kid inside CB’s going fucking insane…that’s a great memory.
Navy Jim makes his way across the Anthrax stage while Project X tears it up behind him, Photo courtesy of: Navy Jim
Sunday, August 16, 2009
Not to beat a deadhorse, but we had to share these great Danzig photos from their first show by none other than the legend himself, Ken Salerno. City Gardens in Trenton, NJ, April 1988. Again, a major thanks to Salerno! -Gordo DCXX
Glenn Danzig, John Christ, Eerie Von and Chuck Biscuits… the ultimate Danzig lineup that produced four phenomenal albums (Danzig I, II, III and IV). Ken Salerno captured the band in their very early stages playing none other than the stage of Trenton’s own, City Gardens in April of 1988. Thanks to Ken for letting us share what Gordo and I believe to be one of the greatest eras of Danzig’s career. -Tim DCXX
“There’s all kinds of schisms in Satanism, but the thing I like about it is the quest for knowledge. Other religions are more like, ‘No, you’re not allowed to learn any of this. Only the select few are allowed.’ … I don’t see any holy wars being fought in the name of Satan.” – Glenn Danzig
Wednesday, August 12, 2009
Big Boys, Photo: Steve Risteen
My introduction to the Big Boys was through skateboarding and the Thrasher skate rock compilation tapes, volume one and two. Granted back then I pretty much loved every band on those first couple Thrasher comps, but once I picked up “No Matter How Long The Line…” at a record store in Phoenix AZ, summer 1987, I was a fan. Eventually I got my hands on “Lullabies Help The Brain Grow”, and that quickly fell into regular rotation as well.
With this poll it was obvious that many of the readers either weren’t familiar with the Big Boys or didn’t care enough to vote, but really it didn’t matter. For me it’s just fun to mix it up and maybe even shine a little light on a band that a few people might not have noticed otherwise.
Thanks to those that voted and for those unfamiliar, check out this video of “No”, the first track off, “No Matter How Long The Line…”, one of my personal favorites. -Tim DCXX
Big Boys – “Lullabies Help The Brain Grow” – 58
Big Boys – “No Matter How Long The line…” – 23
Big Boys – “Where’s My Towel / Industry Standard” – 20
Big Boys – “Live At Raul’s” (Split with the Dicks) – 9
Randy “Biscuit” Turner fronting the Big Boys, Photo: Steve Risteen
Tuesday, August 11, 2009
Joe with Outburst at CBGB, NYC, Photo courtesy of: Miles To Joe
Outburst drummer Joe Songco has been a big DCXX fan and is always floating us some great Outburst memories. We’re gonna start running these more often as I think most people will dig them. The cool thing about Outburst is that from all of Joe’s stories, it’s very apparent that these guys were major NYHC fans first and foremost that just loved listening to hardcore, going to shows, hanging out, and being a band, too. Just a great vibe. Here’s something to kick off our new run with him. NYHC in your face. -Gordo DCXX
When it came to GB, they were just the coolest guys collectively and individually. When Mike joined the band, we realized he had gone to St. Ann’s with Luke, so that was his GB angle. Walter had filled in on bass on our first CBGB gig. Arthur used to come over to my house to listen to U2 records. When Arthur joined Underdog, Luke and I were Arthur’s roadies for his first NY show at Irving Plaza. I remember Luke and I lugging his stack up on to the stage and helping him set up his wires & stuff. By the time he was almost ready to go, someone closed the side door to get off stage, so the only way off was to jump into the crowd. Arthur was like “just stay and watch the show from here”, so we did. That was cool.
I also remember when AJ gave some of us on 14th street the rough mix tapes for Born To Expire. He told us we could play them for people but keep it to ourselves and not share them with anyone, so of course Luke’s in my car trying to scam me into lending the tape to him so he could dub it.
Years later, like in 1997, Mike and I were in a band called Xtra Dry and even though I loved playing with Mike, I just wasn’t feeling the whole band thing at that time. After a gig at Coney Island High, I told him I was just going to bow out and wished him and the band luck. Mike called Luke to fill in. Imagine that…Luke and I sharing a band!
The most memorable Outburst/Biscuits story to me however, took place backstage at CBGB after we had played this awesome show with them. During our set, George broke a string on his SG. George asked Walter if he could borrow his guitar for a song or two while our roadie re-strang George’s SG. Walter was actually in the process of tuning up his guitar…whether or not it was ready to be played right then and there, I don’t know. So we waited the few minutes to re-string George’s guitar and resumed playing the set.
After we got our stuff off the stage, we decided to step outside and hit up St. Mark’s Pizza for a slice before coming back to catch the opening of GB’s set. Turns out that by the time we came back, GB was already into their second song, and trying to get to the stage area was almost impossible because the place was so packed. But as we make our way to the front, we can all see that Walter is playing George’s SG.
Brian, who stayed behind to watch the stuff, tells us that Walter broke a string on the first song and just went into the back and borrowed George’s SG. Brian says he told Walter “hey man, that’s not really my call to make, maybe you should just wait or borrow someone else’s guitar”. So needless to say, George was steaming mad throughout the rest of GB’s set.
At the end of the show, the first thing Walter tried to do was apologize to George for borrowing his guitar, but George wasn’t having any of it, especially when Walter said that his guitar was unavailable just the set before when George broke his string. There’s George and Walter going back and forth arguing while the rest of us are just so uncomfortable, staring at each other. This went on for about a good five minutes before they both calmed down. We had plans to get something to eat after the show, but that wasn’t going to happen.
To Walter’s credit, he did try to apologize immediately because he knew he had done something he shouldn’t have done, but to be fair to George, nobody, not even Walter himself, blamed George for being so mad, especially since Walter had said no about his guitar. Eventually, George accepted Walter’s apology and in the long run it was all forgotten. No sense in letting it go past the initial incident, but he was pretty mad the rest of the night.
A few years ago, I visited Civ’s tattoo parlor out in Sayville to get some work done and we were reminiscing about that day. He remembered it like I did…being very uncomfortable!
Outburst piece, Photo courtesy of: Miles To Joe
Thursday, August 6, 2009
DYS – “More Than Fashion” at Love Hall, Philadelphia, PA, January 1st, 1984
Surprisingly this whole video week thing for DCXX has actually been pretty fun. with the help of our new contributor Agent A., so many great YouTube video links were sent my way. I know people like reading the interviews and show memories and dig the photos, but one of our goals here is to try and mix things up as much as possible. I know speaking strictly for myself, there were a few of these videos that I had never seen before and upon discovering them, it really inspired me to spend a little more time hunting down other rare gems on YouTube. Hopefully you guys, the readers, enjoyed this as much as I know Gordo and I have. I can promise more unearthed or at least seldom viewed videos in the future. -Tim DCXX
DYS – “Open Up” at Love Hall, Philadelphia, PA, January 1st, 1984
DYS – “City To City” at Love Hall, Philadelphia, PA, January 1st, 1984
As for my choice here, again it was another link forwarded to me by Agent A., of the Boston Crew’s, Department of Youth Services aka DYS. One of my personal favorite bands, one of my personal favorite frontmen, DYS and Dave Smalley totally kill it here in these videos from Philadelphia’s Love Hall, New Years Day 1984. I was planning on keeping my choice to one video, but really, all three of these make for essential viewing and I couldn’t stop at just one. Honestly, it was hard to keep it at three.
First up is “More Than Fashion” and Smalley drops this one with a ton of energy. You can clearly see this was a guy that was fired up and at 1:32, he even goes on to throw up the Teen Idles style clenched fists / crossed arms as if to say, “Straight Edge in your fucking face Philadelphia!”. So awesome.
Next up, “Open Up” and Smalley intros it perfectly, “Open Up Motherfucker!”. At .36 someone hits the floor and gets piled on until the City of Brotherly Love punks pick him up and brush him off. Ya gotta love the dude in the McDonald’s ski cap.
Last but not least, “City To Fucking City… Boston, Philadelphia, New York, Washington…”. This is when the dance floor erupts, but again, in a Brotherly Love sorta Philly way. What a great song, if I had only been going to shows four years earlier, that half hour drive to Philly would have been a piece of cake (too bad I was only ten years old!). Play one of these reunion shows in the states guys, I’ll be there. -Tim DCXX
Suicidal Tendencies at Jockey Club, Newport, KY 1985
Suicidal Tendencies, 1985, and the crowd is just getting warmed up during the first song…
When I Want More kicks in, around 4:10 (and right after…THAT is how to do a front flip!!!! I think some Olympics judge just raised their “10” cards somewhere on Earth), it is so awesome I think I need to paint a giant “S T” on the wall of my apartment and get that kid down the block to throw his skate through my tv….
Okay, I gotta go dive off the coffee table. -Agent A.
Danzig “Brand New God” 1994
Coming off of my caffeine-induced entry on a moshing/diving Richie B., it’s tough to switch gears into anything that isn’t legitimate NYHC, and I’m probably gonna lose some people with this one.
But the reality is that Danzig (the band) is one of my very favorites, and DCXX has yet to really dabble with too much coverage. It’s understandable, because even though Danzig (again, the band) is a fringe part of our world with legions of diehard fanatics from the true hardcore scene, there’s still a huge camp that finds Glenn himself totally intolerable post-1983 and his self-named band the epitome of all things cheesy. Whatever your position, I don’t think Danzig has ever really been considered a hardcore band by the group themselves, and has never truly assimilated with any hardcore scene during their existence. Thus, I’ve kept my fanboy brain at bay on Double Cross, and so has Tim, who is probably equally a fan.
That said, my love for the man himself and the 1988-1994 version of the band is extreme even on a wavering day and deserves some press here. That era of Danzig is just a powerhouse; doesn’t matter that an entire generation of dirtbags and idiots bastardized the greatness of “Mother,” or that the band played a lot of terrible looking daytime outdoor festivals, or that they are the one band every goddamn drunk idiot knows when you wear their shirt in public. Let me talk at you and get specific:
Danzig I – flawless record. Took the blueprint of Samhain, stripped it down, built it up, and hit a grand slam with it. Probably one of my most favorite productions on any record ever. Even if Rick Rubin is deemed utterly irrelavant in 2009, I consider him worthy of sainthood for his input here. Need an incentive to put on a leather jacket and attempt interesting things with your jawline? One listen to “Not Of This World.” Want to pursue a hot stripper from North Jersey that has jet black feathered hair, a three-color lower back bull’s eye tattoo, and an ex-boyfriend doing a 12 year bid upstate for meth distribution? Blast “She Rides” at full volume. Want to steal a motorcycle from a Warlock or just put someone in a coma? “Twist Of Cain,” period. Chuck Biscuits is my favorite drummer. 1988-1989 Danzig = rock boner.
Danzig II: a little more metallic, a little slicker, and still completely capable of making me decide that walking into the grocery store with my shirt off while wearing mirror aviators, black 501s, and a Beasty cross while smiling at NOBODY is a totally acceptable move. Chuck Biscuits is still my favorite drummer. Wedding Crashers popularized the fun-line “sexual and violent,” but this record defined it.
Danzig III: actually a close tie with the first record for my favorite album. Heavier production, thick as hell, good diversity…just rock power. It’s 1992 and yet it feels completely unphased by anything awful going on within the music world at that time. Did I mention Chuck Biscuits being God? I put this record on when I’m in the gym and things literally just go black.
Danzig IV cover art
Danzig IV: Uh-oh. Things are starting to get weird. Some absolute monsters on here, but some questionable stuff is creeping in. Post-recording, Chuck Biscuits would bail with sources telling us he would hole up in his house for the better part of the next 15 years, and then that gave way to John Christ and his BC Rich (“The BITCH”) hitting the highway when Danzig said it’s “my way.” Even the most loyal fans cite this as the beginning of the end with Danzig losing some of his voice, creative vision, and even his physical prowess.
But…even if you consider Danzig IV to be the band’s last decent album with clunker tracks, you can’t deny the power of the album opener, “Brand New God,” which to my ears is basically a raging hardcore song with a Black Sabbath bridge/middle that basically allows you to catch your breath before returning to a place known as Destruction.
This video is just all out power with Biscuits destroying on the drums (possibly one of his later shows with the band), John Christ shredding like a 225 lb satanic priest (2:22 = best sound ever), Eerie Von reminding us “Hey, not only do I have the sickest collection of Misfits photos in existence, but I can wear a velvet shirt with lace and STILL slit your trachea open,” and Glenn himself showing off one of the best voices in history with a presence that makes him look twice the size of his true 5’3 stature (5’6 with the lifts) every time he does the patented “my-God-am-I-feeling-it-so-I’m-going-to-hump-the-air-that-is-in-front-of-me” move.
I love Danzig and this is maybe the best evidence why. I don’t even care that it is on a fully barricaded arena stage on a Tuesday night in Indiana in 1994…when Glenn yells “BRING ME THE RAIN JOHN-O!!!” over Christ’s nun-burning feedback, I’m smashing my head into the wall, pretending it is a legion of Marshall full stacks, and that I have Wolverine-like sideburns and legitimate chest hair. In reality, I am pretty much the safest, cleanest, most all-American looking jock/prep type in the world, and I’m sitting in my house browsing the new Crate & Barrel catalog for high-thread-count cotton sheets. Kinda goes to prove that the psychological transformation as a result of prime-time Danzig video/audio is unreal and comparable to what I imagine the effect of PCP is like on the human brain.
MOTHERFUCKING POWER. -Gordo DCXX
Wednesday, August 5, 2009
Cro-Mags “It’s The Limit” and “Hard Times” footage from the 1986 film, The Beat
Our boy Andy O aka Agent A. comes direct from Canada to intro our posting of one of the greatest pieces of film ever captured: The Cro-Mags footage from The Ritz featured in “The Beat.” Andy lays the groundwork, while I dissect Richie Birkenhead’s appearance below. Special thanks to Ed McKirdy over at Livewire for the Richie screen grabs. HARD TIMES. -Gordo DCXX
Late 1986: I was in grade Seven. It was a snowy Friday and I was paying my paper route collection to the district manager in this parking lot. I had in my hand a tape this grade eight punk guy (who later became a best friend and who’s house I’d often crash at after shows) lent me, telling me I needed to hear this band. It had a red cover, with a picture of a nuclear bomb detonation on the front, with “The Age of Quarrel” stated in stark cold-war bleakness across the bottom of the tape album cover. “Cro-Mags” was across the top, somehow seeming even more powerful than the image of the nuclear explosion (as the music on it turned out to be!). After giving the paper its due, I headed toward 7-11 for a Friday night slurpee, as I shoved the remaining cash into my pocket (all magical thirty two or whatever dollars it was! Hell, if I was careful, that was a few 7-11 trips, a movie and enough left over for a comic and an album!).
I put the tape in my walkman, hit play, and was within a few seconds hit by all 345 megatons of We Gotta Know. The world for me changed that day. I am sure you have all had those crushing moments when a piece of music pushes you past who you once were into some new previously unknown time and place. I STILL get that rare feeling when some song really strikes home. That was one of those moments, times ten, and I will to my dying day remember that fireball shockwave of first hearing the Cro-Mags. Thanks to older friends I had already been well introduced to all the usual suspects of Minor Threat, D.R.I., Motorhead, Dead Kennedys, FEAR, The Accused and many more incredible bands, I honestly don’t know if I’ve ever felt the pure solid, knock you down and punch right through your chest IMPACT of a band more than that first time I heard the Cro-Mags.
Incidentally, this parking lot was about a ten minute walk from the “infamous” (and up to that night, for me anyways, mysterious) “Cro-Mags Tree”; a large tree that had “Cro-Mags” spray painted on it.
I missed their two shows in town with GBH (one of which is documented on a bootleg that floats around the world…”Live at Wellingtons”), but older friends I have since met to this day talk about how much the Cro-Mags demolished everything. Somewhere there’s VHS footage of at least one song (if my memory is right it is from the Le Rendezvous show) and it is truly incredible. One older buddy of mine told me all he had heard was “Wait til you see this band from New York…I saw them last night…you have no idea what you are in for….” and to this day says it is one of the best bands he’s ever witnessed.
Enough about this…if you are reading this blog, there is a high probability you have your own incredible “First time I heard the Cro-Mags” story (and probably far more exciting if you actually got to see them at that time). I suggest you revisit that memory! If you’ve somehow found your way here but never heard the Cro-Mags, then you have one up on the rest of us; you still get to hear them for the first time.
Now to the footage! I need to at least sprint around the block three times after watching this and then go attack a gym (or look for an Urban Cro-Mag Training Obstacle Course to navigate and conquer!!) and this footage somehow gets better every time you watch it.
1986 Cro-Mags (yes, from the same show they shot the We Gotta Know video) from the 80’s movie The Beat (as the “Iron Skulls”). John Joseph’s story about the filming of this alone is worth the price admission to his powerful book.
It’s The Limit kicks it off, then Hard Times EXPLODES!!! (with I believe the Krakdown singer contributing some backups at one point…and ten points to whoever flips OVER John Joseph….). The band is like combat unit. Harley, Doug and Paris are totally locked in and sound more intense than being inside of a pounding 50 cal. machine-gun, Pete is clobbering the drum kit and filling Mackey’s big shoes phenomenally well and John Joseph is nothing short of Olympic.
And the crowd?! Enough energy to probably kick-start the Large Hadron Collider ( http://en.wikipedia.org/wiki/Large_Hadron_Collider ).
There’s various youtube versions of this, but this version seems to be the clearest, brightest, and with the best sound. It is also sadly as I type this, with less than 100 views. Please change this number.
(note: the “jumpy” beginning is in the actual movie…all the pit action and diving is full-tilt after a few seconds…)
Enjoy! -Agent A.
:56 – 1:05 in The Beat
Ok, I’m not gonna pretend to be the first person who has ever dissected the Cro-Mags footage from The Beat, or even the first person to dissect Richie’s appearance in this live footage. But it still deserves being thoroughly analyzed again, second by second. Even though I have done this all in my mind before, I figured I’d share it here.
During It’s The Limit, going into the crushing breakdown (aka the greatest part of any song in history) at :56, you can see the red shirted Birkenhead on the far right side of the Ritz floor, pushing himself up onto stage and getting a boost from someone in the process. Somehow even this alone, just these three seconds of action, look cool as hell.
By 1:00, he is fully on stage, and syncing up with the music, clearly already starting to realize that parts of his brain are melting and pouring out of his ears – thus the unbelievably classic head hold…a move that will be imitated and ritualized by young moshers over the next 23 years. The end of life (aka the crushing mosh part) are moments away, he’s got the entire stage in front of him, and the energy of a shark eating a tiger at his fingertips…just holding his head wondering if he can keep it all together.
1:02 – boom…way too much energy and he just decides he’ll let his brain melt entirely, it’s too much too contain, thus the removal of the hands. He jumps up and is exploding now into a stage mosh en route to perhaps the world’s greatest stage dive. But let’s slow it down.
1:03 – the jump has now turned into the initial stages of a strut with another patented NYHC move, the triumphant ‘Tommy Carrol-esque-fist-pump-in-the-air-in-mid-mosh-greatness’ move. Done properly, it’s probably the coolest looking thing ever. The fact that Richie’s like 6’1 and could knock out probably 80% of all inmates at Rykers just makes it that much cooler. At the end of the fist pump, mosh greatness progresses as the same hand goes behind his head, he shifts his weight to one foot, and classic NYHC skanking ensues for a second.
1:04 – both hands now shift to the top of the head, again signaling the losing of the mind before final lift off into the crowd. It almost seems to serve as a helmet of sorts for a second before the lowering of the shoulders and final preperation for take off. The lighting has revealed camouflage pants and high top Nikes – aka the two best items of clothing you could ever wear on your lower body.
1:05 – airborne with a slight downward twist and roll of the shoulder, he actually pushes off with only his left foot, skipping over a stage monitor and another stage diver (possibly with a moustache?). He basically glides across the heads of the crowd on his chest, his fall broken by the sea of bodies going absolutely insane as Bloodclot’s voice rings out the word “SEEEEEEE!!!!!”
While we never even see him land, we know there has been perfect execution. Even if not, it really doesn’t matter. What he just did on stage is possibly the most awesome thing a human being could ever do during pretty much the greatest musical sounds ever produced. Study it. Live it. To do anything else would be the waste of your own life. -Gordo DCXX
Tuesday, August 4, 2009
Bad Brains in Philadelphia, PA 1982
The following two videos were dug up by DCXX contributor, Andy O from Winnipeg, Canada. Not only did Andy uncover these incredible videos, but he also supplied them with his entertaining commentary. Big thanks to Andy, now go dig in! -Tim DCXX
Bad Brains, Philadelphia, early 80s….(Isn’t there a flash of this in American Hardcore? Here’s MUCH more, in all its glory…). There’s some other jaw-dropping, city-block tremor inducing early Bad Brains footage from Philadelphia (sadly with not many views at all!) that is crucial to watch, but I think this may be the most incredible (and mind-blowing Twilight Zone-like as well…I get a total kick out of that person who, very deliberately though in a totally cool and not at all in a “bothered” way, walks off toward the back of the stage near the beginning of this footage as if to say “Well, this young group has been terrific and I would truly like to see the rest of the performance, but I do have to get to my meeting with Terrence.”)….
Now, without further ado, locked like nuclear detonation in the middle of about 2 minutes of crushing early Bad Brains footage, is one of those utter human existence in the universe fifteen second moments of truth.
By 1:05, until about 1:20 (that fifteen seconds), if you, as a hardcore fan, do not feel your heart pumping so hard it is one notch away from exploding and your legs and feet and arms and body not ready to be stomping so hard you’ll pound straight through the floor (and you don’t care for a millisecond during the next week that you can only hobble around because of the bruises) and you are not ready to start slamming, HB strutting, moshing* or diving off of everything like it was the last minute before 200 ICBMs launch and pulverize the entire planet and even your furniture is starting a pit and you are not shouting “RIGHT BRIGAAAAAAAAAAAAAAAAAADE!!!!!!!!!!!!!!” along (at least in your mind) then it is time to stop listening to this music, donate your records and zines to a charity (or enthusiastic kid), hang up your boots (or other dancin’ footwear), and even though it is 2009, go and listen to some Eagles, and chuckle (nay, guffaw) with your friends, “on the patio”, at your “wacky teenage years” and how that the flute part in that thirtysomething speaksTV show to you. Otherwise, enjoy the hell out if this (especially the first 20 seconds of the breakdown), and go and live your life like every second and every heartbeat you have pounds with a hardcore passion and drive and whitehot (hopefully hyperactive) energy and change the planet…or at least your own world and the world around you. Holyfuck this footage is amazing.
Agnostic front at Irving Plaza, NYC 1988
Here’s some AF footage from 1988, at Irving Plaza…the band is raging and whenever the camera pans out there are some awesome shots of the slaughterhouse of a dance-floor…especially during Your Mistake, around 3:12…while there’s a wall of stage guys keeping the diving to a minimum, the crowd action destroys…
Monday, August 3, 2009
Cro-Mags at The Ritz, NYC 1986, playing “World Peace” and “Show You No Mercy”.
Following up last night’s videos by The Icemen, Gordo and I here at DCXX have decided to devote this entire week to videos. Last night was Gordo’s pick and tonight is mine. Stay tuned for more great videos through out the week.
This is the Cro-Mags at their all time peek, arguably the greatest band of 1986, “Age Of Quarrel” tour, opening for Motorhead and in their hometown of NYC at The Ritz. Although a couple of these videos lack in quality, it really doesn’t matter, it’s the fuckin’ Cro-Mags in their prime. Gotta kill, gotta fight, gotta crush demoniac… -Tim DCXX
Cro-Mags at The Ritz, NYC 1986, playing “Seekers Of The Truth”, “It’s The Limit” and “Hard Times”.
Cro-Mags “Crush The Demoniac” at The Ritz, NYC 1986
Sunday, August 2, 2009
Thursday, July 30, 2009
Mike Gitter of xXx Fanzine, photo courtesy of: Jed Hresko
Editor and chief of xXx Fanzine, Mike Gitter, recalls one of Massachusetts finest and most brutal hardcore bands ever, Siege. If you are unfamiliar with Siege and xXx Fanzine, do yourself a favor and track down both. -Tim DCXX
Siege. Anytime. Anywhere. I count myself lucky to have seen this Massachusetts wrecking ball. I definitely saw them at an all day hardcore marathon in Providence. And a show at the YMCA in Boston. There had to be another one. They were so written off at the time but mannn, their memory towers over so many “cool” bands of the time. Even now Siege sounds fresh. A full-on attack of metal riffs, insane vocals and smart rhythms. When singer Ken Mahoney pulled a saxophone for a seven minute dirge called “Grim Reaper”, what was going on onstage was so much more interesting than what the average Boston “Crew” band was grinding out at the time.
Siege, Photos courtesy of: Tommy Snoro Löfholm
Wednesday, July 29, 2009
Following up from yesterday’s memorable show entry from Chickie of Ludichrist / Sheer Terror, today I received this piece from Chickie which I felt was worthy of an entry.
Chickie says he picked this up at a CB’s matinee back in the 80’s at some point. I had never seen it before, but recognized that is was done by Tom O’Hara of Combat Stance Fanzine fame / infamy. Check it out, hope you get a laugh out of it, I know I did. Thanks again to Chickie for the contribution. -Tim DCXX
Tuesday, July 28, 2009
Chickie with Sheer Terror in Europe, Photo courtesy of: Sheer Terror
My most memorable show would have to be Celtic Frost, DOA, MDC, Samhain, Nuclear Assault, at the Ritz in 1986. I played a lot of great shows, but this show was insane. This, to me, was the type of show that made that era what it was – the best in history. A close second would be Agnostic Front, Sheer Terror, Life Of Agony, and Vision at the Airport Club in Allentown, PA in 1992.
This club was closing after this show, and it turned out to be a nazi club. Vision & Life Of Agony got to play and in between songs some 600 nazis would “sieg-hail” all together waving swastika flags – it was a bit scary to be there, and there was a full blown riot before Sheer Terror or AF got to play, including cop cars getting their windows smashed and even flipped over. I guess we were all lucky to get out of there in one piece.
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