(DIRTY) WESCOATS // COSTA MESA, CA.

This record is fresh! I spoke with Dirty Lo for a minute and he told me, "we used knives, pots and pans, drill guns, chains, and an am radio to make it. oh, and 1 tecate on percussion too." Love these guys and what they are about and what they do and the amazing music they create. Stefan "dirty-Lo" - Scotty Coats - Wes The Mess - Dale Hendrix - Erick "Jesus" Coomes -Thomas C. Check them out at the links below and support great music and the fact that vinly is here, aint goin nowhere, alive and kickin for the masses to consume in order to create another vibe mentally, and spiritually... Enjoy the vibes!!!

Listen to tracks // Rong Music/Reverb Nation

Contact // facebook

MIKE BELL RIP!
The past few days I’ve been remembering you Mike Bell… All the things we used to do and talk about. Mostly music stuff but there were plenty of other things. Remixing M.I.A. tapes on your computer long before I had a clue about any of that. The excitement you would show when we found a good riff and made a great song. Your contagious laughter and enthusiasm for music. First playing guitar and then ending up on bass because of circumstance and you filled those shoes very well and didn’t say anything negative about it. The intro to the song “Behind The Mask” and the intro to “Cat Woman” and all the stuff in-between. The tour that we went on; the only HFL tour ever! You were quiet the majority of the time but when it came to playing you were always on point! Even in Reno when you ran off with that girl and we were gonna leave you it was somehow still ok. I guess it had to be. And with a brother like Jeff.s.u. we weren’t leaving you behind. The rhythm section went everywhere together. That first record… All of it. You were there from the start of HFL to the finish of HFL. I am sad beyond words spoken but not written down within this context of thought… Because you are starting to come back to me… The truth is, you never left. It had been so long since I had seen you… 10 years or more… But no matter how much time has passed you will always be close in my heart of hearts. We spent a lot of time together in that studio at Pat Hall’s house, at shows, in the recording studio… Our relationship was based on music but our friendship surpassed music. I don’t know why or for what reason but the fact is here with us who remain. You were the outcast in the heavy metal pants with the heavy metal guitar and long hair in the beginning. You helped write some of the best songs. Like “Destination”. And plenty of other riffs. You will always have a place in my heart. You and Joey Hughes are hanging out now… I guess you guys are waiting for the rest of us… Some day we will see you on the other side… And until then I must leave you with some words from “The Edge”, “God help us try to face our fears. Stand on our feet and wipe away the tears. We’ve only got one life lets take advantage. It’s gonna be trouble but it’s worth the damage. So stop pushing us towards the edge. We’ll pay our dues in life until there’s nothing left. There’s no results because there’s no solution and when were drowning in fear is it just and illusion… My friends come to me and they tell me about, the latest of their problems, their latest bout, I look in their eyes and I see their pain, life’s passed some by and they don’t seem the same…” Gob Bless You Mike Bell and God bless your brother, your mother and father and all of your friends. Thank you for sharing your life with us...
Joel Bull

KASIM SULTON

EXCLUSIVE

With my involvement in music over the years I’ve had the chance to meet some of the most talented musicians of our generation. While in a studio session this past summer [2008] I had the pleasure of meeting Kasim Sulton. When I met Kasim he was playing bass in a project that included Tommy Byrnes, Musical Director & Lead Guitar player for Billy Joel, as well as Chuck Burgi who plays drums for Billy Joel. At the time I really had no idea the magnitude of Kasim’s musical background. I was quickly informed by my business partner Stefano DiBenedetto of OCD Music Group that Kasim has a very colorful musical past playing in bands such as Meatloaf, Utopia, Patti Smith, Hall and Oats, Joan Jett, Richie Sambora, Steve Stevens, and many others. I had the chance to sit down with Kasim and get the skinny on how it all started, where he’s at today, and what his future plans entail.

JH: What are your earliest memories of music and what was that music? Did you take bass lessons at an early age? Tell us about the beginning.
KS: My Father gave me my first introduction to music. He played guitar and encouraged me to pick it up. This was a time when there weren’t a lot of choices when it came to how best to spend 'free time'. You either immersed yourself in sports or spent the evening doing homework. There were only five channels on the television to choose from and video games were only in comic books. Like most kids my age, I listened to the radio and Rock & Roll was going mainstream. Elvis Presley, Bill Haley & The Comets were among the more popular artists at that time. I didn't really pay to much attention until my Father brought home a 45-RPM record of a band from England called The Beatles. This was different music to me. It was much more interesting in a way I couldn't put my finger on. I learned that the band was going to be on television that coming February and when I saw them on the Ed Sullivan Show, I knew that I was going to play music for the rest of my life. I knew beyond a shadow of a doubt that I was going to be a musician for the rest of my life.

After that, I took a series of lessons on guitar. Unfortunately, I wasn't learning what I wanted to learn which was how to write songs and become famous. I decided to teach myself how to play. I would get a record of a song I liked and I would listen to the chords and melody and pick it out note for note on my guitar. I didn't start playing Bass guitar until I was 14. The only reason I picked up the Bass was to get in a band with guitar players that were better than me. They didn't need another guitarist so I volunteered to play Bass. I was fired not long after I joined because I didn't own an Amplifier!

JH: What was the first band you were in and when did things really start to pick up for you?
KS: The first band I joined was actually a Garage Band called Apple Pi. One of my best friends Thommy Price was the drummer in that band. We would get together every weekend in one person or another’s garage and work on songs. Since no one wanted to sing, I had to try my best at doing it. During that time I also started working in NYC at Variety Recording Studios as an assistant engineer. I was eager to learn the in's and out's of record production and I was lucky enough to have the opportunity to see how records were made at a young age.

JH: How did you end up getting the gig with Utopia and what was it like working with Todd Rundgren? What were the tours like and how was it working in the studio?
KS: I was about 18 years old when I became very serious about making a life for myself in the music business. I hadn't really concentrated too much on school because I was convinced that I could 'make it'. I started to hang out a lot more in Manhattan, going to clubs, seeing bands and hanging around Max's Kansas City asking people that might hear of other gigs and if they could turn me on to them.

I did manage to land a gig playing Piano (also self taught) for a girl named Cherry Vanilla who along with having her own band was also the Publicist for MainMan Records. She hung out with a very eclectic crowd in NYC and introduced me to everyone. It was through her that I met and became close with Michael Kaman (pianist for David Bowie).

I had a good friend on Staten Island, Earl Slick, who was also playing with David Bowie as his lead guitarist. I went to Slicks house with a friend one evening to drive him to JFK for a flight to London. When we picked him up he mentioned that Todd Rundgren was looking for a Bass Player and said if I was interested in auditioning, I should call Michael Kaman and throw my name into the hat. It was one of those rare situations in life where the stars align and all you have to do is show up. I auditioned a few days later and the next thing I knew, I was making records and touring the world. That was really the start of my career as a professional musician.

JH: When you played with Joan Jett and the Black Hearts, did you start playing shows with her at the peak of her career in the early 80’s? You played on her come back record “Up Your Alley” around 1990; did you contribute to the writing process on that record?
KS: I didn't start playing with Joan until 1987. Thommy Price had played some tracks with her and because her Bassist had left, he asked if I would sit in. I can't say enough good things about my time with Joan. She is the consummate professional. We constantly toured and if we weren't touring, we were recording. There is no question that many of today’s more popular female artists got their inspiration from Joan. I keep a picture on my computer of Fergie with a Joan Jett T-shirt on that has my picture on it! The first record I recorded with Joan was "Up Your Alley". It was an important record for Joan. She was always writing and co-writing songs with various people. She got in touch with Desmond Child to do some co-writing with and came away with 'I Hate Myself For Loving You' and 'Little Liar'. Both songs wound up as hit singles. Everyone in the band contributed to the arranging process in the studio. No one told Thommy or me what to play as the rhythm section. We knew how to treat the songs and I'd like to think we had a hand in making that record as successful as it was.

JH: You worked with Patti Smith in the studio. Tell us about your experience working with her?
KS: Patty is so unlike her stage persona. In person she's quite shy and demure. Her late husband Fred 'Sonic' Smith from the band The MC5 was a big fan of mine. I was brought in on the sessions for 'Dream Of Life' by Todd Rundgren who produced that record.
Again, I was given free reign to do what I felt was needed for the songs I performed on. It was a great experience. I would jump at the chance to work with Patty again.

JH: I’ve heard that the “Bat Out Hell” Meatloaf record, in which you played bass on, was a concept album. Working with Jim Steinman & Thommy Price on that album, could you somewhat foresee how that record would make history selling over 43 Million copies to date. You went on to become Musical Director for Meatloaf. Explain your experience with Meatloaf, how it began, and what it has meant to you and done for your musical career?
KS: Not long after I joined Utopia, I moved to Woodstock NY to be closer to the rest of the band members. I was setting up house one afternoon when the phone rang, it was Todd asking me if I would come and play Bass on a record he was producing. I asked him who the artist was and he calmly said Meat Loaf. I truly thought he was kidding and said, "OK come on, stop kidding around". He got slightly miffed that I would think for a second he was joking and said, "Just bring your Bass and show up at the rehearsal hall".

I arrived at the rehearsal to meet Jim Stienman and Meat Loaf. Along with Roy Bittan (Piano), Max Weinburg (Drums) and Todd. There were no demo recordings of the material we were about to learn and we relied on live performances of each song played by Jim, Meat Loaf and Ellen Foley. After hearing the majority of the songs I thought it was going to be a comedy record. Totally kitsch and nothing I would ever hear again after the basic tracks were finished.
I remember being in Bearsville Studios recording the songs and I pretty much played whatever I wanted to. No one was telling me I was playing too much or too little so I just did what I thought the songs needed. I listen to that record today and think, "God, I was playing A LOT".

About a year later I was driving up the Palisades Parkway in NJ listening to WNEW Radio and heard a song that sounded oddly familiar. I realized that it was the record that I had worked on a while back and smiled. I had no idea that it would become one of the biggest selling debut records of all time.

That was 1978 ... I didn't join Meat Loafs live band until 1993. Initially I started as the "Utility" Guy. Playing keyboards and rhythm guitar. It was odd playing those songs again after all that time but because the record was so huge, I still knew every one of them because I had heard them so much over the years.

In 1998 Meats bass player left and I stepped into that position taking over Musical Director duties as well.
I've had a great time playing with Meat Loaf and I continue to look forward to touring and recording with him.

JH: What was it like playing bass in the pit orchestra for the Twyla Tharp choreographed musical about Billy Joel’s music called Movin Out on Broadway? How long was Movin Out on Broadway and how many shows were you performing per week?
KS: I was performing at the House Of Blues in Chicago with Meat Loaf. It just so happened that it was at the same time Movin' Out was in pre-production there. Because many of the musicians in Meat Loaf's band and the Movin' Out band had been close friends for sometime, we invited them over to the Meat Loaf show and had a chance to catch up afterwards. I mentioned to Tommy Byrns that I would love to come and see the show once it opened and he said, why not come and PLAY. It wasn't till about two years later that I had some free time in my schedule and called Tommy who was the Musical Director for the show not to mention that I would love to take him up on his offer. The Bass chair was filled by Greg Smith and he had a long list of sub's but the rhythm guitar chair (Tommy's position) was always looking for new players. Tommy asked me if I would consider playing some guitar and I jumped at the chance.

For the next year and a half I sat in for Tommy whenever possible and I can honestly say it was one of the highlights of my career. I've always been a big Billy Joel fan and being on a Broadway stage with that particular cast and crew was something I will never forget.

I was averaging 3 - 4 shows a week and made some great friends and associates in the time the show was running.
I did eventually manage to sit in for Greg Smith on Bass and on one occasion played Guitar during the matinee and Bass for the evening show. The show ran for almost 4 years and won a Tony Award.

JH: What are you working on these days? Who are you writing with? Touring with?
KS: I spent the early part of 2008 touring with Todd Rundgren in the USA and Japan. Todd has always been a big part of my life and I couldn't imagine a year going by without doing some kind of work with him. This past summer was spent on the road with Meat Loaf in the UK and Europe.
In the coming weeks I'll be back out on the road with Todd, on and off for the rest of the year but this time, I'll be playing rhythm guitar and keyboards. In between Todd shows I'll also be doing some 'one off's' with Meat Loaf.
Of course I'm always working on my solo career. I released a solo CD called 'All Sides' which is a 2 disk compilation CD of solo material I have done over the last 20 years.
I continue to do solo shows whenever I have the chance.

JH: For a young person getting into music, whether it’s playing bass, keys, writing, producing, what kind of guidance could you give someone? What has been the biggest learning curve for you? And what would you suggest that a person does to become an amazing, multi-talented musician such as yourself?
KS: The most important thing I could tell any aspiring young musician is to first, make sure you have some talent. Not just your Mom or Dad or Grandparent telling you you’re wonderful. Of course you are to them, but it starts with a certain amount of ability. After that you need the desire. It's one thing to want to be famous, have thousands of screaming fans every time you leave your house, it's quite another to actually achieve it.

The Music Business has changed dramatically over the last 10 - 15 years. No longer is it about making a great Record or writing a great song. Sure you need great songs but it's not that easy to write one. More than anything else these days it's about live performances. The playing field is so crowded with talented players and singers. A new artist has to work extremely hard at building an audience, getting out there, playing for nothing just to get heard. If you're good enough, people will take notice, and then it's up to you to cultivate and nurture those few fans into a core base. People who care about you, people who are willing to travel 50 - 100 miles to see you play. More so than ever before the opportunities are great and at your fingertips, you have the potential to reach millions of people. The trick is getting them to listen. It's always been a struggle to break a new band, it's still hard but the tools are available to anyone with a computer and access to the Internet.

I got very lucky at a time when things weren't as complicated as they are now. You made a record, begged radio to play it, went out on tour, sold some T-Shirts, had a great time and didn't worry about much else until it was time to make another record.

Now, you need to be vigilant. You need to stay on top of everything from what content is on your website to personally answering emails from fans every chance you get. Keeping people posted on where you're playing, new material you’re writing, shooting a video of the band during a rehearsal, behind the scene photos ... the list is endless. BUT, if you want it bad enough, you're willing to do all this and more for the chance to play your music and MAYBE make a living at it.

I might sound a little pessimistic. I'm not. I'm just telling you it isn't easy.

Oh.... I almost forgot, the one most important thing - stay in school. Get a good education, go to College, Graduate, and don’t COUNT on making it. After that, follow your heart.

Contact Kasim Sulton // facebook