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The New WULF BANE CD "ALIBABA MOTEL" is now available exclusively @ Electric Chair: 410 Main Street Huntington Beach, CA. 92648 // 714.536.0784

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"Whether it’s their vague, angst-ridden songs of revolution, pummeling power chords, or the ability to genre-hop like they just don’t give a fuck, this Costa Mesa quartet brings sharp-toothed, hard rock nostalgia to nearly every song they’ve got". Nate Jackson - OC Weekly
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/////FEATURED BAND: CHRON GEN/////////
Chron Gen were a British punk band who formed in January 1978 in Hitchin, Herts. Ex members of The Condemned and Optional Xtras fused into Chron Gen. The members were Glenn Barber (Vocals/guitairist), Jon JJ Johnson (Drummer) Jon Thurlow (Rythym guitar) and Pete Dimmock (Bassist). The band released their debut EP “Puppets of War” (also had singles versions of Lies, Chronic Generation, and Mindless Few) My favorite songs: All of them!!
Click here to download The Best Of Chron Gen

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/////FEATURED LYRICS: BULLET by MISFITS/////////
President's bullet ridden body in the street
Ride, Johnny, ride
Kennedy's shattered head hits concrete
Ride, Johnny, ride
Johnny's wife is floundering
Johnny's wife is scared
Run, Jackie, run
Texas is an outrage when your husband is dead
Texas is an outrage when they pick up his head
Texas is the reason that the president's dead
Ya gotta suck, suck, Jackie, suck
President's bullet ridden body in the street
Ride, Johnny, ride
Kennedys shattered head hits concrete
Ride, Johnny, ride
Texas is an outrage when your husband is dead
Texas is an outrage when they pick up his head
Texas is the reason that the president's dead
Ya gotta suck, suck, Jackie, suck
Arise Jackie-O
Jonathan F. Kennedy will rise and be shot down
Dint's gonna be your desert
My cum'll be your life source
And the only way to get it
Is to suck
Or fuck
Or be poor and devoid, and masturbate me
Masterbate me, then slurp it from your palms
Like a dry desert soakin' up the rain, soakin' up the sun
Like a dry desert soakin' up the rain, soakin' up the sun
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Minor Threat // Live at Buff Hall
This bootleg of Minor Threat Live in 1982 at Buff Hall in Washington DC is amazing!! The live recording sounds better than the studio recordings (even though the studio recordings are recorded really well) this live set of songs makes me realize even more than I already do, what an amazing band Minor Threat was, and still is, almost 30 years after the fact. Get it now!
12XU
Small Man Big Mouth
Filler
Out of Step
It Follows
Little Friend
I don't wanna Hear it
Click Here To Download |

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This is one of the best blogspots on the web for punk rock music!! Click the image to access. Enjoy...

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RISE ABOVE 81 BLOGSPOT by JOSH LAZIE
Check out the lastest from Josh Lazie. Free Downloads, Custom Bike Stuff, Footy, Music, Mayhem! There is some great stuff here so make sure to have a look. Lazie was the creator of Compound Radio and has a collection of music that is really hard to find. Not to mention he has a great sense of humor and is a good friend of mine. Word up to his new blogspot!!!
CLICK HERE TO ACCESS RISE ABOVE 81 // FREE MUSIC
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Wulf Bane got in the van and headed out on tour because they're into it! They play rock and roll reminiscent of Guns & Roses, Thin Lizzy, Black Sabath, and Robin Trowers. They switch it up by singing about being tattooed with Black Flag Bars and rising above the system; about dying from an overdose, taking the bus to get high, and living in a room with a view refering to the Ali Baba Motel in Costa Mesa, California. It makes for a nice combination. Their songs are not only rock, they're punk rock too!! Wulf Bane also have some newer influences that remind me of Earth Crisis or Madball, Rise Against and The Bronx; big backing vocals to sing along with and catchy riffs and choruses. Put all these things into the pot with lots of leads and you have Wulf Bane! It won't be long and they will be back out on another tour making more noise with their kick ass sounds!!! If you have the chance to go see them, you will not be dissappointed!! Don't miss their live show! Lots of fun... It's fast and in your face and quite hard not to go crazy when they rip through a medley of tunes!! Let's face it, there are so many bands playing out right now, music that has no meaning or care for song writing; Wulf Bane isn't getting lost in that mix!! They're Currently in the studio with Paul Miner.

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I met Miles Jordan at a Reverend Horton Heat show in Chico, CA. He is an amazing writer and was willing to contribute some of his reviews to joelhendricks.com. I will be featuring a plethura of his work as I am a Jazz fanatic and it just so happens Miles has been doing Jazz Reviews for the past 30 years. Here is the first Feature by Miles Jordan from jazztimes.com
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Zoot Sims/Eddie Lockjaw Davis featuring Oscar Peterson
The Tenor Giants Featuring Oscar Peterson
Pablo
By Miles Jordan
It must have come as a bit of a surprise for the audience to find Zoot Sims and Eddie "Lockjaw" Davis sharing a Jazz at the Philharmonic stage on a 1975 European tour, but here they are, backed by Oscar Peterson's impeccable trio with bassist Niels-Henning Orsted Pedersen and drummer Louis Bellson. The Tenor Giants' eight tunes were recorded (but unreleased until now) at five venues over a 10-day period and include a ballad feature for each tenorman (Sims on a wistful "My Old Flame"; Davis in swaggering form on an equally relaxed "Don't Worry About Me") and excursions through selected standards at varied tempos. Things start quickly with a booting "The Man I Love" with Sims and Davis divvying up chores on the intro-Jaws giving the melody a going over; Zoot goosing things along with subtle asides-before Sims sails into his solo with his usual aplomb followed by Davis, whose hoarse, blustering tone is indicative of the urgency he felt to get everything he could out ASAP.
Head, solos, fours and head-nothing unusual here but there is a lot of superb playing. The rhythm section is a marvel throughout with Peterson deftly setting up each tune then digging into his bag of tricks during his solos while NHOP and Bellson (who gets his licks in on a blazing solo on "Groovin' High" that features his two-bass drum and roto-tom setup) keep things ticking along as only they can.
Although Sims and Davis were quite used to the two-tenor format, this was a one-off gig and they went for it full bore, as evinced by their closing fours where they kept throwing more fuel on the fire. Very tasty!
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/// VULTURES UNITED ///
This band rules!!! I had the chance to see Vultures United at La Cave Monday night. And let me tell you, THEY ROCKED THE HOUSE!!! The music is in the vein of HC but the way they deliver is more like... I don't really know how to say it... It's the kind of music you can rock your fucking head to and feel confident about the fact that you just got to see a REAL band! Their music is from the heart. They have a song called "Born A Snake Handler" that just rules!!! The fact of Vultures United is this, all their songs are good. With all the music out there today, Vultures United definitely stand alone! I LOVE THIS BAND!! Check them out on myspace and go see their live show! Support your local music scene!
CLICK HERE AND LISTEN TO VULTURES UNITED ON MYSPACE

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REVERENDHORTONHEAT.COM |
LAUGHIN' & CRYIN' WITH THE REVEREND HORTON HEAT
The biggest chops. The most tour dates. The most kick-ass live show. The greatest rock-country-punkabilly performer of his generation. The Reverend Horton Heat is back after a lengthy recording hiatus with Laughin' and Cryin' with the Reverend Horton Heat. Available September 1st through Yep Roc Records.
In celebration of the release of Laughin' and Cryin', Yep Roc is excited to announce that we will be offering a limited-edition collector's version of the album exclusively through the Yep Roc Webshop that's unlike anything you've ever seen before.
The deluxe collector's edition version of Laughin' and Cryin' will be housed in a custom hard plastic molded speedometer package and the cd itself will serve as the faceplate of the speedometer. The set will also include a bonus CD of some of your favorite artists covering Reverend Horton Heat songs. The bonus disc includes covers from Hank III, John Doe & Dave Alvin, Los Straitjackets, Peg Leg Mango Johnson and will only be available as part of this collector's edition. In addition, the set will include a commemorative shot glass featuring an original design.
The set is limited to only 1000 units and is only available while supplies last.
CLICK HERE TO ORDER YOUR COPY TODAY!
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Andre Lucero // Scotty Coats & Joel Bull @ AVALON // COSTA MESA, CALIFORNIA
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(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
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WESCOATS:
Scotty Coats & Wes The Mes New Release on Rong Music/DFA Records.
Click
the link below to read more and listen to the jams. Doesn't get better than
this!!!
http://www.dfarecords.com/promo/rongdfa08/
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Scotty Coats
Double Fisted Underground
Costa Mesa Represent!!!
first interview for joelhendricks.com
JH: What was the first record you ever bought?
SC: Prince Erotic City 12’ from Licorice Pizza in Santa Maria
Ca
JH: Who influenced you in the early days?
SC: Funny I had a dj who lived across the st named Dj Influence (get
it)he turned me on to hip hop like the skinny boys, bdp, erik b and
rakim, epmd all kinds a shit, and the skateway roller rink was a big
part of it as well
JH: Were you influenced by Grand Master Flash, DJ Kool Herc, Afrika
Bambaataa, Run DMC? What did you learn from these greats?
SC: I was influenced by them; but not really knowing that I was. I was
a punk lil kid who skateboarded and would try to bring my skateboard
on the roller skating floor and when I got kicked off of the roller
rink at 10 or 11 I got stuck watching the dj and from then it was on.
Dj lil Ken I still remember his name. He played funk boogie disco early
hip hop and I was hooked.
JH: Tell us about The Double Fisted Underground?
SC: It’s a group of guys that all love djing, all love records,
any kind of records, all love drinking beer, and making people dance.
Thanks to Mike Conley for letting us has-beens play disco music at the
Avalon bar for the last 5 years. It’s family.
JH: I know a lot of people are using Mac’s to DJ. What’s
your opinion of this and how has it changed DJ Culture?
SC: I look at it two ways. If you have paid your dues and lugged records
around your entire life dedicating your life to the music you love,
then it’s a great tool. If you’re some hairdresser with
a bunch of friends and rip the latest and greatest hipster tune from
the latest and greatest blog, then buy serrato or any other program,
and call yourself a dj, I have news for ya… It will go out of
style for you as quick as your haircuts and you are not a dj. MUSIC
BLOGGERS ARE FUCKING BOOTLEGGERS…
JH: What about disco? Give us your take on disco?
SC: I love disco. I sometimes think I was born too late. Its all disco
to me man.
JH: With all the different names for genres of music these days, what
style do you classify yourself as?
SC: Drunk.
JH: Where do you buy your records these days?
SC: I go to thrift stores in Long Beach, Cal Sound in San Diego, Jigsaw
records and any yard sale that I see that has wax. Anywhere and everywhere
I guess.
JH: Who are your close cronies and favorite DJ’s?
SC: Close cronies are Dj Poppa, Jud Nester, Dirty Lo, Ben Cook, Dj Cocoe,
Josh One, Esca, Dj Spun, and Tim Love Lee. I don’t really have
a favorite; they all do different things and play different shit. Maurice
Fulton, Harvey, J Rocc, Jazzy Jeff, Moody Man too many to name…
JH: Where do you see DJ Culture heading?
SC: I don’t really know and I don’t really care. I’m
not one of these fly by night dudes. I have been collecting records
for 20 years and djing since I was 13 or 14. I’m going to do my
own thing without caring what other djs are up to really.
JH: What is your plan for keeping your music great and on the edge and
unsafe?
SC: Not wear a condom while djing.
JH: What would you tell an up and coming DJ that wants to keep it real?
SC: Play from the heart. Only play records you love. Don’t compromise
what you like for money or anything else. People know if they are a
dj or not, its not a fucking fashion statement.
JH: Last words?
SC: R.I.P Mike Conley (I LOVE YOU MORE)
Myspace Profile // Scotty Coats RVCA Profile |
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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
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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
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Holly Brook
Exclusive
JH: So tell me a little about yourself, your
musical background, where you grew up?
HB: Holly Brook is my first and middle name. I grew up in a tiny town
in Wisconsin and come from a very musical family. Piano is my
first instrument, then guitar and dulcimer I taught myself. I
made 3 indie records with my mom from the ages of 8-16. Then I
dove deep into songwriting and began my solo career, moving to LA alone
at 17 (yes, dropped out of school). Why am I telling you this?
Just read my bio!
JH: What are you up to these days?
HB: I’m currently homeless, so I just travel back and forth between
my sister’s apartment in LA, Jon’s house/studio in Ventura,
and NYC where I’ve been spending a lot of time working with Duncan
Sheik.
JH: How is your
new record coming along?
HB: Oh I am so excited about this record! I hope to have it out
sometime this summer.
JH: What has
been your inspiration for song writing since you haven’t put out
a record in a few years?
HB: Well, because of some legal issues, I haven’t actually been
allowed to put out a record until now. So I wrote about 40 songs
in that time. So much has happened that was worth writing about.
For example, I discovered Harry Potter! Then I moved out of LA
to a much smaller town called Ventura, where the air is clean and the
beach is always standing tall. Additionally, I spent a lot of
time working with Duncan, I ended a 3 year relationship (depressing
times make for great song subjects!)…. Oh…and of course
I was held hostage by a bunch of ewoks!
JH: How is working
with Duncan Sheik?
HB: Amazing!!!! Except he’s turned me into a wino…
But check this out…I was just a fan of his…I still have
his autograph from when I was 16 and saw him perform. And now
I work with him regularly. Dreams do come true!
JH: Are you
working/writing with anyone else besides Duncan?
HB: Yes! Of course I am still working with Jon Ingoldsby.
He is producing my record and co-writing some of the songs. In
addition, I currently have a couple of side projects in development,
including a folk duo, which is Jon and I (yes he sings too!).
Another is an electro-rock band I started with Adam Iscove, that sounds
kind of like Peter Gabriel meets Dido meets Shiny Toy Guns. I’ve
also been working on some hip-hop songs with Ryu from Styles of Beyond,
and Scoop Deville. Additionally, I’ve been working with are Katy
Rose, Caitlin Moe, Heather Holley, and Eric Jay.
JH: How was
the Jesse Malin show at Bowery Ballroom in NYC?
HB: Fun! Caitlin Moe (www.myspace.com/caitlinmoe)
played violin with me, and it was the first time I ever did a show playing
keyboard while standing up!!! And if you ever get a chance to
check out Jesse’s show, you should. He is such an entertainer.
JH: What keeps
you busy when you have free time? What do you like to do?
HB: I like to fly airplanes…I like to write songs, record songs…or
does that not count as “free” time? Cuz my work is
my favorite thing in life… I like taking long drives. I
like to drink tea. I like camping. I like to come up with
random ideas. I love dreaming (in my last dream I was swimming
in yogurt lagoons).
JH: What message
would you like to convey to your fans about their anticipation for your
new record?
HB: I know it’s been a long time since you’ve heard new
music from me, but I really hope it turns out to be worth the wait!
Get ready for a single and video in July, and the record soon to follow!
And try and catch a show, as I will be doing a lot of touring!
JH: What can
we expect from your new record? Has your sound changed?
HB: Try not to have expectations. Just listen with an open mind.
My sound has definitely changed since the last record. Some people
might be caught off guard. But I think my song writing has improved,
especially with lyrics. The past few years have been very dramatic,
so many of the songs stem from specific things that happened to me.
JH: What music
are you listening to these days?
HB: Bjork, Shiny Toy Guns, and the classical station.
JH: Who’s
your favorite poet?
HB: I don’t really read poetry…but Joni Mitchell counts!
JH: How many
tattoos do you have? What personal significance do your tattoos hold
for you? Who does your tattoos?
HB: I have 2 tattoos…the one on the back of my neck I got backstage
at a Linkin Park concert when I was 19. Chester’s “Club
Tattoo” was doing them for free! It’s a Pisces symbol my
friend Steve Stokes from Wisconsin designed. Then I got an owl on my
left ribcage last December. I got it because I love flying, and
I love staying up late…and harry potter. It was done by Josh Lord
at East Side Ink in New York. If you are looking to get a tattoo, please
check out his work. Unbelievable.
JH: Tell me
about the last dream you had?
HB: Oh, uh…actually I lied before. My very last dream was
kinda private…
JH: Is there
anything you would like to add to this? After thoughts?
HB: Yeah. Wheels. Banana slugs. Pink parts. Oh, and send
me a little item of your choice to be included in a diorama for my album
artwork!
www.hollybrookmusic.com |
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Stefano Dibenedetto & Joel Bull // Paris, France // Deftones, Linkin Park Tour 2001

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