Reader's Poll 2010

Well folks, it's that time again! We're reaching the end of yet another year of music and with that in mind, it's time for us all to go on record & make fools of ourselves salivating over a handful of the better platters of '10. So, send in your Top Ten albums (CD's, albums, records, whatever you want to call 'em). The only requirement is that they were released in 2010 (I know there is sometimes a sticking point over the date on the back of disc... e.g., sometimes something is dated 2009 and actually isn't available until 2010. What we're looking for is things that became available during 2010...you know what I mean.) Anyhoo, send in your Top 10 list to my email: raysrealm@aol.com The cut-off date is Jan 31, 2011 for the simple reason that we give you till the end of the year and then a little time to get your thoughts in order. Then, right after Jan 31, I'll publish the results of the poll, plus my own Top 10 for those of you who give a dern. BE SURE TO INCLUED YOUR POSTAL MAILING ADDRESS IN YOUR EMAIL! Anyone who sends in a Top 10 by Jan 31, 2011 will receive a kewl surprise from me in the mail shortly thereafter! So, list away! Again, send the Top 10 and your mailing address to: raysrealm@aol.com

Natural Born Killers

AGAINST NATURE – “Cross Street / Chasing Eagles” CD ’10(Blandhand, US) – You know what, peeps, there are certain things that just float my boat. Finding a crumpled up $ 20 in my pants pocket in the wash, that’s one. Waking up on “Friday” morning, starting to get up and realizing that it is in fact Saturday…yes! And finding a brown envelope in my mailbox from John Brenner. The first 2 are self-explanatory, so if any of you need clarification there, you need more help than this holder of a measly B.A. in Psych can give you. I’ll try to point you in the right direction on #3, though. See John Brenner is the guitarist/singer for Baltimore heavy music legends AGAINST NATURE & REVELATION and the fact of the matter is, anything either of these bands do is the freaking business. I’m serious, children of The Realm, everything this man has mailed me over the past several years has ruled and so have the ones he’s handed me in person. “Cross Street / Chasing Eagles” is no exception and I’m here to tell you why.

A little secret of the trade (which is actually no real secret at all) is that AGAINST NATURE and REVELATION are actually comprised of the same 3 guys: John Brenner – guitar, vocals; Bert Hall, Jr. – bass; Steve Branagan – drums. While the REVELATION face of this dual-sided monster plies the trade of melodic doom metal, AGAINST NATURE is a little more experimental…but don’t let that throw you! When I say experimental, I’m not talking about a bunch of nerds sitting in front of a couple banks of keys making noises, stroking their beards and saying “Perhaps….” Oh hell no. I mean experimental in the way that these guys will gladly explore all avenues of where a 3-piece rock band can travel, from Van Der Graaf style prog to Trower-style jamming. That’s part of the real fun in getting a new AN disc from John, seeing what these 3 cats have decided to get into this time…and knowing that whatever route they’ve taken, it’s gonna be a sweet ride. In truth, nothing could have gone down better on these ears than what happened when I put in this disc and hit “play.” In fact, so good is it that I think there’s only one way it could’ve come into being. Here’s my theory: One day John, Bert & Steve were hanging around in their practice place and after doing a 35 minute jam that would’ve made The Allman’s hang their heads in resignation, they decided to see what would happen if they flipped on the time machine John had made out of an old Orange Amp. Next thing they knew, they were standing in an undisclosed backwoods locale in Texas, circa. 1970. Immediately to their left stood a ramshackle lean-to and, whoooaaa, that lean-to looked nasty! In fact the whole scene was kinda scary so they began to amble back up the tire-track path toward what they thought was civilization when suddenly a voice rang out in the muggy air: “Hey, y’all, c’mon back now!” Standing outside the shack, battered Les Paul in his hand was a young fella named Billy Gibbons. “Y’all look like you’re in a band,” Billy called out in his Tejas drawl, “I got a few boys over for a beer & bar-b-cue! Wanna jam? This is Duane. Over there’s Snuffy…Snuff, you like that one I wrote about the Chevy, don’t ya? And that’s Jimi, he’s kinda shy but once he starts playin’, whoo boy! And there’s ol’ man Johnson’s kid, Eric…the 2 of them were fightin’ over that Strat before. Ha ha, let’s play some boogie, boys!” This went on for maybe a moment, maybe a day, maybe a year…until finally the time machine just seemed to kick into reverse on it’s own, depositing John, Bert and Steve back into their practice space in the Year Of Our Lord, 2010. Without another word and with a resolution only born of the most sacred inspiration, they knocked out this stuff you’re listening to now. The truth of the matter is that “Cross Street / Chasing Eagles” is classic bluesy hard rock on such a high level of massive fucking coolness that it could have only been conceived by guys who have both a complete understanding of the best from the past and the drive to bring it to the now. Love, care and craftsmanship in both songwriting and playing like this, and across so many great songs is something that has rarely been heard since the ‘70’s. This is music that is honest, real and above all a flippin’ blast to listen to…any time. The whipped cream and cherry on top of this slice of musical gorgeousity is John Brenner’s guitar work. I know I’ve said it before but it bears repeating. This guy is possibly the premier tone-master working today. Not only is he a riff-machine of nearly Iommian proportions, but the feel and quality of his soloing is staggering for a player working in today’s jaded environment. As with guys like Gibbons, Rory Gallaher, Leslie West & Andy Powell, he understands tone better than most could dream. A subtle move from one pick-up to another, the Gibson bite, the Fender creaminess…all those and everything in between live in these “grooves” (ok, I’m old-school, it’s not a record, I know!) and display the man as a brilliant player. Of course, it must be mentioned that Bert’s rolling, Geezer-inflected lead bass and Steve’s hard-yet-jazzy conversational drumming style do way more than just underpin Brenner’s six-string masterworks.

Is there music more enjoyable on the market than what happens when a new AGAINST NATURE disc tumbles out of that brown envelope? Not that I know of. My CD Can Beat Up Your Eagle Scout Ray Dorsey

http://www.againstnature.us/

Put Me On Speakerphone

TAME IMPALA – “Innerspeaker” CD ’10 (Modular, Australia) – You know, it’s funny. I had been thinking it’s been a little while since I had a good yarn to spin on here. And so, with that in mind the Fates aligned to give Ray some fodder for a story. So here’s how it went…settle in with your favourite adult beverage, get comfortable and prepare yourself for the long haul. Ok, I’ll try not to make it that long but we’ll see how it goes….

It was a few weeks ago that I was piddling around on that Internet thang when I ran across a comment from Corsair’s Marie stating that if there was one band she wished she could be in it was TAME IMPALA. Now here’s the thing: Marie is one of the guitarists in a kick-ass band who’ve authored one of the year’s most surprising records so I take her commentary seriously and the information was duly noted and filed away in my head. Of course it promptly pushed aside things like when my car insurance was due, the dates of my kids’ field trips, etc. but damn if I would forget to check this band out. Hit fast-forward maybe a week and I’m down in The Soundgarden in Fells Point, thumbing through the psych section when I hit the “Misc T-Z” card and I’m staring at TAME IMPALA’s disc, “Innerspeaker.” I have 3 reactions, all in a particular order: 1) Damn, there it is! A CD by the band Marie was talking about! 2) I wonder if this is their newest one? 3) Fuck, the disc is an Australian import and is $ 27.99. With this all in mind, I meandered up to the counter to ask the guy when the album came out. I have this funny thing, when I’m checking into a new band, that I like to hear their current release first then work back. I like to see where they are and then, how they got there. In this case, the super-pricey-sticker was making me hope this was an older album, which would pour a little cool water on the curiosity fire that was rising in me. Of course upon delving into his PC, the dude at the counter replied “May 2010…and no indication of it being released over here.” Shit. I really didn’t have $ 28. Well, I had $ 28, but not to spend on a CD that day. So in a state of stately resolution, I deposited said disc back in the rack and headed out the door into a brisk fall day and ‘round back to the parking lot. I opened the car door and as I sank into the seat to nestle amongst the fast-food debris and empty water bottles that typically litter my vehicle, I thought a little more and the little angel & devil on either of my shoulders began to argue: Devil says, “This shit is going to bother you all day, go back and buy the damn thing.” Angel replies, “Uh…ok.” With all that haggling out of the way, I ambled back into The Soundgarden, pulled out the $ 28 I’d need the next day for gas and minutes later was up headed up Boston Street. I was feeling pretty friggin’ good…got every light green and the first time I had to stop was up at the travel plaza. Sitting there, I took the time to take a peek at my loot. Man, the cover looked cool…sweet digipak with artwork of a killer autumn scene. Light’s still red, so I slit the shrink wrap to check out the booklet and when I opened the cover, my heart sank. You see, there in the plastic part with the little circular thing in the middle where the CD should rest was…nothing. There was no CD. THERE WAS NO FUCKING CD!!! It was empty. My immediate reaction was to do the irrational thing and pull the booklet out of the other side, thinking the disc may be in between it. Of course, I knew it wasn’t going to be there. I was incredulous. I was also going to be late for the next job but instead, swung uncomfortably close in front of an oncoming 18 wheeler and made a mad dash back to Soundgarden. I just knew they’d have another copy. Flying into the store, I explained my plight to the counter guy. “I think we’ve got another one upstairs,” he said promisingly. Of course, you probably already know the drill. A few minutes later, he returned from whence he came, eyes slightly downcast. “Sorry man, that was the last one. We should have it back in again next week.” He returned my cash and I set back toward home again, bitter and defeated.

So here we are again at The Soundgarden the next week and…you guessed it…I find “Innerspeaker” in the Psych Section once more. This time in a bit of mild paranoia, I carry it to the counter. The guy start’s to ring it up and I say, “Sounds kinda dumb man, but could you open that up to make sure the disc is in it?” He obliges, indicating he’d heard the story about the missing one and slit it open to find that IT HAD NO GODDAMN DISC IN IT AGAIN!!!” I was trembling at this point, sort of like David Bowman at the end of “2001: A Space Odyssey” when he’s in the hotel room. “Brother, I’m really sorry,” the dude consoled, “This must be the same digipak that they re-sealed. We’ll definitely be re-ordering it, though.” At this point I figured that at least a few months of therapy would probably get me to the point where I could come out of the house and go back to work again. And so we flash forward again….

Now we’re to last week and I’m helping my good bud and new Raysrealm writer Andre’ pick up a TV he’d bought downtown. We get the sumbitch loaded in the van, stop to grab something to eat and he asks me, “Man, if you aren’t in a rush can we stop by Soundgarden, they have a psych book I ordered?” To be honest, I wasn’t completely interested in a trip to the CD Joint At The Point. I didn’t have a lot of buckage on me and, coincidentally, I’d called the day before asking about the very same TAME IMPALA disc. I’d been told it was re-ordered and should be in within the next week but probably not the next couple days. But I figured ok, the store’s not that far from Andre’s abode and the poor guy has been really wanting that book. It was in that frame of mind that I trundled on down to Fells Point yet again. While Andre was grabbing his reading material, I idly flipped thru the metal section, then the psych section and was about to join him on the way out the front door when something…probably that little devil…made my hand flick thru the “Various T’s” in regular “Rock." First thing, right in front was “Innerspeaker!” This time, I could swear the thing felt heavier, like it definitely had a CD in it…same $ 27.99 price tag, mind you. Long story short, they slit the digipak open again and there it was: THE ACTUAL CD WAS PRESENT! So, rushing back out to the car to will together enough change to equal the $ 28, I left this time with the actual entire package in my hands…and a few extra bux because the guy there was totally cool and sympathetic to my previous ordeal and cut me a break (just another reason I love this Soundgarden store!).

By now, I’m sure that you all are saying, “Ray this has been absolutely ridiculous! You’ve outdone even yourself in wordy intros and stories and haven’t even begun the review yet.” But please, dear reader, don’t fret. Unless of course, you’re a guitarist and then it’s your job to fret. (Drum roll, please! Take my wife…PLEASE, take my wife!) This has all been for a great cosmic purpose, the purpose that sometimes things are worth it. They are worth a great and perilous journey. In this case, the answer comes back to you in spades and I’m not going to waste a whole lot more of your time. The bottom line is that Marie Landragin was right and this CD, this first full-length disc by TAME IMPALA was worth all the bullshit I had to endure to finally obtain it. The reason is that this album, created by Kevin Parker, Dom Simper and Jay Watson is fucking phenomenal. I had heard nothing by this band before inserting this crazily-difficult-to-obtain (for me!) disc in the Realm-o-Matic and now have probably listened to it 10 times over the last weekend. Call it psych, call it rock, I dunno. I just know that the mid-paced, simultaneously dreamy & driving music, overlain with Parker’s cavern/echo voice has put me in a helluva good mood. This music at once relaxes every fiber of my being and yet kicks my ass all at the same time. Examples? Man, the whole damn album but what about “Lucidity,” like the Beatles on “Revolver” being driven along by a Hawkwind power surge? How about the funk-laden back beat of “Solitude Is Bliss,” at once soothing your soul and throwing your back out with it’s rhythm. “Bold Arrow Of Time” surprises and paralyzes with it’s fuzzy, bluesy lead guitar insistence and the 7+ minute “Runway, Houses, City, Clouds” begins like an approaching train, rising from a whisper to a roar before ending in long, ethereal guitar exploration that could be Wishbone Ash on acid. This is one of those records that just takes my breath away…and every time a little more. There’s not a whole heckuva lot more I can say except that you need to get yourself a copy of “Innerspeaker” today. It probably won’t take you as long to actually come up with the damn disc as I did but even if it does, it’s worth every second! Time In A Bottle Ray Dorsey

What Do You Want On Your Tombstone?!

AUTOPSY – “The Tomb Within” CD EP’10 (Peaceville, US) – We all grow. I mean, we start as babies, then become children, evolve into teenagers (although some may blanch at teenagers being any sort of evolution!), arrive at adulthood, etc. I suppose this is a process that applies to musical genres as well as people. And, as with all of these styles and niches, death metal is something that grew over time. We saw the infant puke all over everybody when Chuck & Kam set their 2-man assault crew loose on unsuspecting dive bars in Florida during the ‘80’s. And somehow, time passed…the infant grew up and eventually ended up in a suit and tie, swishing a dry wine around in it’s mouth at a dinner party as Opeth became a prog rock band. Only an occasional hoarse vocal indicated this visitor had lineage on the other side of the tracks and…well, to be honest, it kinda made me sad. Oh, there have been some decent attempts to take out the family photo album and remember that unruly kid but today I’m a happy man because the prodigal has finally come home. One of the true originals, California’s AUTOPSY has crashed the party and my, oh my are the rich folk gonna have some cleanin’ up to do! Let me explain something to you: “The Tomb Within” is not gonna be confused with anything progressive. It’s not gonna be mistaken for anything polished and it ain’t gonna be invited back anywhere that polite company is expected. This is 5 songs of pure, unadulterated violently heavy death metal that absolutely crushes everything in it’s path. Guitarists Danny Coralles and Eric Cutler put on blood-splattered clinic here, unleashing meat hook riffs that leave bodies splayed and gutted in every direction and leads that speak of a serial-killer level of insanity. From hardcore-fast to doom-thud, every speed is accounted for as Chris Reifert (drums/vocals) and Joe Trevisano (bass) hammer out rhythms designed not to impress but to kill. See, these guys (as they did on “Severed Survival,” way back in 1989) don’t seek to impress the musos as much as they aim to make sure no one is left alive by the end to tell the tale. From the title cut straight through to “Mutant Village,” this is 20 minutes that says everything you need to know about music that is right to the edge of being nearly too heavy and vile, something Reifert’s agonized growls make perfect every time he opens his virulent pipes on this puppy. While nowhere near as long in duration as some of 2010’s other notable releases, this one may be it’s most lethal. Only Death Is Real Ray Dorsey

http://www.autopsydeathmetal.com/

Rendezvous With Rama

PRINCE RAMA – “Shadow Temple” CD ’10 (Paw Tracks, Swe) – Funny thing happened on the way to the “Psych” section…nobody seems to know what the term really means! And now I hear the sound of people descending on my front porch, pitchforks and torches high in hand as they object: “Ray, you got tired of beating the ‘what is prog’ dead horse, now you’ve left the ‘what is psych’ one out of the stable!” Hey, c’mon, I’m not such an argumentative guy, now am I? Thing is, I’m a person and I have feelings…I try to be calm, I try to be nice and peaceful. And then I hear someone spin a disc of half-baked QOTSA pseudo-stoner quiche with some joker making “space” noises over the top with a Magnus Chord Organ and call it “psych.” I’m sorry, but that’s when I lose it. It’s kinda like the people who call The Deftones metal. Ok, well it’s not that bad but you get my point. It’s a point that’s honed to a surgical sharpness when I get ahold of a record like PRINCE RAMA’s 3rd outing, “Shadow Temple” and hear psych the way it is supposed to be fucking done. See, a lot of people may think I go about some precise, systematic outline for reviewing an album and deciding whether said record is “the business” or not. You know, so many points for production, so many for guitar, so many for…well, no, that’s not what I do. To be honest, I have some real UN-scientific ways of deciding it something’s good shit or not. There are certain strange criteria the ol’ Rayman has and one of them is this: not every record alive, in fact, not many are suited to enter the Realm-o-Matic at the tail end of the night, fit to accompany this scribe’s drift off to dreamland. When I throw a disc in, slide the phones in and hunker down under the covers to relax, it’s a scant % of the play-pile that’ll join me. Lately, “Shadow Temple” has entered that rarified air. This is music that doesn’t seem to be shackled by time or space. The song titles are like mile markers but not boundaries…the music drifts with, if this is possible, an elegant urgency buoyed on washes of synth, guitars that ebb and flow like a tide and drums that are at once tribally insistent and pharmacologically hypnotic. Stretching thru the ether are strands of vocal melody bringing the listener a timeless feel of ecstatic exploration. So, if it seems like ol’ Ray has hauled out the thesaurus for that last little bit of description, please excuse his sad old sagging ass because he needed a little help this time. I sure don’t need any help in hitting “repeat” when this sucker ends, though as it’s a more satisfying listen every night. Fresh Prince Of Sweden Ray Dorsey

http://www.myspace.com/princeramaofayodhya/

Grand Halls 51

MERCY – “Mercy” 1984 (Fingerprint, Swe) – Hey, I like Candlemass as much as the doom guy but there’s only one problem with that…MERCY was the band for whom Messiah Marcolin crooned previously and they were better! Blasphemy! Heresy! You cry “foul, man, foul!” and run for the tar and feathers, ready to ride ol’ Ray out of town on a rail. But let me tell you one thing man, please, let me express myself before you kill me: you need to get this sumbitch out of some dusty bin and spin it one time. Then you’ll know. Then you’ll testify, just like I’m doing right now. In the meantime, there are a few very important things that you’ll need to know about this first self-titled album from MERCY that’ll prove it rules. They are: 1) Messiah was young as shit when he committed the vocals to this bad boy. When you listen to “Dirty Love” & “Tyrant,” you’ll be hearing a mammoth metal vox-man wise beyond his years. 2) Andree Witchking had a serious-ass honking guitar tone...I mean, damn, you can damn near measure this shinola in thickness, almost like hot liquid tar being poured on that neighbor’s new driveway across the street. 3) There are seven (7) songs on the album. This may not seem like a biggie, but it is friggin’ huge. I can’t remember if I’ve dwelt on this topic before on these pages but think about the old days of vinyl. There is something about taking some bad-assed hoss out of the sleeve, looking at one side of the record and seeing 4 tracks. Then you turn it over and on the other side, there are only 3…that feeling you get when you look to the West..no seriously, that feeling…seeing those 3 tracks and knowing that there’s some multiple brain-bashing 5+ minute stuff going on here and knowing, rest-assured, it’s gonna be heavy as hell. You know what? I’m going off on a tangent and don’t care. I’m naming names: Buffalo – “Volcanic Rock,” Wishbone Ash – “Argus,” Budgie – “Never Turn Your Back On A Friend,” Stray Dog – “Stray Dog.” Ok, are you receiving me? Well, actually, that would be from Golden Earring’s “Moontan,” which only had 5 songs but you get my point. This is the power of SEVEN. That is what we are talking about. And if you aren’t immediately running out to your local MERCY AUDIO EMPORIUM SHOP-MART to obtain this truck, plus everything else Mr. Witchking and cohorts ever committed to any form of plastic, let me say one more thing to you: “Master Of Disaster” just may have one of the coolest and heaviest choruses ever. These guys also prove the same thing that Black Sabbath once did: You don’t always have to be slow as molasses to be kings of doom. That’s it, I’m out. I’ve run out of reasons, superlatives and praise. Either buy or die. Don’t Stop Heavy Guitar
Ray Dorsey
NOTE: The CD version of this put out by T.P.L. Records some years back also includes the “Swedish Metal” EP and 5 unreleased bonus trax. Not sure how easy it is to find, but do what you gotta.

Psychedelic Java

FLARED – “Debuten” CD ’10 (Unique, Swe) – Psych is a funny genre. Well I didn’t mean humorous but, come to think of it, it actually can be that. I mean, think about it…there have been times, mostly in my deep and far-reaching past, that I may have had a chuckle or three as a so-called psychedelic album played. Was that a reflection on the quality of the music that emanated from the speakers during such a listening session? Probably not. Could it have resulted from the ingestion of some controlled substance at a time pursuant to said listening? Yes, it could. But none of that really matters because it’s not what I meant in the first damn place. Why do y’all have to try to confuse me like this?! NO! What I mean is that psych is a strange one…in a sense like our old storied friend, “prog,” it’s a slippery eel. What is it? Is it Hawkwind? Is it the Elevators? Is it Acid Mothers Temple? You see?! None of these sound the same and yet would anyone deny that any one of them is psych? What the hell long-winded and probably useless point is Ray trying to get to now???

Here’s the point, mofo. You can call psych anything you want or call anything you want psych. Just don’t call me late for dinner and don’t you ever dare say that FLARED’s initial effort “Debuten” isn’t a damn good representation of the genre. I like FLARED. I don’t necessarily like them because they were probably fucked up when they made this record, I like them because they were probably fucked up enough to make this thing groove like no tomorrow. Listen to the opening cut, “Coffee Break.” Now, seriously, how many people are going to write a song called “Coffee Break” (as in, “I need a……..) and have it’s maiden section sound like Chicago Transit Authority after dipping into the bad tabs. And, none of that stops it from completely shape-shifting part the way through and turning into a mind-erasing sonic landscape that would give Dave Brock pause. The next song “Figure Out” will have you saying, “Damn, I can’t figure these guys out,” because all the sudden we’re being battered about the ears by some seriously dirty hard rock. In case you hadn’t guessed, this kinda unfolding and wing-spreading is going to keep happening all thru your listen, with guests as unexpected as soul and jazz making visits along the way. I have to say, FLARED is really quite adept at all this morphing and changing and, yes, I think you will still recognize them when the last cut finishes and your player resets to Track 1. Still, if psych is going to continue to exist and push forward into the 21st Century, it’s a pretty nice feeling to know it’s safe in the hands of people like FLARED. Bell Bottom Blues, Don't Say Goodbye Ray Dorsey

http://www.myspace.com/flaredmusic/

Grand Halls 50

SORTILEGE – “Larmes De Heros” (Madrigal / Steamhammer, 1986) – I know what I’m gonna sound like here but I’ve gotta go ahead and do it anyway. I’m going to sound like the proverbial politician who’s gotten caught red-handed and is backed into a corner, trying to weasel his way out. “See, this is how it was…there were reasons, Senator, I really didn’t…well, you know, I mean…they made me do it? Who? Well, my constituents, they made me…I know, I know, I didn’t really want to do anything wrong, but it was for the good of the country!” Ok, ok, what the hell am I talking about, you ask. Here goes. SORTILEGE was from France. I don’t know if they have crooked politicos in old Paris but they had one helluva lot of good metal back in the early ‘80’s. Trust, High Power, Attentat Rock, I could go on ad nauseum but what’s the point, there were a zillion Killers (ha ha, that’s another one, Killers) and SORTILEGE was top o’ the heap. I remember when their debut EP came out in ’83. The minute I saw it in the store, I knew it was a stone cold lock to rule. Hell, it was on Rave-On Records, the very same label that sported the debut Mercyful Fate mini-album a year before. No further endorsement needed there but like that dastardly Danish disc, the self-titled monster was filled to the brim with scorching melodic post-NWOBHM riffola, piled high with incendiary lead guitar from one Stephane Dumont, already being hailed as the French Hank Shermann! It was only one year later that the band would deliver their 2nd effort, the full-length “Metamorphose.” Expounding upon the aural lashing they’d delivered on the EP, SORTILEGE upped the ante with the vox of Christian Augustin soaring Halford-like into the stratosphere as Dumont set his fretboard aflame. A song like “Majeste” displayed a band who could pen a metal epic with any of their contemporaries and I can’t even count the times Andre’ and I cued back the needle to try and learn Dumont’s absolutely filthy solo in “Civilisation Perdue” (which much to our chagrin, did not end up meaning “Land Of The Chickens.”) Flash forward then, 2 whole years. In that time, for a lot of us, the musical landscape had shifted seismically. A few little names like Metallica, Exodus and Slayer had worked their way into the everyday vernacular. And so, it was with thoughts involving killing posers and raining blood that we walked into Brooklyn NY’s Zig Zag Records one day in 1986. It was one of our legendary record-buying trips, excursions upon which we would skip meals in favor of saving money to buy new metal. This was serious stuff, and so, when I looked up at the “New Metal Import” wall, I spied what could only be a new SORTILEGE album, “Larmes De Heros.” The cover looked cool, a drawing of some kind of Greek or Roman…wait for it…Hero crying. I was about to add this jewel to my “must-buy” pile when I turned the jacket over and felt my stomach turn even more. The pictures of the guys in the band looked HORRIBLE!!! I mean, you have to understand…I still loved traditional metal. The problem was, that cranky infant thrash had skewed my sensibilities just a bit and…well, let’s just say I expected my metal guys to look bad-assed! SORTILEGE looked distinctly UN-bad-assed on this sleeve, all nicely coiffed and rock-starr-ish clothes to the point where one of my buds, who shall remain nameless, looked over my shoulder and was heard to say, “Jesus, they look like pussies.” From that very point I, the sheep, yes Senator…I put “Larmes De Heros” back on the rack and never looked back. Until…

…Not sure how long it was exactly. Had to be years, I’m thinking sometime at least into the early-‘90’s. I was paging through some death metal mag when I spied a picture of Death’s Chuck Schuldiner (R.I.P.) onstage. Nothing odd about that…what was odd, however, was the man sporting a SORTILEGE – “Larmes De Heros” t-shirt. I looked. Then I looked again. I couldn’t figure it out. How could a guy who was in something so heavy, who had concocted riffs to things from “Zombie Ritual” to “The Philosopher” in any way sponsor or support something that had looked as fey as this?! (There’s a key word in that last sentence and you probably already know what it is). And then my mind began to work on scenarios: 1) He’d met the band, they gave him a shirt and he didn’t want to be rude and turn it down. 2) Someone gave him the shirt as a gift. 3) Chuck was a fool and didn’t really know anything about music. Ok, that was enough…time to get to the bottom of this. From the old days, I had kept in touch with Chuck and decided to give him a call. The conversation went something like this in abbreviated form: “Hey Ray, how’s it been going, man?” “Chuck, I’ve gotta ask you something. I saw a picture of you with a SORTILEGE – “Larmes De Heros” shirt on.” “Yeah, definitely.” “Why?” “Why not, man? That’s like the best French metal album ever!” Stunned silence on my end. “Ray, you there?” “Uh…yeah I’m here. I have to admit, I never heard it…they looked so….um…” “Yeah, on the cover, I know. But you’ve gotta hear it man, it completely rules! Stephane Dumont is just like crying, he’s screaming and killing, the leads are insane. Christian’s vocals are sick, he’s singing so good! And the songs are God. There are these 2 seven-minute epics that are…man, give me your address, I’ll record it for you.” True to form (wasn’t the first cassette…yes, I said “cassette” Chuck ever sent me) the package showed up in the mail a couple days later. Did I play that sumbitch constantly for about a year?! Can Geico really save you a couple hundred bux on your car insurance?!

To be honest, I really feel like I ought to just let “Evil” Chuck Schuldiner’s ringing endorsement stand as better than any review I could ever write about SORTILEGE’s 3rd and final recorded output. I will embellish a bit though, as I feel like I owe this band and album quite a bit in terms of the years and unfounded derision with which I showered it. Folks, this damn thing’s got it all…Ass-busting rockers like “La Hargne Des Tordus.” The towering twin epics of “Quand Un Aveugle Reve” and “Marchand d’Hommes.” Christian unveiling a vocal tour de force for the ages and Mr. Dumont setting himself in stone as one of the greatest metal guitarists of all-time. His soloing on “Chasse Le Dragon” and “Mourir Pour Une Princesse” reaches Akira-like levels in friction burn damage. Sadly, this brilliant album would be the last statement issued by SORTILEGE. I s’pose this was due to a combination of deadly errors: the always fickle musical scene, a questionable choice in clothes and hairstyle and possibly worse of all, a bunch of ignoramuses like myself who let those silly pics of the boys put me off from even hearing it. So, yes, Senator, I stand guilty as charged. The good news is, my constituents, you can still go free and enjoy. This bad boy has been re-issued at least twice on CD, so it's out there! Heroes End Ray Dorsey

No, It Ain't The Pink Floyd Album

DWARR – “Animals” CD ‘86/’10 (Drag City, US) – Is anybody else reading this old enough to remember the tape trading days? That’s right, I said tape trading? I’m sure right now a couple of the young whippersnappers are scratching their heads, saying to themselves “Hmm, tape trading? What did y’all do, Ray, head on down to Office Depot and hang out in the 3M Aisle? Hey, I’ll give you a dispenser of double-sided adhesive for two rolls of half-inch masking? Boring days, eh, Ray?” Ok smart asses, enough. By tape trading, I’m not talking about a bunch of Staples groupies huffing Elmers. I’m pining for the times of waiting by the mailbox for a packet to emerge replete with the joys of a TDK-D90 loaded to the brim with 2 rare albums I could never hope to afford otherwise. But, slip that baby in the blaster and I was ushered into a world of…well, things like DWARR. One of my very favorite trading compatriots was a wonderful guy who, sadly is no longer with us, a buddy from Virginia named Nigel Fellers. Nigel had a vast library and knowledge of not only doom metal, but all things remotely associated with it, stretching the boundaries of hard rock, heavy prog, dark avant and whatever else. It was he who introduced me into the world of South Carolinian Duane Warr with one of those D-90’s labeled DWARR – “Starting Over” / “Animals.”

Now while it was true that “Starting Over” was the debut record released by Duane Warr, it became clear to me very quickly that the man’s sophomore effort “Animals” was definitely “the one.” Nigel, in fact, had even made a note in the package he’d sent that I remember like the day I got it those many years ago: “Ray, I know you love Paul Chain. Listen to ‘Animals!’” I did…and listened again…and again…and again. This is how it is, so listen closely people. “Animals” is without question, one of the most unique 40-some minutes of heavy music you’re ever going to hear. If you’re familiar with Italian doom monster Chain, you may have a point to jump from. So let’s just say our boy Paul C took a trip to the U.S. and found himself in some non-descript town in South Carolina in the ‘80’s. It’s fun to imagine that he wandered out of town, down some suburban street on the other side of the tracks and found himself in the last house on the left, surrounded by jacked-up Chevy Novas and some talk weeds…and some other…um…good weed, not to mention some other controlled materials. He was welcomed into the house by our friend Duane and was heard to comment, “Dang, son but your house is kinda listing to the one side there.” (Odd accent for an Italian guy, but help me out here, it makes this concocted story more fun). Mr. WARR was then heard to say, “Yeah, that’s true, it’s the weight of all the Marshalls in that room making it sag.” And without a further comment, PC was seen to vanish right back into thin air yet he left young Duane imbued with his spirit, wherein he really did become an otherworldly rawk demon called DWARR. He then proceeded to inscribe this dark unholy racket onto tape, these 13 texts of metallic horror that now inhabit the CD you’re holding. Now if all things hi-fi and hi-tech are your prerequisite for having a good time, I have two things to say: 1) my sympathies to your girlfriend 2) you ain’t gonna like this. This stuff sounds like it was recorded in a house…and a haunted one, for that matter. And that’s half the appeal. The ramshackle, backwoods production only serves to amplify the psychedelic frenzy and desperation of this music. And “desperation” is a key word. This album sounds as though it was made with every bit of Mr. WARR’s life on the line. This is metal in some sense, but not until it’s been run through something so dark, bizarre and utterly freaky that it will have the hairs standing up on the back of your neck. It’s not fast, it’s not thrash…it’s just harrowing. The cavernous vocals and, frankly, absolutely ripping lead guitar that makes many appearances only serve to deepen the darkness that just oozed from “Animals” collective soul. It’s a real snapshot of a guy who was exorcising SOMETHING or at least trying to. The fact that Duane completed this project on his own (with some session percussion from Ron Sparks) only makes it’s genuine passion that much more impressive.

Simply put, if you are a fan of heavy music and have a taste that runs toward the decidedly dark, deep and disturbing end of things, these are some “Animals” you’re going to need to track down. Some Kind Of Monster Ray Dorsey

NOTE: Word has it that after the recording of “Animals” Duane Warr became a very religious man. He continued to record music and produced at least 2 more DWARR releases, namely “Holy One” and “Times Of Terror.” I haven’t heard these 2 yet, but I’m thinking they’d be worth checking out. “Starting Over,” while not on the order of this mutha, surely is.

http://www.myspace.com/dwarrofficial/

Resist Or Die!

RESISTOR – “Rise” CD ’10 (Private, US) – Well, howdya like them apples?! I mean, George Carlin’s wisdom notwithstanding, you just never know, do you? Here I am, going to the Day Of Prog in PA this past summer, witnessing slaying sets by the likes of Gravity & Syzygy and little did I know my biggest revelation would come on the ride home. Now granted, said ride would come in the wheels of legendary prog-rock-jockey Rick & Roll (Rickter Scale, Delicious Agony net radio), so you know you wouldn’t be listening to Lady GagHer. Still, I was sure not expecting to have my clock cleaned the way I did. It began subtly enough…Rick sticking a CD in the player prefaced only by the remark, “This is the new RESISTOR.” At that point however, everything changed. The first thing I noticed was the production, the guitar sound. Man alive, the glory days are back! A warm, analog-sounding heaviness with two distinct guitarists laying down wicked riffs, one in the left channel, one in the right…just like KK and Glenn in the ‘70’s! Do you hear me brothers and sisters! Let me testify to the Lord of rawk! But that’s not all! Cool mid-range vox that go from a Palumbo-ish smirk to Wishbone Ash-style harmonies. In fact, just in the 7-minute opener alone, I’m hearing what sounds like a midnight summit with Andy Powell, Ted Turner, John Palumbo, Frank Zappa with hmmm…let’s see, Chris Tsangrides sitting at the desk and maybe Tipton and Downing showing up fresh from doing “Sad Wings…!” Yeah, let’s make it clear that this is GUITAR prog! No army of keys here to throw a pall of wimpdom onto the proceedings, honcho! Whether it’s galloping proto-Celtic-metal of “Spaceghetti” or the volatile build-up of “Ether,” this is top-level stuff and when we get to the 16+ minute “Mimosa,” it’s like “Wow!” You’ve got a new favourite lead guitar duo and their names are Steve Unruh and Fran Turner. I’m not kidding when I say these guys are laying down a six-string clinic that’s on the par with the best of the aforementioned W.A. & J.P. guys, not to mention other gods like Thin Lizzy. This is the real deal! The jazzy guitar solo in “Mimosa” starting around 10:57 is like “Run Of The Mill" in a lysergic dream and as it ascends toward the end of the song, it is God!!!

You want some even better news, peeps? What I’ve discussed is only half of the album. Really. No shit. Because what follows “Mimosa” is a 39+ minute epic called “The Land Of No Groove.” Divided neatly into sub-sections a la the best Neil Peart opus, this one is best described as a metallic distant cousin of Zappa’s “Billy The Mountain.” If you are not completely entertained nor don’t have friction burns from air guitar by the time the “Groove Revolution” segment ends you are truly pathetic and massively incapable of RAWKING! I know I said this before…I’m not senile yet…but RESISTOR not only contains one of the very best 2-guitar teams I’ve ever heard, they have also released what has gotta be one of the hottest albums of 2010. Howdya like them apples?! The Land Of All Kinds Of Groove Ray Dorsey

Note: Seems Mr. Steve Unruh (guitars/vox) also has quite a lengthy prog/rock pedigree and has a ton of great stuff available, all of which I need to obtain asap!

http://www.steveunruh.com/

Let's Welcome Andre'!!!

With his snappy review of the brand new masterpiece by LA OTRACINA directly below, I'd like to welcome a long-time cronie of mine, Mr. Andre' Wilson, to the Raysrealm fold. Andre' has been around nearly as long as your's truly (not sure this is something to be proud of! lol) and has a knowledge of music encapsuling genres as widely varied as thrash metal, old R&B, jazz and God-knows what else! Our good buddy Dr. Dre' has been advised to contribute more killer stuff in upcoming times or be beaten severely. We'll see if he complies...or furnishes a photo of himself.... Of course, there is always that Witness Protection Plan thing to consider.

Bring Me The Head Of Reality!

LA OTRACINA – “Reality Has Got To Die” CD ’10 (Holy Mountain, US) – THIS CD UTTERLY DESTROYS!!! We’re talkin’ scorched earth destroys here! A very heavy blend of prog / psych / space / doom-ish metal with a garage feel to it, if that sounds believable. This is definitely one of the most uniquely heavy things I’ve heard in a damn while, Resistor notwithstanding. LA OTRACINA has a sort of Fu Manchu / Hawkwind / Hendrixy (the spacey side of Jimi) thing to ‘em in spots, with lots of excruciatingly heavy fuzz guitar, droning bass, relentless percussion, reverb, echo and presumably a large quantity of uncontrolled substances! “Crystal Wizards Of The Cosmic Weird” sounds like “2001: A Space Odyssey” on acid. The near-20-minute title track, “Reality Has Got To Die” has a middle section that’s reminiscent of “Third Stone From The Sun” on (more!) acid and lastly, “Mass Meteroic Mind” has a very original sound that’s hard (for me, anyway) to describe but if I had to try…a strange, spacey Mahogany Rush or a weirder Wolfmother…maybe and again, on acid! I’ve gotta hear more of their stuff! Tell me if the drummer doesn’t remind you of Mitch Mitchell? In my opinion, this is the album that should have been entitled “Heavy Metal Hippies.” Sorry Akira! Andre Wilson

http://www.myspace.com/laotracina/

Big Steven And His Disciples

SANCTA SANCTORUM – “The Shining Darkness” CD ’10 (Black Widow, Ita) – I have a problem. It’s something that I’ve lived with for many years now and while I haven’t mentioned it a whole lot lately, it’s probably something that’s gonna have to come to the fore. The problem that I have is not one with drink, smoke nor any other ingestible mind-altering substance…. That is to say, unless you consider sound waves entering the ear canal “ingesting.” In a sense, I suppose it is. With that in mind, then, it’s incumbent upon me to reveal the nature of this…ahem…issue of mine. The bottom line is that if I hear the name “Steve Sylvester” mentioned in connection to any sort of sound recording, I immediately get a glazed look in my eye. Things like my children eating, paying the mortgage and going to work recede immediately to some back corner of my mind. I then am seized by a fierce and determined nature and, armed with this passionate verve, I arise from my easy chair, stride to the front door and embark upon my quest to obtain whatever recorded medium it is that bears the name of this underground Italian metal legend. No one is safe. I’ve been known to behead elderly women, throw small children to wolves and raze entire cities if need be in order to insert a new SYLVESTER or DEATH SS disc into the Realm-O-Matic and hit “Play.” So, when my age-old buddy Mass (Black Widow Records) emailed me and asked if I’d like to receive a review copy of the new SANCTA SANCTORUM CD, a band fronted by none other than Mr. SYLVESTER himself, I did what only a man named Ray Dorsey would do. I hunched o’er the keyboard, grimaced like the old Horned One himself and typed those fateful words, “Send it now or die.” Well, I really didn’t do that, I actually said something like “Damn right, bro, send it on over!” Either way, “The Shining Darkness” is now in my hands, in the player and the story is…

You need this! If you have any affiliation at all with hard rock/metal and like your crush-dom dark and evil, you don’t have a whole section of the Bible if this isn’t on your shelf. With SANCTA SANCTORUM, our good ol’ STEVE has assembled quite a line-up! On drums is none other than another legend of the underground Italian scene, former DEATH SS and Paul Chain sticksman Thomas Hand Chaste. Bass is handled by another old cronie bassist Danny Hughes, while keys get their pounding by John Di Lallo. Last but not least, that six-string thing is delivered by a guy with what must be one of the most amazing names of all time, Frederick Dope. (Really!) The result of this meeting of the Italian musical minds is a landmark in heavy doom rawk that has scarcely left my player since it’s arrived. While there is a close connection to the dark, sinister metal of SYLVESTER’s DSS days and his solo output, the sound here also (and quite to my great pleasure!) veers even further into the realm of ‘70’s heavy progressive rawk than STEVE has ever gone. Di Lallo’s keys have a lot to do with this. Never becoming over-bearing, they blend into the mixture like a wonderful secret ingredient being folded into a recipe at just the right time. The added depth is something to behold throughout the album. Moreover, Dope’s (man I love that!) guitar is a massive acid tractor from pillar to post. Taking a cue from Iommi, but more so from the FIRST Sabbath record than any other, his sound is vintage yet timeless and his soloing is nasty as hell. Clearly this young guy has studied at the feet of the masters! Tying it all together of course, is SYLVESTER himself. This is a man who’s voice could never be called a model of technical schooling and yet like most of the true ‘70’s gods, his insistent mid-range poses more of a palpable threat, an distinct evil, than any death metal growler you’ve ever entrusted your cochlea to. STEVE’s big secret? What makes him so great? Melody! It’s never complicated but it's always there, and the man once again displays a singular talent for incorporating melodies of nearly pop-like hook into music that is devastatingly heavy and frankly evil. He simply gets better with age.

In short, “The Shining Darkness” is clearly one of the best releases in the Black Widow labels’s storied history, and that’s saying something! Leave it to STEVE SYLVESTER to put his name on such a release, that’s really no surprise. It’s another of his wonderful works that just keeps flowering more & more each time I hear it. Shine On You Crazy Diamond

http://www.blackwidow.it/

Psych With Teeth

BLACK LAND– “Extreme Heavy Psych” CD ’10 (Blood Rock, Ita) – Remember that song “The Way We Were?” Barbra Streisand, right? Hell, my dad loved Barbra Streisand…well, not in the Biblical sense, I s’pose my mom might have had a problem with that although I’m betting he’d have liked it but…damn, I’m ADHD-ing all over the place, now aren’t I? Thing is, that song started out with that line, “Memories, like the corners of my mind….” That’s what I was thinking when I started spinning this little piece of the pie that Mass from Black Widow Records sent me(BW is the exclusive distributor of Blood Rock Rec). (He sent me a ton of shit recently, and I’ll be getting to it all coming up, but stay patient…). See I started listening to this disc from Italy’s BLACK LAND and for some reason, I was hit with memories of a gigantic convention hall in King Of Prussia, PA. ‘twas there, some several years back that, in digging thru a box of dusty metal rekids on the floor, I came face to face with a hunk of vinyl from a British band called Mournblade. “Live Fast Die Young” was a cool find because it ended up being one of those quirky NWOBHM albums I love so much…the ones like Legend, Witchfinder General, Shiva, Split Crow, etc. that DID NOT sound like Judas Priest or Maiden. Now before you go getting your tighty whiteys in a bind, I’ve got nothing against those Metal Gods. Anybody who’s ever seen my shrine to “Stained Class” will attest to that. No, I just really had a fond place for the bands from that era who took a path-less-trodden than all the dual-lead, laser riffing monsters of the day and Mournblade was one. Kinda imagine a cross between Motorhead, Sabbath and some quite odd heavy-handed version of Hawkwind and you might be close.

So, imagine my surprise when I spun this new (and apparently 3rd) effort from BLACK LAND. Now to be fair, I’d say that BL has a lot more of the Sabbath end of the stick up their sleeves than the NWOBHM obscurities I described above but at the same time, my reaction was unmistakable…about three songs in and one word went thru my mind: Mournblade. That’s pretty damn cool and original…I mean, how many bands do you hear who remind you of friggin’ Mournblade?! I just love the style here…. Long songs to begin with, and you know how I like that! These guys will start with a heavy, Iommi-an lick, topped with some spacey electronic overlays and explore that for awhile. Then, just when you think you’ve got ‘em pegged, a rhythm shift snaps into action and your being dragged down the road on a Harley of a riff. Man, you can almost see Lemmy standing under his shower-level mike and nodding with a wart-ridden smile. The strength of this keeps up for an entire album, 8 songs including a triad of 9-minute behemoths that the word “truck” might suit quite nicely. Guitarist Willer steals the show here, not only with his simple-yet-effective riffs but more than once, this dude unleashes a wah-wah lead frenzy that completely takes u by surprise in it’s ferocity and peels some serious paint. Gotta say, as usual Black Widow delivers the goods, this time by distributing another bad-ass CD on the Blood Rock imprint. Just don’t get carried away and start putting out Babs Streisand stuff now, Mass! Extreme Heavy Sucker

http://www.myspace.com/blackland/

Forbidden Evil!

FORBIDDEN – “Omega Wave” CD ’10 (Nuclear Blast, US) – You know what I’ve been thinking? This has been one helluva year for the SF Bay Area. I mean, think about it. The Giants just won the World Series. Now, as a baseball fan, had somebody told you on April 1 that they would be holding the title in November, would you have bought that over MLB’s nearly pre-ordained Yankees/Phillies match-up? Don’t think so. And, as an Oriole fan, I gotta say it was nice to see at least SOMEBODY wearing black and orange hoist that trophy since, even now in the “Buck Era,” the chances of the O’s doing it any time soon are slim and none. And as Chuck Thompson would say, slim just left town.

So, yeah, SF is atop the sports world right now and we haven’t even begun on music. To put it simply, 2010 has witnessed a hundred megaton explosion in the Bay Area thrash scene. It’s been a confluence of brutal greatness, seeing spectacular new releases from longtime luminaries like Exodus, Heathen, Death Angel and now, FORBIDDEN. Of course, it would be real easy for me to lie right here. I could say that I have been the biggest FORBIDDEN fan since the release of their first album, “Forbidden Evil” in 1988. However, there would be a problem with that. It wouldn’t be the truth. At all. Now let me make one thing perfectly clear: I haven’t had anything against these dudes. It’s not like I found out their albums were the carriers of some strange disease and, therefore, vowed to keep them from crossing my threshold for fear of contamination. It’s not that I have some personal grudge against any of the band members for running off with a wife or girlfriend or stealing any of my shit. I’m pretty sure none of them have ever done any of those things. No, there really is no explanation for it. Sometimes even a guy like me who tries to keep up with everything that goes on in the music scene whiffs on something entirely. I mean, hell, Columbus missed an entire continent when he thought he was in the West Indies and he got a holiday for it, so take it easy people! Thing is, I just never checked these guys out! I have no idea why. Probably was too busy listening to Natas rehearsal tapes or something. So, when I started hearing a lot of talk online, on Facebook and all, people going on about a new FORBIDDEN album, first one since 1997, I went “Hmm…” When the comments began alluding to the fact that this was on the order of a new Heathen release I was like, “Whoa, wait a minute Charlie, either these people are imbeciles or I need to be schooled.” I looked again at the names of said persons, realized they were decidedly not idiots and headed to class. Thus, a crash course ensued in ass-busting records like the aforementioned “…Evil,” and “Twisted Into Form” and with that thrash credo under my belt, I sauntered into Record And Tape Traders on Monday Oct 25 and plunked down $ 11 for “Omega Wave.” As it would turn out, choices don’t come a whole lot smarter than that.

Simply put, this record is an MMF. That is to say, my friends, it’s a monster-mother-fucker. It kicks ass…and then it kicks some more ass. Then it takes what’s left of your sorry butt, drags you behind the woodshed and gives you a fine, sound beating if you need one. And if you don’t, it gives you one anyway, in spades and like a red-headed stepchild. This sumbitch has simply got it all. It takes all the best aspects of the fresh and early thrash scene, ratchets it up with super unique ideas and riffs (pretty hard to do now some 30 years down the line from “Kill ‘Em All”) and laces it with wonderful dollops of cherry topping like great vocals and lead guitar work that will have your head spinning for days. Oh, and did I forget? Simply superb, memorable songs. Interestingly, “Omega Wave” is kind of a tale of two halves and I’ll explain what’s so cool about each. After the soaring intro called “Alpha Century,” filled with some dazzling guitar harmonies that would do Tipton & Downing proud, FORBIDDEN launches into a headlong thrash assault. Borne on smokers like “Forsaken At The Gates” (Why do I miss titles like this so much!) and “Adapt Or Die," this is the sound of a band that despite their…ahem…maturity…are sounding as hungry, pissed and lethal as it gets. Craig Locicero and Steve Smyth pull one nasty, saw-toothed riff after another out of their axes and surgically rivet your ass to the wall as Russ Anderson lashes out with vox that are at once raw, powerful and still way-tuneful. At this point comes a strange little 2-minute instrumental called “Chatter,” after which we go down the rabbit hole…and I mean that in the best possible way! While the first half of this album is a brutal thrash attack (adorned by some Voivod-like progressions in “Swine”) we really see the magical creativity of the band unfurl from “Dragging My Casket” on. Here, the songs begin to spread out, pushing closer (and into) the 6-minute range and the ideas flow like molten lava. Through “Hopenosis,” “Immortal Wounds” and “Behind The Mask,” the originality and light and shade continues to grow, peaking in awesome fashion with “Inhuman Race” and then tying everything together as the odd structures and thrash lasers come together perfectly in the scorching title cut. Matt Camacho (bass) and Mark Hernandez (drums) form a ten-ton foundation as atop their punishing blows, Locicero and Smyth weave guitar riffs and leads that will at once have your head Linda-Blair-ing and snagged by deep hooks at the same time. Anderson becomes a vocal chameleon here, laying down one of the most impressive performances I can remember in this kind of music. The guy can effuse gnarly power one minute and thoughtful melody the next and it all makes sense. Bringing everything into focus is the poitively scintillating production job courtesy of Locicero and Tim Narducci and the eye-popping cover art takes me back to a basic truth: Nothing looks better on the cover of a metal album than a big fucking skull! Remember that “Stained Class” jacket and put this baby in heavy rotation cause Frisco is the capital of heavy music once more! A Fresh Chalice Of Blood

http://www.myspace.com/forbiddenofficial/

The Pastoral Master

PERSEPHONE’S DREAM – “Pan: An Urban Pastoral” CD ’10 (Progrock, US) – Yup, I know people, we’ve been through the whole “what the hell does ‘progressive’” discussion/argument/back-alley-fist-fight enough times around here. I mean, c’mon, I don’t have this bloody bent nose for nothing. I’ve stood my ground on my hard-assed stance that prog can mean a bunch of different things…and all correctly…over enough years that I can match wounds with Quint any day of the week. But that’s all kinda silly, you know, because what I have in my hands right now is this new disc by PERSEPHONE’S DREAM and there ain’t no doubt this one is a prog masterpiece. It’s interesting to note that a lot of concept albums over time have slipped easily into the so-called “prog” genre: “2112,” “Tales Of Topographic Oceans,” “The Lamb Lies Down On Broadway,” the list goes on forever and it’s clear that “Pan…” takes a seat quite comfortably in the upper tiers of this well-populated theater. That’s not to say that this, PD’s 5th album blurs, non-descript, into a long hallway of similar releases. Sure, you’ll hear hints of things (a bit of a Kansas overtone in “Selene Rising,” some Yes rhythmic in “Youth’s Denial”) but these are only jumping-off-points at best. No, PD brings a lot to the table here…whether it’s Rowen Poole’s guitars, going everywhere from metallic to lush 12-string or Ashley Peer’s sensual, powerful vocal delivery, this is vibrant stuff. The thing that’s so great about it is the way the music incorporates so many lights & shades and yet still manages to flow with a smoothness that implies much thought and care. I’m also very impressed by the lyrical themes here. While I’m not going to spill any of the proverbial beans, I’ll say you’re in for quite a treat when you read the liner notes and lyric booklet. In all, you can call me Ray, you can call me Jay and you can call “prog” whatever you want. The fact remains that with “Pan…”, PERSEPHONE’S DREAMS pipes are calling you home! At The Gates Of Dawn

http://www.persephonesdream.com/
http://www.progrockrecords.com/

Grand Halls 49

DIAMOND REO – “Dirty Diamonds” (Kama Sutra, 1976) – I remember when I moved into the house I’m currently living in. I mean, ok, we’re talking awhile back…like maybe 19 years and 2 wives ago. But that part of it’s my cross to bear, not your’s so I’ll stick with the basics here. I moved into this shell of a 1920’s home on my parents’ street after a stroke of luck (or maybe just a stroke) took the original owner, a delightfully eccentric old codger named Mr. Gus. Sheezus, bro, there was a lot of work to be done and I made a helluva lot of trips to the old hardware store (conveniently called “The Hardware Store”) on Philadelphia Road. The one time in particular my loot included a heavy-ass strain of paint remover. Funny thing is, had I thought a little bit I could’ve probably saved myself a couple bucks and just pulled this, the 2nd of 3 albums by Pittsburgh hard rock band DIAMOND REO off the shelf. Reason is, I doubt there’s anything made by man or beast that could strip the shellac like the unholy racket created by this fearsome foursome over the 30-some minutes etched into the vinyl of “Dirty Diamonds.” Truly, Frank Czuri, Warren King, Norm Nardini and Rob Franks were not going to confuse themselves in anybody’s mind with Rush or anything like that. I mean, there were no 10+ minute opuses about necromancers dwelling in the tracks of this ebon slab. No, DIAMOND REO instead went straight for the jugular with 3-4 minute sonic tree stumps, bar-room hard rock scalders with names like “Scratch My Back” and “Power.” The thing that really put these fuckers over the top, though, were the vocals of Czuri and Warren King’s guitar. The former comes at you like a steroid-ridden prize fighter, all punk attitude, nasty vox and a slathering dash of Bon Scott school boy leer, strapped together with a sense of melody that could pry back the top of a can of Iron City with one syllable. The guitar tone of King is absolutely ridiculous. It pure Gibson-through-Marshall crunch, drenched with a caustic, acetone volatility that would simply slice the flesh off a hippo. The force of this greatness is felt no better than in the opening volley, “All Over You,” truly one of the greatest, heaviest hard rock songs of all time. Truth be known, however, there isn’t a letdown anywhere throughout the course of this swaggering beast of a record. Could the same thing be said for the band’s debut, “Diamond Reo” or this sucker’s follow up, “Ruff Cuts?” Not really. I mean, they are decent heavy rock records and surely worth your attention but brothers and sisters, when that next job needs to be done & you need the industrial strength paint peeler? Look no further than “Dirty Diamonds.” Absolutely Filthy

No Dime Store Souvenir Here, Baby!

SOUVENIR’S YOUNG AMERICA – “The Name Of The Snake” CD ’10 (Init, US) – I can picture it vividly…walking slowly through a forest, a draping canopy of leaves hanging tentatively over my head… the brisk autumn air has not yet gotten to these internal fronds and their summer green remains, only to have begun to feel the chill of the season. As that thought occupies my mind, I round a turn in the trail and I feel the shadows lift as the natural ceiling rises like the hand of a giant, fingers uncurling slowly and I stroll into the clearing. Sunlight bathes my optical reserve as the lush, layered colors of fall unfold in what seems to be both a moment and lifetime. The golden reds, yellows and browns stream into sharp relief on both sides of the gorge in front of me and I sit for a moment near the cliff’s edge, overtaken by both the majesty of the forest from which I've emerged, the magic-like transition and the spectacle now before me. All of this is the same kind of feeling I get when listening to the new record by Richmond VA’s SOUVENIR’S YOUNG AMERICA. Having been familiar (and quite inspired by) this band’s previous offering, 2007’s “An Ocean Without Water,” I was thrilled to find this little gem hiding in the “Various S’s” section of The Soundgarden in Baltimore the other night. I have to say that it was a $9 very well spent. SYA is a band composed of: Ken Rayher – guitars; Jonathan Lee – keyboards, electronics, organs, pianos; Graham Scala – guitars, electronics, acoustic guitar; Patrick DeWit – percussion; Noah Saval – harmonica. That’s pretty easy, to list the line-up and what instruments they play. What’s not so fucking easy is to explain what these cats sound like and that’s why I began this piece the way I did. This is an instrumental band that, through the 4 lengthy songs on this release are not as readily described through particular guitar riffs, snappy choruses or toe-tapping rhythms. More so, as with the landscape above, the vistas of SYA’s music are much easier to describe as layers of color and shaded, draped with melodies of power, beauty and heaviness. Think Pelican or, maybe even more, Across Tundras, replete with the kind of memorability and sign-posts often reserved for much more “accessible” stuff. Each of the 4 numbers here seems interconnected to the others, and yet they still somehow stand on their own, the record finishing incredibly strong with the acoustic-laden shimmer of “Dust (Erasing The Future)” and “Amnesia (A Victor’s History).” This is simply a fantastic and highly-original piece of work, harkening the listener to push “repeat” a shit-load of times without any threat of boredom. It is at once heavy, beautiful and overpowering. The inclusion of 3 additional numbers from the “September Songs” EP is only icing on the proverbial cake! Snakes Alive!

http://www.myspace.com/souvenirsyoungamerica/

Hang In There!

Been beset with computer problems which may keep The Realm from being updated for a week or so, but we should be back up and running asap. Keep watching this spot!

ACCEPT WHAT WE DO!

ACCEPT – “Blood Of The Nations” CD ’10 (Nuclear Blast, Ger) – I can remember some things vividly. The births of my children, the day I graduated from college, the first time I had sex, my first kiss…and the day my old buddy Doug told me he’d gotten a test-pressing of ACCEPT’s “Breaker” a month before it was to be released. Events like this stand out in sharp relief against the tapestry of time that forms our lives. I can see it just like it was yesterday: We were driving in my ’78 Malibu up Moravia Park Drive and all of the sudden, Doug (he who never lacked a flair for the dramatic) turned to me, his face awash with the emotion of a man who’d just witnessed a mass-mutilation. “Ray,” he began in a hushed tone… “I just got a test-pressing of the new ACCEPT album from the guy at Passport (Records)…. His words hung in the air and he tension was palpable. Then came the resolution, “It’s heavy as shit!!!” Now, you have to understand, this was important to know. The simple reason was that ACCEPT’s first record, released in 1979 was a monster…an electrifying debut, laced with nasty metallic riffs, nuclear whammy bar dive bombs and razor-blade vocals. Somehow, when their sophomore effort arrived in 1980 under the name “I’m A Rebel,” there had been a bit of a castration done to our Teutonic terrors. The production was far more sterile, the riffs were half-assed and the whole thing was eked down several notches (possibly due to Passport trying to mold their own AC/DC…and quite unsuccessfully). So this 3rd one, “Breaker,” was going to tell the real story and my God, it was quite a tale! From the slashing metallic stormers of “Starlight,” “Run If You Can” and the title cut, to the massive (and maybe greatest ever) metal ballad “Can’t Stand The Night” to the caustic slap at the industry, “Son Of A Bitch” this sucker flat-out bristled! And that was the bottom line. The album was a motherfucker and good ol’ Doug put the cherry on top (pun intended) by making his own cover for the white-label promo LP he’d gotten by gluing a “wide-open” shot of a lady from Hustler magazine to the cover.

From this point on, ACCEPT had a damn good run of metallic mayhem ahead of them with scorchers like “Restless & Wild,” “Balls To The Wall” and “Russian Roulette” to add to their collective resumes. Sadly, the band would fall from grace as the ‘80’s unfolded into the grunge-laden ‘90’s, slapped with the double whammy of an industry that just didn’t give a shit and their own creativity going in the dumper. Records like “Eat The Heat” and “Predator” were better off forgotten and truly, the once great German metal tank receded into my memory, their last record hitting the racks in 1996. That was until I saw a little piece online about a new ACCEPT record in 2010. I have to say, my reaction and what I feared led me to think of an old Agent Steel album title, “Skeptic’s Apocalypse.” Udo was no longer on vocals (replaced by Mark Tornillo of TT Quick), and drum god Stefan Kaufmann had given up the stool in favor of Stefan Schwarzmann. Was this going to be another disappointment, a reformation fans would wish never happened? The answer is…

NO!!! Now having listened to “Blood Of The Nations” a handful of times (and that takes awhile, as the 13 tracks clock in at over 70 minutes), I’m here to say “ACCEPT your fate, metallers, the German tank is back!” You’ll have no problem understanding the fact that the boys… Wolf Hoffmann – guitar, Herman Frank – guitar (wasn’t he a Cubs manager years ago?!) and Peter Baltes – bass…really are out for blood when the opening riff of “Beat The Bastards” hits your speakers. From there on, it’s over an hour on a roller coaster of metal thrills with fat, nasty distorted Flying V chords powering the likes of “Locked and Loaded,” “Pandemic” and “Bucketful Of Hate.” Elsewhere, the band once again shows their versatility with the melody and drama of “The Abyss,” “Shades Of Death” and “Time Machine.” Tornillo does a great job of stepping behind the mike and, while he can cut a mean Udo when he wants, his tone is still different and his own, providing a bit of vintage Brian Johnson and even a hint of Dan McCafferty as well. Star of the game has to be shared between the two guitarists, however, with Hoffmann & Frank man-handling their V’s all over the record! Whether it’s locking together in a crushing rhythm or sailing off into screaming solo-fests (many songs contain multiple leads!) this is simultaneously a metal guitarist’s clinic and a work of art to hang over the mantle.

You might remember the day your child was born. You might recall your wedding day (some of us may have more than one of these on file). All the same, I think you’re going to ACCEPT this one into your permanent brain cells too! Two Very Large Erect Flying V’s

http://www.acceptworldwide.com/

Looks Good On The Side Of A Van...Sounds Good Anywhere!

ASTROVAN – “You Said It Man” CD EP ’10 (Private, US) – Remember back in the ‘90’s, when “Seattle” meant more than just the name of a city in the Pacific Northwest? It meant more than the place Ichiro plays baseball or more than the town that’s home field for a bald quarterback. No, “Seattle” was virtually synonymous with the birth of an entire genre of heavy music, it’s most famous son being of course the tragic figure of Kurt Cobain. Well, I sure as hell hope none of these ASTROVAN guys follows in Mr. C’s personal footsteps but with this nifty little disc, these 5 are trying to put their place of business back on the map. “You Said It Man” is nothing complicated. It’s nothing that’s going to make you sit back, scratch your head and say to yourself, “Jeez, I wonder what it is these artists are trying to say to me here?” No, there’ll be no time for that, honcho, because you’ll be too busy just rawking your ass off to even care. See, ASTROVAN are a 5-piece that takes a generous helping of ‘70’s riff-rock, a heaping dollup of metal and then just grooves like no tomorrow. You don’t have to go any further than opener “Too Proud” to get walloped by a back-breaker of a rhythm. The clear, top-level production job brings the powerful riffing into sharp relief and atop it, Deezer’s incisive, throaty vox and the wah-wah soloing of Sam Damage ride like a biker on a Harley. The boys mix it up nicely too, with a faster neck-snapper like “Twelve Gauge Promise” easing in nicely next to the laid-back-yet-seething pulse of “Every Change.” “You Said It Man” is a slab of high-test windows-down rawk and my only wish is that it were longer than 6 songs. Still, making the listener hungry for more ain’t a bad idea and it beats the hell out of some 68 minute disc that’s bloated with filler. That’s What I’m Talking About

http://www.myspace.com/astrovanner/

30 Years On And Still As Athletic As Hell!!! RAVEN Live At Sonar!

I’ll be the first to say I’m in the middle of some pretty rough times right now, especially business-wise. The ol’ economy has hit me hard. Still, with all that, I managed to make my way down to Baltimore’s Sonar the other night and catch a real unique show, coupled with grabbing some good ol’ times with friends from the past & present. Truly going to these kinda metal shows is a very special thing. It’s kinda like a misfits high school reunion! This was a particularly great evening, being that it was a co-birthday celebration between former Grinder Mag publisher Jim Powell and master graphic artist Dave Wright. Besides them I also got to chew the fat with local metal luminaries like Metal Matt (Iron Boss, Rancid Decay) and Raven drummer himself, Pentagram-man Joe Hasselvander.

I only caught a few minutes of the opening act ACID QUEEN, but they went down real nice spinning a fine web of NWOBHM covers like “Wasted” by Leppard, “Princess Of The Night” (Saxon) and others as well as a scorching guitar-solo-laden original. Up next were my new favourite band, SHOKKHER! From Washington, D.C., this 5-piece have been doing a spectacular job of hiding from me up till now…because they fucking kick ass! Fronted by a killer vocalist who could’ve been Rex Smith’s brother (wouldn’t that make him Michael Lee Smith? Well, no but…!) these guys combined massive NWOBHM riffs, Thin Lizzy-styled harmony leads and a slight overtone of glam to sweep me into instant fan-dom. Most of all, I was smitten by the lead guitar work of the young-looking axe man at stage right, who looked like he was 18 and played like Michael Schenker. His melodic soloing at the beginning of “Lady Insane” was enough to raise goosebumps. Completely taken by these dudes, I picked up their debut disc (10 songs for only $ 5!). Expect a full report soon!

It was after SHOKKHER that “Athletic Rock” came barreling full-force into the club, as Mark & John Gallagher plus Joe H took the stage and set everything into a high-energy barrage that didn’t let up for their entire set. John proved he is still as crazy as ever, mauling his 4-string while unleashing high-pitched shrieks that would make Mr. Halford take note to this very day. Joe delivered a thundering cavalcade of drum-storm pillaging that not only cemented his own legendary reputation but also did proud the legacy of “Wacko.” Last but surely not least was Mark, who’s guitar sound was nothing short of nasty as fucking hell. I mean the cat had a snarling, honking sound that recalled Akira Takasaki at Jaxx a few years ago and his playing put him at the forefront of most NWOBHM guys, right up there with Pete Haworth and the Maiden bunch. This Gallagher brother was wrenching screaming harmonic squeals out of his axe when Zakk Wylde was still a gleam in someone’s eye and he was on it this night, through classics like “Break The Chains” and “Rock Until You Drop.”

All in all, you talk about a heavy-assed and fun night from stem to stern! This was it! Best show of 2010 to this point and one hell of a high school reunion!

Let Us Not Forget...

On a day like today, while we music people revel in things like the RAVEN show last night, the new IRON MAIDEN album or new guys like SHOKKHER coming out of the woodwork, it's important that we all take a step back, just for a few minutes. We will never forget what happened that day so long (and...paradoxically, so recently) on 09/11/01 and will always remember all of those who lost their lives as well as those who came forth in great numbers to help with the rescue and aftermath.... Turn the Marshalls off for a moment and let's bow our heads to remember....

This LLAMA Is Spittin' Fire

DALI'S LLAMA - "Howl Do You Do?" CD '10 (Private, US) - Well, the Realm may be strugglin' to life again here and there, but in doing so it's a lean, mean killing machine. So, besides just having nicked the title of one of Judas Priest's heaviest platters, I'm going to get right to the fuggin' point here! Over recent (hell, even way before recent!) times, the stoner genre has started to fold in on itself and become not only repetitive and derivative (a nod to Rick & Roll, who loves that "derivative" word!) but also just plain shitty. One band whom you can't lay that mantle on is DALI'S LLAMA and their latest, the cleverly monikered "Howl Do You Do?" really bears that out. Simply put, this crew takes that tried-&-true overdriven and distorted stoner vibe and draped over it some super-catchy old time rock & roll melodies that really grab me by the nads. Sheezus, it's almost as if Eddie Glass & Chuck Berry sat down and compared geetar playin' all across this shiny recordable medium and I'm a happier man for it. Only one question, friends...Howl Do I Get This Outta My CD Player?

http://www.dalisllamarecords.com/

JEFF ADAMS - FACE DANCER's Lead Guitarist Speaks In An Exclusive 2010 Interview!

Getting into bands like Sabbath, Zeppelin, Grand Funk…that was a big part of my introduction to great music back in the day. First, it was going to the record store, buying albums by them, taking chances on lesser-knowns (who would become Gods to me) like Budgie, Cactus, etc. and going to big live shows at places like The Cap Center and Civic Center. A real turning point, however, was finding a local band that kicked ass right in my “back yard” and getting to see them a couple times a month, in the intimate setting of a club like Essex, Md’s Sea Gull Inn. The band in question was FACE DANCER. Between seeing them a million nights at the Sea Gull and then worshipping every second of their debut platter “This World,” I was a true fan, smitten with the works of this kick ass hard rock band. They constantly amazed me, at first with their ability to cover some of the best stuff of the day (The Who, Zeppelin, Jeff Beck, etc.) to their originals which ranged from pounding heavy rock to Beatle-esque melodies. Standing out above it all for a guy like me was the blazing lead guitar work of one Jeff Adams, the first local player who’s work I really studied and a player who stands among the best of the big shots. Not long ago, and after way too many years of not having done so, I tracked Jeff down and we rolled back the years to bring those great old days back to life. Here’s how it went, as Jeff Adams tells the story of his time in the area’s best hard rock band and how things have developed for him in recent years. (Jeff Adams photo - Teri Murphy)


Ray - One thing I’ve always found that’s a good place to start is the
beginning. Jeff, how early on in your life did you get involved in music?
Do you come from a musical family? What got you into playing guitar?

Jeff - WOW! NOW WE'RE GOIN BACK A WAYS! DID I TELL MY AGE?? WHEN I WAS 11, A BUDDY AND I ON OUR BIKES PULLED UP OUTSIDE OF A REC-CENTER DANCE ONE SATURDAY NIGHT. AS WE WATCHED THROUGH A WINDOW, I WAS INSTANTLY MESMERIZED BY THE BAND AND THE LIVE MUSIC THING. HOWEVER I ZEROED IN ON THE DRUMS. SO I WENT ON A MISSION TO BE A DRUMMER AND STUCK WITH IT INTO MY TEENS. AT AGE 15/16 MY DAD BOUGHT A NEW GUITAR(FOR HIMSELF) AND CLEVERLY HANDED ME HIS OLD ONE, ASKING IF I WANTED TO HANG IT ON THE WALL OR SOMETHING. I SAID SURE. WITHIN A WEEK I HAD FIGURED OUT ALL THE BASIC CHORDS, AS WELL AS 5 PATERNS(COVERING THE OCTAVE)OF BASIC SCALES IN 3 DIFFERENT MODES!
WITHIN A COUPLE OF WEEKS I HAD SOLD MY DRUMS REPLACING THEM WITH GUITARS AND AMPS!

Ray - Who were your early influences as a guitar player? How has that
evolved any? What, if any, current players do you like?

Jeff - AS A YOUNG GUITAR ENTHUSIAST(SAY AROUND 1970), I IMMEDIATELY LATCHED ON TO BECK, PAGE, AND CLAPTON. I SPENT YEARS LEARNING EVERY LICK THEY WERE RECORDING, AND OF COURSE THEN STARTED LISTENING TO ALL THE GREAT PLAYERS OF THE TIME. FROM THE BEGINNING I WAS VERY MUCH INTERESTED IN WRITING MY OWN MUSIC, AND PLAYING MY OWN STYLE OF LEAD GUITAR. FOR EVERY HOUR(OR 5) I WOULD PUT IN COPYING OTHERS, I WOULD PUT IN AN HOUR(OR 5) OF AD-LIBBING TO RHYTHYM TRACKS. THE LATTER QUICKLY BECAME MY FAVORITE THING IN LIFE!

Ray - What were the beginnings of the FACE DANCER story? How did you get
involved, how far along the line was that in the history of the band?

Jeff - FACEDANCER HAD BEEN AROUND FOR A FEW YEARS WITH VARIOUS LINE-UPS BEFORE I MET THEM IN NOVEMBER OF 76. I WAS BUYING A PAIR OF JEANS IN THE WHEATON SHOPPING PLAZA(WHEATON, MD)WHEN THE GIRL AT THE REGISTER WHO I DIDN'T KNOW ASKED ME IF I WAS A GUITAR PLAYER!? SHE SAID HER BOYFRIEND'S BAND WAS LOOKING FOR A LEAD GUITARIST. ANYWAY I SAID YES, GAVE HER MY NUMBER, AND GOT A CALL FROM SCOTT MCGINN THAT AFTERNOON. I WENT OVER TO THE FD BAND HOUSE(RIGHT IN WHEATON)THE NEXT DAY, ACCEPTED THEIR INVITATION TO JOIN, AND DID MY FIRST SHOW WITH THE BAND THE NEXT NIGHT! WOW, WHAT A TRIP THAT WAS FOR ME, I WAS PLAYING IN FRONT OF A SEA OF PEOPLE FOR THE FIRST TIME! I WAS PETRIFIED! I THINK IT TOOK ABOUT 2 MONTHS WITH THE BAND FOR ME TO EVEN LIFT MY HEAD AND LOOK OUT AT THE AUDIENCE!

Ray - What was the line-up of the band when you joined?

Jeff - WHEN I JOINED FACEDANCER IT WAS CAREY KRESS AS LEAD VOCAL FRONTING THE BAND, SCOTT MCGINN ON RYTHYM GUITAR, DJ LONG ON KEYS, BILLY TRAINER ON DRUMS, AND DALE MARKS ON BASS. SHORTLY AFTER, DJ HAD TO LEAVE THE BAND FOR AN OPERATION, AND DALE WAS MOVED OUT TO MAKE ROOM FOR DAVE UTTER(LAZY DAVE, MY BUDDY!). AT THIS POINT SCOTT PLAYED BASS AS WELL AS SOME KEYBOARDS.

Ray - When I first started to go see FACE DANCER, it was at the Sea Gull Inn
in Essex, Md., I’m thinking it was around ’76 or so, but age may have
dimmed my memory (lol). You guys played there a lot right, what was it
maybe every month or every other month? What other places were you
playing then? How many gigs a month were you doing at that point?

Jeff - WELL THAT WAS WHEN I WAS NEW WITH THE BAND, WE PLAYED JR'S INN, THE SEAGULL, THE ACT FOUR, THE BAYOU(IN DC), THE HOLLYWOOD PALACE, I'M SURE I'M FORGETTING A FEW, BUT IT WAS FULL TIME RIGHT FROM THE WEEK I JOINED THE BAND. LIKE MAYBE 3 TO 5 NIGHTS A WEEK.

Ray - What did you think of the Sea Gull, as far as clubs and crowds go? As
I recall (and, my memory may be better on this!), there were a lot of
really good looking women at those shows back then. That had to be pretty
cool, they tended to like lead guitarists, didn’t they, the guitar being a
phallic symbol & all that? (lol)

Jeff - THE SEAGULL INN WAS BY FAR MY FAVORITE! IT HAD A NICE SIZE STAGE(NOT TOO SMALL NOT TOO BIG) WHERE WE COULD LET OUT OUR SOUND AND LIGHTS, THE CROWD WAS NUTS, AND YES, THERE WERE A FEW YOUNG LADIES THAT WOULD COME AROUND ONCE IN A WHILE!(HAHA)

Ray - Those were some of the best nights I had, as a music fan, down there,
especially in the summer, going down there on a hot night, drinking some
beers and watching you guys. I still remember that one night we were
waiting to get in and you came walking up, noticed my homemade FD t-shirt
and were like, “Cool, man.” I went home & played guitar even more after
that. It was great, as a young guy into playing myself, to have a
semi-local guy who I could watch up close. I was into people like Leslie
West, Iommi, Duane Allman, etc. but you were right up there with ‘em in my
opinion and were not just some disembodied rock star a million miles away.
Did you realize you were influencing other guys like me who came &
watched you play?

Jeff - I ALWAYS APPRECIATED SEEING HOMEMADE FD GEAR, IT MEAN'T TO ME THAT MAYBE WE WERE DOING SOMETHING RIGHT! FROM TIME TO TIME I'VE BEEN TOLD THAT MY PLAYING HAD AN INFLUENCE, AND LET ME SAY THERE'S NOTHING IN WORLD MORE REWARDING!! I NEVER CONSIDERED MYSELF A GREAT PLAYER, JUST A GUY DOING WHAT HE LOVES TO DO.

Ray - You used to do a cover of the Stevie Wonder song (which had been
redone by Jeff Beck) called “Cause We’ve Ended As Lovers.” That has a
tremendously emotional melody, which then both you and Beck extrapolated
on so well in your versions. This is the kind of thing I loved so much
about guitar players from the ‘70’s. There seemed to be so much more of a
lyrical, conversational sort of playing ability among you guys compared to
a lot of the note-per-second shred-type stuff nowadays. Any commentary
from Mr. Adams on this?

Jeff - YES! GREAT POINT! NOTES-PER-SECOND AND COMPETITION BETWEEN GUITAR PLAYERS NEVER MADE SENSE TO ME. FIRST OF ALL, PLAYING A GUITAR SOLO IS LIKE PAINTING A MASTERPIECE. IT'S A PERSONAL THING. IT CAN'T BE COMPARED TO THAT OF ANOTHER ARTIST(UNLESS SOMEONE IS COPYING), IT'S A CREATION THAT SHOULD COME FROM THE HEART AND SOUL. AND WHEN IT DOES, IT'S ALWAYS GREAT. 'CAUSE WE'VE ENDED AS LOVERS' IS A PERFECT EXAMPLE. TOO MANY NOTES TOO FAST USUALLY JUST TAKES AWAY FROM THE FLAVOR.

Ray - I remember you guys during that period doing originals like “Cry Baby”
and “Change” as well as covers like “Dancing Days” & “Won’t Get Fooled
Again.” Again, not trying to rely on my faulty memory (except for the hot
women quotient!), what percentage originals & covers were you playing
then?

Jeff - WHEN I JOINED FD WE WERE DOING ROUGHLY 50/50 COVERS TO ORIGINALS. OVER MAYBE 6OR 8 MONTHS THE ORIGINALS GRADUALLY REACHED 80%(OR MORE) OF THE SHOW.

Ray - You guys used to set off a big flash pot right at the “scream” part
in “Won’t Get Fooled Again.” I used to make sure I was up at the front
for that and it would feel like I was going to get my fucking face blown
off for a second! Ah, the joys of youth! Great theatrical moment, how
come bands don’t do stuff like that anymore? Maybe afraid they’ll kill
somebody? Ever get hurt onstage? Stories, please!

Jeff - WOW! FLASH POTS! OUCH! I KNOW THEY LOOKED GOOD AND THE AUDIENCES LOVED THEM, BUT I HATED THEM, I COULDN'T BREATH AFTER THEY WENT OFF! AT THAT TIME THEY DIDN'T MAKE 'SAFE TO BREATH' FLASH POWDER, IT SUCKED! AS FAR AS INJURY, I NEVER GOT CAUGHT BY ONE, BUT CAREY KRESS DID! HE RAN TO THE WRONG SPOT ON STAGE AT THE WRONG TIME ONE NIGHT AND TOOK A DIRECT HIT! HE WASEN'T SERIOUSLY HURT, BUT BADLY SHAKEN UP!

Ray - In a related thought, Carey really had a theatrical way about
himself as a front man. Even on a relatively small stage like at The Sea
Gull, he had a way of making the whole thing feel like it was a much
bigger production. He’d come on and instantly have the crowd in the palm
of his hand. What was it like, working with that kind of singer?

Jeff - YES! CAREY HAD AN AMAZING PRESENCE! HAVING SUCH A GREAT TALENT
FRONTING THE BAND CERTAINLY MADE IT EASIER FOR THE REST OF US! I ALWAYS DESCRIBED THE MAGIC THAT WAS FACEDANCER AS FIVE MEDIOCRE SINGERS AND PLAYERS WITH AN INCREDIBLE ELECTRICITY THING THAT YOU JUST COULDN'T DEFINE.

Ray - When did you guys get the deal with Capitol Records. I know that “This
World” came out in 1979, but when did the process start with them. Tell
me about that, from when you signed up through the recording of the album
and it’s release. Be as wordy and long-winded as you’d like, you’ve got
my rapt attention.

Jeff - AT THE TIME I JOINED FD IN LATE 76, WE ALL SAT DOWN AND CLEARLY OUTLINED THE BAND'S GOALS. WE WOULD EITHER LAND A MAJOR RECORD DEAL WITHIN A YEAR AND A HALF, OR DISBAND. WE PRETTY MUCH MET THAT TIME LINE GOAL WITH THE CAPITOL DEAL. I BELIEVE IT WAS EARLY 78 WHEN WE ACCEPTED CAPITOL'S OFFER, AND BEGAN THE SEARCH FOR THE RIGHT PRODUCER. AFTER DECIDING ON RICHIE WISE, WE WENT INTO PRE-PRODUCTION THAT SUMMER. THE LOGISTICS WERE WORKED OUT FOR RECORDING TO BEGIN IN DECEMBER IN LOS ANGELES.

Ray - How much were you all involved with the production, mixing, etc. of
“This World?”

Jeff - ACTUALLY VERY LITTLE. WE PRETTY MUCH ALLOWED THOSE INVOLVED SUCH AS OUR PRODUCER, THE PROJECT MANAGER FROM CAPITOL, AND OUR MANAGEMENT, TO TAKE FULL ADVANTAGE OF US THE NAIVE YOUNG MUSICIANS. RICHIE WISE MIXED THE ALBUM ON HIS OWN, IT WAS DECIDED THAT THE BUDGET DIDN'T ALLOW FOR THE BAND TO BE THERE. WE HAD TO LEAVE L.A. AND GET BACK TO WORK!

Ray - Don’t get me wrong, “This World” is one of my favorite hard rock
albums of all time. All the same, though, after having seen you guys live
so many times, the recording quality was kinda thin. Did you think it
gave a real indication of what your live show was like?

Jeff - YOU GOT IT RIGHT THERE, THE ALBUM SOUNDED TERRIBLE IN MY OPINION. WAY TOO THIN. I SURE DO LIKE THE ROCK CANDY RE-RELEASE(2008), THEY RE-MASTERED THE ALBUM GIVING IT THE BALLS IT WAS LACKING, WHICH IS CERTAINLY MORE LIKE THE WAY THE BAND SOUNDED LIVE.

Ray - One of my favorite things about “This World,” and FACE DANCER’s
original music in general is the diversity of the material. On one hand,
you’ve got something with a real catchy, poppy vibe like “Can’t Stand
Still” and then things much heavier like “The Sphinx” and “Cry Baby.”
Seems like bands back in that decade were more likely to be able to flow
between different styles and make it work, more so than now. Any
comments?

Jeff - RIGHT AGAIN, RAY! IN MY VIEW THAT WAS A KEY ELEMENT TO THE GREATNESS OF FD LIVE AND ON RECORD. GOTTA HAND IT TO SCOTT, HIS WRITING WAS VERY DYNAMIC. WE WOULD TAKE THE AUDIENCE ALL OVER THE PLACE WHICH LAYED THE GROUND WORK FOR A VERY ENTERTAINING VISUAL SHOW.

Ray - “Change” is an interesting song. It starts out with a section that’s
almost like a Beatles thing from “Sgt. Pepper’s…” or the white album and
then erupts into this runaway train metal kinda ending. Has to be fun
playing stuff like that, eh?

Jeff - AN ABSOLUTE BLAST! 'CHANGE' WAS ALLWAYS A FAVE OF MINE TO PERFORM! ANYTIME YOU CAN JOLT PEOPLE LIKE THAT, IT'S A LOT OF FUN. NOT JUST MUSICALLY BUT WE LAID IT ON THICK VISUALLY AS WELL.

Ray - “Cry Baby” was your sort of traditional closer, it just seemed like it
went on, just escalating and escalating, with this huge lead guitar
climax. That’s gotta be a blast to play, right, knowing you’re going to
get to go off like that at the end, I would think?

Jeff - 'GO OFF'? HAHA, YEA, THATS A GOOD WAY TO PUT IT! A BUNCH OF OUR MATERIAL GAVE ME THE PLATFORM TO 'GO OFF', BUT CRY BABY WAS ALWAYS A HIGHLIGHT. SOME HOW OVER TIME WE WORKED OUT THAT LENGTHY BUILDING THING THAT CERTAINLY DID WORK WELL LIVE!

Ray - Following “This World,” did Capitol set you up with any kind of
touring, supporting a bigger act, etc. to promote the album?

Jeff - NO, THEY OFFERED NO TOUR SUPPORT OR PROMOTIONAL BUDGET. AT THAT TIME CAPITOL WAS POURING ALL OF IT'S RECOURSES INTO THE KNACK. REMEMBER 'MY SHARONA'? THAT PIECE OF GARBAGE (IN MY OPINION) WAS THE DOWNFALL OF FACEDANCER AND OTHERS ON THE LABEL. THERE WAS LITTLE DOUBT THAT FD'S SUCCESS IN THE MARYLAND, DC AREA COULD HAVE BEEN DUPLICATED AROUND THE COUNTRY, LET'S JUST SAY IT WAS BAD TIMING FOR FD ON CAPITOL RECORDS. EVEN MCCARTNEY WAS AFFECTED BY THE KNACK PROJECT AND LEFT THE LABEL AT THAT TIME. FINALLY EMI, CAPITOL'S PARENT COMPANY, CAME IN AND CLEANED HOUSE AS THE KNACK PROJECT HAD PROVED TO BE A HUGE BLUNDER FOR THE LABEL. WE DID HOWEVER MANAGE TO HOLD ON TO OUR 2ND ALBUM DEAL, SO WE FELT WE STILL HAD A SHOT.

Ray - The next recorded work was “About Face.” What can you tell me about
the thoughts behind the writing and the making of that album. It was a
drastic change, a lot more keyboards and a lot more radio-accessible type
stuff. To be honest, as a fan, I didn’t like it nearly as much as it’s
predecessor. What are your thoughts on it now?

Jeff - YOU'RE RIGHT THAT WE WENT INTO A LIGHTER VEIN WITH MORE KEYBOARDS, BUT THAT ONLY HAPPENED BECAUSE OF THE TERRIBLE PERSONNEL CHANGE WE WENT THROUGH. AFTER 'THIS WORLD' CAME OUT, WE WERE, OF COURSE, WORKING TOWARDS THE NEXT ALBUM, AND STARTED HAVING ISSUES WITH CAREY'S VOCALS ON NEW SONG DEMOS. I DON'T KNOW IF HE WAS JUST PARTYING A BIT TOO MUCH OR WHAT, BUT HE WASN'T
SOUNDING GREAT, AND OUR PROJECT MANAGER FROM CAPITOL (MITCHELL SCHOENBOUM) WAS FREAKING OUT. WE WERE ALL CONCERNED. OUR SECOND ALBUM DEAL WAS AN OPTION FOR CAPITOL THAT WAS BEGINNING TO APPEAR FRAGILE AT BEST. ANYWAY, WITH TOTALLY DIFFERENT ISSUES GOING ON CONCERNING DAVE UTTER, WE MADE THE PAINFUL DECISION TO LET BOTH OF THEM GO! IT REALLY SUCKED! CAREY WAS SUCH A GREAT GUY AND GOOD FRIEND, AND THE SAME GOES FOR DAVE, MAN IT JUST SUCKED! AT THIS POINT WE STARTED THINKING ABOUT A MORE CONTEMPORARY EDGE TO OUR SOUND, MAYBE SOMETHING MORE ACCESSIBLE, AND DECIDED TO BRING IN ONLY ONE NEW MEMBER, A KEYBOARD PLAYER WITH STRONG VOCALS. ENTER MICHAEL
MILSAP.

Ray - What can you tell me about the time period following the release of
“About Face” and your eventual decision to leave the band. What
transpired with all that?

Jeff - AT THE TIME WE STARTED DIVING INTO 'ABOUT FACE', I WAS LOSING MORE AND MORE INTEREST IN THE BAND ALL THE TIME. THE BAND'S MANAGEMENT, BOB AISS, WAS,,,,, LET'S JUST SAY HE WAS DISTRACTED WITH HIS PERSONAL AGENDAS TO THE POINT WHERE I JUST COULDN'T STAND IT. I WAS A YOUNG GUY, NOT WELL EQUIPPED TO HANDLE STRESS, AND I WAS NOT HANDLING IT. IN FACT IT GOT SO BAD FOR ME THAT I BROKE OUT IN HIVES(CAUSED BY STRESS) WHILE IN LONDON RECORDING THE ALBUM. MAN I WAS MISERABLE! AT THE SAME TIME I WAS NOT GOING TO DEPRIVE MYSELF OF WHAT I THOUGHT WAS AT LEAST A CHANCE TO HAVE A SUCCESSFUL ALBUM UNDER MY BELT TO MOVE ON WITH, SO I HUNG IN THERE UNTIL IT WAS CLEAR THAT CAPITOL WAS NOT GOING TO PROMOTE THE ALBUM, AND THE ALBUM WAS GOING NOWHERE. AT THAT POINT I SAID THANKS, IT'S BEEN ONE HELL OF A RIDE, BUT I'M OUT.

Ray - I know that you moved to Florida at some point and I believe, got
involved in working with real estate. How has that worked out for you,
pretty well? I guess the economy has played havoc with that of recent
years, like most things, eh?

Jeff - NEVER DABBLED IN REAL ESTATE(WHERE THE HELL DID YOU GET THAT?), BUT IN '97 I DID FIND MYSELF DOING THE SINGLE PARENT THING WITH TWO OF MY DAUGHTERS. TRYING TO FIGURE OUT HOW TO KEEP THE ROOF OVERHEAD, I GOT INTO INSURANCE SUBROGATION(DON'T ASK WHAT THAT IS, IT WOULD TAKE AN HOUR TO TELL YOU!). I BECAME QUITE GOOD AT IT($$$), AND STUCK WITH IT THROUGH '05. JEFF IN THE FULL TIME CORPORATE WORLD WAS DEFINITELY THE OLD SQUARE PEG IN THE ROUND HOLE, I'VE BEEN SELF EMPLOYED EVER SINCE(YES, I'M STILL A POOL PLAYER)!

Ray - During the time since you’ve been in Florida, I understand that you’ve
released several solo CD’s. How many have there been, what styles have
they involved and are there any copies available? (I really need to hear
this stuff!!!)

Jeff - ACTUALLY I'VE ONLY DONE TWO STUDIO ALBUMS SINCE FD, THE JEFF ADAMS BAND(1998) AND STARKEY DRIVE(2006). THE OTHER 3 OR 4 ALBUMS ARE REALLY JUST COLLECTIONS OF JEFF 'SONG DEMOS' RECORDED ON HOME STUDIO GEAR OVER SEVERAL YEARS, PLAYING ALL THE PARTS MYSELF. I SAY 'SONG DEMOS' BECAUSE THE PRODUCTIONS ARE DEFINITELY NOT WORTHY OF REPLICATION. ALTHOUGH I HAVE PACKAGED A FEW MYSELF AND SOLD THEM AT GIGS FROM TIME TO TIME, AND IF YOU TWIST MY ARM HARD ENOUGH I MIGHT SEND YOU SOMETHING. THE JEFF ADAMS BAND CD IS ONLY AVAILABLE THROUGH ME, IF ANYONE IS INTERESTED IN IT OR THE STARKEY DRIVE ALBUM JUST FIRE AN E-MAIL AT ME> jeffsongs@tbi.net.

Ray – I’d read about the STARKEY DRIVE disc on the internet. I’ve since
obtained the disc thru CD Baby and really dug the melodic, Americana-type
style. What led you in this direction? What’s the status of that band?
Is it still going on? I think you played with that band at Ram’s Head
Tavern in Annapolis a few years ago. Any plans on a return there of any
kind?

Jeff - IT'S HARD TO SAY WHAT LED ME IN THIS DIRECTION, EXCEPT TO SAY I WAS NEVER REALLY A HEAVY ROCK GUY AT HEART. I'VE ALWAYS HAD A WIDE RANGE OF MUSICAL INTEREST, THE STARKEY DRIVE ALBUM IS MORE LIKE THE REAL JEFF, WHERE WITH FACEDANCER IT WAS JEFF PLAYING LEAD GUITAR TO SOMEONE ELSE'S MUSIC. STARKEY DRIVE WAS A DREAM COME TRUE FOR ME. SOMEHOW I HAD MANAGED TO GET TOGETHER 4 OF THE BEST MUSICIANS I HAVE EVER WORKED WITH, AND THEY WANTED TO PLAY MY STUFF! WOW, WHAT A DEAL! CONCEIVED IN '04, MY LONG TIME BUDDY STEVE BEHRENDT(DRUMS) AND I PUT THE ALBUM TOGETHER BEFORE WE EVEN HAD THE BAND'S LINE UP COMPLETE. WE ENDED UP WITH MAURICE BRULE'ON KEYS, JERRY MARTINEZ DOING LEAD VOCALS AND GUITAR, AND LOREN KRAFT ON BASS. WITH JERRY AND MAURICE COMMUTING IN TO MARYLAND FROM BOSTON, AND ME FROM FLORIDA, IT EVENTUALLY PROVED TO BE MORE THAN WE COULD HANDLE. WE RECORDED DRUMS, SOME OVERDUBS, AND MIXED THE ALBUM IN OUR PRODUCER'S(RUDY GUESS) STUDIO IN L.A., BUT DID MOST OF THE OVERDUBS IN STEVE'S HOME STUDIO IN MARYLAND. DURING THE 3 YEAR LIFE SPAN OF THE BAND WE ONLY DID 3 SHOWS. YES, THE RAMSHEAD TAVERN ANNAPOLIS, AND TWICE AT JAMMIN JAVA IN N.VIRGINIA. ANYWAY, WE HAD A
TOTAL BLAST, AND I WOULDN'T TRADE A MINUTE OF IT!

Ray - You became involved at a point with doing FACE DANCER reunion shows,
the latest of which I witnessed at Ram’s Head Live in Baltimore (which was
smokin’, by the way!). How does it feel to get up there now and unleash
the old beasts? Brings back a lot of memories, I guess. I know it must
have been a very difficult thing for you guys with Carey’s passing, but
I’m sure he’d have been smiling from somewhere seeing what I did at Ram’s
Head several weeks ago!

Jeff - IT FEELS GREAT! YES, IT BRINGS BACK MEMORIES FROM A BIG PART OF MY LIFE. FOR ME IT'S NOT JUST THE REUNION OF FD BAND MATES, BUT THE REUNION OF FD FANS WHO ARE STILL MOTIVATED TO COME SEE US. IT'S JUST AN INCREDIBLE DEAL TO REUNITE WITH FACES FROM THE FD HAY DAY. AND YES, IT IS A TON OF FUN TO CRANK THE MARSHALL AND BEND SOME STRINGS! I DON'T GET THE CHANCE TO DO THAT VERY OFTEN THESE DAYS. LOSING CAREY WAS A TERRIBLE BLOW TO ALL OF US, AND YOU BET HE IS BEING HONORED EVERY TIME FD GETS TOGETHER!

Ray - What’s in store for Jeff Adams in the future? What musical cards do
you have up your sleeve that fans of your guitar playing can look forward
to?

Jeff - THE COOL THING ABOUT MUSICAL CARDS UP THE SLEEVE IS THAT NO ONE KNOWS WHAT THEY ARE, INCLUDING ME. ALL I CAN TELL YOU IS THAT CURRENTLY I'M PLAYING ACOUSTIC GUITAR MOST ALL THE TIME. IN FACT, MY WONDERFULLY TALENTED WIFE, KERRY AND I ARE WORKING ON AN ALBUM RIGHT NOW. WE'RE THINKING OF CALLING IT "NO BASS, NO DRUMS, NO WORRIES". IT'S A FUN COLLECTION OF CUTE STUFF, SOME SILLY STUFF, AND MAYBE A COUPLE OF LOVE SONGS. FD FANS THAT MIGHT HEAR THIS WILL DEFINITELY BE SCRATCHING THEIR HEADS SAYING "THIS IS THE JEFF ADAMS THAT I KNOW??" HAHA! AND WHO KNOWS MAYBE NEXT YEAR I'LL BE RECORDING WITH A ROCK BAND, WE'LL SEE!!

Ray - What do you think of the Guitar Hero video games? Do you have a
differing opinion on these from the standpoint of a guitarist or "layman"
or am I completely delusional about anyone even having an opinion on this? lol

Jeff - WELL YES, YOU ARE COMPLETELY DELUSIONAL, BUT THATS BESIDE THE POINT. I DON'T KNOW ANYTHING ABOUT THESE GAMES, HOWEVER MY GUESS IS THEY ARE IN NO WAY 'MUSICAL'. I WOULD THOUGH RECOMMEND THEM OVER SOAP OPERAS!

Jeff - In the old Sea Gull days I remember you using a Les Paul almost exclusively. From what I saw at Ram's Head and in pictures from recent years, you seem to favor a STRAT now. What made you go this route?

Jeff - I GREW UP PLAYING GIBSONS AND ALLWAYS LOVED THE LES PAUL'S TONE THE BEST, BUT IN RECENT YEARS I'VE LEARNED TO LOVE THE LIGHT WEIGHT, EASY BALANCE, AND POSITION OF THE KNOBS ON THE STRAT. IT ALSO HAS A SMOOTHER CLEAN SOUND WHICH I SEEM TO USE MORE AND MORE THESE DAYS(HAHA). I DO USE HUMBUCKING PIC-UPS THAT DO SLIGHTLY SIMULATE THE LES PAUL SOUND.

Ray - In relation to the previous question, I found that (at the Ram's Head
show), regardless of what, you sound like Jeff Adams, which translates to
killer in my opinion. Even though it's 2010 you still somehow channel that
mid-late '70's hard rock guitar sound that's so lacking these days. With
that in mind, do you think your sound is something that comes more from
equipment or from your hands. Reason I say this is that I remember
hanging out years ago with this huge dude who (maybe not so coincidentally, considering
his size!) played with a sound very much like Leslie West, and he typically
used a Les Paul Jr. thru Marshalls. I don't have to tell you, he was a
lot better than me, but we were jamming one time and he picked up my Fender
Tele that I was playing thru a completely shitty Sears amp. Instantly, the
whole thing sounded like him again, complete LW tone and everything. I
mean, it wasn't exact, but it was close enough. Does that back up the
"player's hands" mean more theory? Comments?

Jeff - WELL THANKS FOR THE KIND WORDS! I DON'T KNOW ABOUT OTHER PLAYERS, BUT I'M A 'WING IT' TYPE OF PLAYER. IF THAT FAT SUSTAINING SOUND ISN'T THERE, THEN I KINDA SHIFT INTO ANOTHER STYLE. IN FACT, I LOVE AND PLAY LOTS OF DIFFERENT STYLES, ABOUT EVERYTHING BUT RAP AND HEAVY METAL. AS FAR AS THE PLAYERS HANDS, YES, I BELIEVE THE INDIVIDUAL STYLE WILL ALLWAYS CARRY THROUGH.

Ray - Here’s one that’s always fun… In the time that you were in FACE
DANCER, those glory years back in the ‘70’s…regale us with a story of the
weirdest, craziest, most unusual or just plain dumb thing that happened in
the daily life of the band…could be in the studio, onstage, on the road,
etc. Use your imagination and be comfortable with the fact that very
little can offend, repulse or otherwise miff any of it’s readers!

Jeff - WELL, THERE WAS THIS GIRL THAT WOULD COME AROUND THAT THE ROAD CREW HAD NICK-NAMED "BOTTLE ROCKETS",,,, NEVER MIND, WE'LL FORGET THAT ONE..... HERE'S ONE I LIKE(I'M GOING TO KEEP THIS LIGHT!),, WE FLY OVER TO LONDON TO RECORD THE 2ND ALBUM, WHEN WE ENTER CUSTOMS AT HEATHROW AIRPORT, THE CUSTOMS GUY SINGLES ME OUT FOR A FULL STRIP SEARCH. MICHAEL MILSAP LAUGHS AT ME, THE CUSTOMS GUY THEN PASSES ME RIGHT THROUGH AND TAKES MICHAEL FOR THE STRIP SEARCH! HAHA! NOW ON THE WAY BACK WE FLY INTO DULLES. THE BAND IS GIGGLING AND MAKING FUN ONCE AGAIN ABOUT THE HEATHROW SEARCH EPISODE, THE CUSTOMS GUY ORDERS EVERYONE BUT ME IN FOR A STRIP SEARCH! MAN I LAUGHED MY ASS OFF AFTER THAT ONE!

Ray - Any final comments?

Jeff - YES! FACEDANCER MIGHT DO A GIZILLION MORE REUNIONS, OR IT MAY NEVER DO ANOTHER. IN ANY EVENT I WOULD LIKE TO SAY TO ANY OF YOU FD FANS WHO MIGHT BE READING THIS, THANKS! THANKS FROM THE BOTTOM OF MY HEART! THE 5 YEARS I SPENT WITH FACEDANCER WERE 5 OF THE BEST YEARS OF MY LIFE, AND YOU GUYS MADE IT ALL COME TOGETHER!



Wow, what a great time I had getting in touch with Jeff and going over all the old FACE DANCER days as well as seeing what this killer guitarist has been up to since then. If you’ve never heard FD’s “This World,” then the only thing I can tell you is that, as a fan of hard rock, your collection is woefully incomplete. Order it now from
http://www.rockcandyrecords.co.uk/Also, anyone into absolutely stellar Amerciana-type rock needs to go to Jeff directly and get the STARKEY DRIVE CD. It is great!!! jeffsongs@tbi.net