According to cultural historians it was a single critical act of random violence at Altamont that delivered the killing blow to the sixties. This opinion has been repeated so often that most people would be forgiven for taking it as a fact, but is that the whole story? Did the sixties really take its last breath as the knife slid into Meredith Hunter? I don’t think so. Slip off the revisionist glasses and it’s obvious that plenty of people were still happily basking in an extended summer of love well into the early seventies. There is no doubt that the events captured on “Sympathy for the Devil” took the sixties crashing to its knees, but wasn’t the final nail in its coffin hammered home by Iggy and the Stooges in ’73 when Raw Power was issued? Was Raw Power the real watershed moment? I’m not going to argue that this is how it was at the time as it wasn’t, but in hindsight, and with the benefit of being able to see what direction music took since, I sincerely believe that it’s very obvious how pivotal Raw Power was as an album. With a nihilistic and primal howl they seemed to take all the musical threads from the fifties and sixties and weave a new pattern from them. A dark tapestry that while admittedly not changing everything overnight, most certainly served as a template for much of what would come in its wake. Looking at it from one angle it’s a simple album that has a familiar and well worn subject matter at it’s core. It’s all sex drugs and rock’n’roll. The unholy trinity that have been every parents nightmare since the first rocker let rip and shook his hips in a juke joint somewhere far back in the mists of time. Yet what makes it so different from all that preceded it is that while it does have that familiar core it’s also steeped in the muscular and visceral madness of loathing through confusion. At it’s dark heart it sounds to me like a coming of age album. A coming of age album that will forever connect with every disillusioned and pissed of teen in the world, and maybe therein lies it’s appeal. While Jagger and co sang “If I could stick a knife in my heart, Suicide right on stage, Would it be enough for your teenage lust, Would it help to ease the pain” you felt it was a hollow promise, but on “Raw Power” Iggy and the Stooges sound like they were ready and willing to spill everything out for you. Every dysfunctional truth torn out and laid bare before you regardless of the reaction it would engender. It’s an out of kilter work of genius whose appeal never diminishes. Poor production and shit re-mastered reissues can’t contain it because it is more than that. It’s quite simply a masterpiece. One that, like Peter Pan, refuses to grow up. Simultaneously it is of its time, and out of time. It’s a bridge from there to here in whatever context you want to put it in. This is why when I heard that ATP had arranged for Iggy and The Stooges to play it in its entirety in the Hammersmith Apollo I dived at the chance of a ticket. While naysayer’s claimed that a band fronted by a 63 year old could never manage to do justice to an album they created over thirty years ago I wasn’t willing to miss this just in case they did. Let’s face it. Iggy and the Stooges doing Raw Power live is like a holy punk pilgrimage that seriously can’t be passed up on. So London was calling and I was answering. On the night we managed to get in early enough to grab a position against the barrier and waited for Suicide - who were going to play their debut in its entirety - to get things started. Now I was keen to see them and considered their addition to the bill as the icing on the cake, but I’ve got to say that now that I have experienced Suicide it’s blatant that all they are about is confrontation. I have never heard anything as loud. Motorhead sound like kids throwing toys about in comparison. The noise emanating from the stage physically pushes against your body and you can feel it internally pounding at your organs. This isn’t entertainment. From Ghostrider onwards it is a relentless war of attrition between band and audience. You don’t go to be entertained by them. You go to perversely push yourselves to the limits of endurance and in the aftermath proclaim you survived them. Thankfully the claim that they were doing the whole album proved to be false and we didn’t get the near ten and a half minute Frankie Teardrop. In retrospect I can say that its inclusion may have served to do little more than decimated the audience. Once they finished you could see pained looks on peoples faces. Some confusion to, but mainly pain. It’s not an experience I wish to repeat. Suicide can stay in my record collection where I can play them at a decibel level that doesn’t leave me feeling like I’ve woken up with a hangover and found myself with my head stuck in a samba drum and Mardi Gras going on in full flow all around me. Everyone who managed to watch them from start to finish really deserves a medal in my opinion, although the people who turned up late, but just in time for the Stooges, probably deserve a degree of recognition just for their keen self preservation skills.Then with the buzzing still reverberating around my ear canals, and without any introduction or prior warning the Stooges were there and storming into Raw Power. With the audience caught off guard it seem to take at least half a minute before they caught their breath and then erupted in fervent adulation. Every misconceived doubt that anyone harboured was banished from the moment that Iggy cast his leather waistcoat aside. This is why I had bought a ticket. This is why I love the Stooges. This is what music is all about. There isn’t a lull. Everything is wrung out on stage. Search and Destroy is a behemoth of a track and Gimme Danger left me with goosebumps rising on my arms and the hairs standing on the back of my neck. This is nothing like an Iggy Pop show. This is more. James Williamson is a demon on the guitar. He might not be moving about much but he is sonically the perfect foil to Iggy performance, While Steve Mackay is obviously enjoying himself on the sax. The whole sound is richer than I expected. If I could grab this and have it as my ears heard it on the night it would be my perfect take of the album. It was seriously that good. By “Your pretty face is going to hell” Iggy is in the audience. He literally flies into it like a heat seeking missile. This is a man in his sixties stage diving and there is nothing unnatural about it at all. During “Shake Appeal “ he is doing his usual and inviting people up and of course there are plenty of people more than willing to join them on stage. Spastically jerking across the stage there is no stopping Iggy. He’s a powerhouse. I’m wilting and he is still driving onwards and upwards. By this point I’m losing track of what order everything is coming in. I’m being swept away with it all. This is up there as one of the best gigs I have ever been to, and if I consider that I’ve been going to approximately three gigs a month, every month for the last twenty eight years that tells you something about how fuckin’ special this was. Penetration was pretty much perfection, as was Death Trip. Hell the whole of Raw Power was perfect. Once they were finished that we got songs from the debut, Funhouse and even Kill City. Everything was pounding by in a rush by this point. It’s frantic and wild in the crowd. A real melting pot of ages and sexes thrashing about in ecstasy. I got a right was a clarion call to arms that we all wanted to answer, I wanna be your dog will always be a fans favourite and tonight showed why. Can you imagine a gig that he didn’t actually perform it? The crowd would lynch him. Open up and Bleed had me gasping for air in slack jawed in wonderment. Then the Stooges left the stage leaving Iggy to bait and toy with the crowd before he finally disappeared to rapturous applause that he milked to the maximum. If it ended right at that point I would have been more than happy, but no, with hardly any time for the audience to take a breath the roadies are holding the guitars out for Scott Ashton and James Williamson who once again slip the straps over their shoulders and commence to blow everyone away on Funhouse, then Kill City before finally Johanna. Iggy doesn’t appear to be flagging at all throughout the whole performance. While he is very obviously sweating like a racehorse I would have bet money that we, as an audience, would have capitulated and threw in the towel before he would have. Again the band are gone and again Iggy is milking it. Of course much of this is a tried and tested performance, but how much is an act and how much is just wild abandon is hard to say. You can’t see the joins. I’ll say it again. It’s perfection. If I had to rate this out of ten then I would have to give it the old Spinal Tap eleven. El Diablo
|NEWS SOURCE: http://www.uberrock.co.uk CD Reviews|
|Written by Dom Daley|
|Tuesday, 13 April 2010 05:00|
A split of sorts as Texas Terri does the first four tracks but Kevin K and his band play on all nine tracks....but that doesn't really matter, what does matter is that the often overlooked but prolific writer and releaser of records that is Kevin K has teamed up with Texas Terri Bomb for possibly their finest half hour on 'Firestorm'.
Pitching somewhere between Iggy and the Stooges, New York Punk and Johnny Thunders, the nine tracks on offer show just how damn good these artists are; one compliments the other superbly and they really do shine. Now, being a big fan of Kevin K, I often love the songs he creates but listening to his music I think that maybe he sometimes needs someone to round off the edges and, dare I say it, introduce a bit of quality control. Finally with this latest offering I think he's hit the jackpot with a great sound married to some meaty playing in all the right places and someone like Texas Terri fronting.
'LA X' gets proceedings off with a blinding Iggy-ish track that motors along with some blistering axe work that fizzes and crackles along. It sounds positively vibrant and bristling with energy. There's no letting up in the pace as 'Love Kills Love' kicks on with an attitude soaked track showcasing what a great player K is. The last of the Texas Terri tracks is a cover of the Dead Boys' 'What Love Is' and between the pair of them manage to pull one out of the bag with a version of this classic 70's track that tells you everything you need to know about great music, Terri plays hard and is a match for anyone in this genre and her delivery is absolutely spot on.
Into the second half and Kevin K takes the vocals with some snotty punk on 'Gracelands To Neverland' which has a very New York feel as does 'Don't Know Why'. Kevin K then pays homage to Mr Thunders with a take on the classic 'London Boys'. With the album having a hidden track presumably called 'Gorgeous Girl' again carrying off the Stooges feel this is in my opinion the best work from Kevin K and something I'd love to see him develop with Texas Terri - one compliments the other no doubt about it and well worth hunting down a copy if raw, punk rock is your thing....this will tick all the boxes.
Rock 'n' roll troopers who've been there, seen it, done it, bought the t-shirt and written the fucking book. 'Firestorm' kicks like a mule, goddamn it. Add it to your collection people and, besides, those nice people at CD Baby will put it in the mail for you, lovingly!
BY MAINY ELDIABLO
Review By MainyUp until a few weeks ago I had never been in Pivo Pivo, but here I was again sidling up to the bar and getting a drink in. It's a nice set up, but I've yet to see it full. Maybe they need to get out there and promote, promote and promote. Tonight it's a four band bill and I'm there to see New York city girl Jana Peri play an acoustic set of punky power pop gems. From Ramones styled rockers to country work outs she runs the gamut of rock chick staples and does so with aplomb, but more about Jana later as first up we had a very young and nervous man who I didn't catch the name of. It doesn't matter though as I doubt I will see him again. Well not intentionally. He started off with some technical problems and had to borrow a guitar from Jana before he could get the show on the road. Then he regaled us with some mumbled songs, a couple of which were covers. Have you ever imagined what a Libertines song would sound like if the Proclaimers did it? No, neither had I, but let me tell just say that the reality is far worse than anything you could come up with. Near the end he managed to do an awful version of a rap song about someone licking his lollipop. I think it was supposed to be sort of so bad that some people would think it had a strange charm. It didn't. The next band up are touting themselves about as The Morra, and I can only assume this is until they can find themselves a real band name, but regardless of having one of the worst names going they are actually a shit hot band. The impression that I got was that they would probably all have been indie kids a few years ago and then someone bought a 13th Floor Elevators album and they never looked back. (Don't expect any jugs though.) They are gifted guys and while I'll admit to being clueless as to who they would appeal to I don't really care as I liked them. Photo By Mainy ElDiablo 11/3/10 Finally the lady we had come to see graced the stage. I thought that some of the energy that a band would bring to the performance would be missing, but I was wrong. Jana (pronounced Ja-Na) for her small stature dominates the stage with her big voice, and it's very obvious that she isn't from these shores. She carries herself with the history of the New York scene as baggage. She's CBGBs, she's the Continental, She's the grit under the cities nails and the neon glow of its night life. The set that she's promoting tonight relies heavily on her first full length release 'Catching Flies with Vinegar', with the stripped down acoustic versions still effectively conveying her new york sassiness. A song like 'I wanna rock' might initially sound like a walking cliche, but lyrically it's fun and more tongue in cheek than a first listen would lead you to believe, while the rousing 'L.A. Girl' highlighted that east coast Americans, like us, don't really get the vacant west coast barbie doll types either. In an eclectic set Jana even managed to squeeze in a country track called 'I'll be Gone' that once again shows Jana to have a wicked sense of humour, and that she's probably not a woman to mess with. It would be fair to say that this is the sort of serendipitous gig that reaffirms my faith in stepping out and just seeing what gets thrown up. The only downside was that all too soon the set was nearing its end. To finish the show off we get a couple of tracks from her self titled debut ep. The song 'Dating sucks', is a track that could be a manifesto for ladies of a certain age, and 'The La La Song' is an evocative ode to her last visit to the UK. Photo By Mainy - ElDiablo - 11/3/10 I sincerely hope that she returns to Europe sooner rather than later, and that next time she manages to drag her band over with her. If she does I'll be there. Hell, even if it's another solo show I'll still be there. Take it from me, this lady is a class act. If she's playing anywhere near you then do yourself a favour and grab a ticket. It'll be worth it. Guaranteed.
FOR FULL INTERVIEW GO HERE :[caption id="attachment_4868" align="aligncenter" width="640" caption="Jana Peri with The Damned @ The Joey Ramone Birthday Party RIP <3"][/caption]
Interview with Jana Peri by El Diablo - Mainy
ElD - Your album ’Catching Flies with Vinegar’ came out in 2005. How much does it still represent you as an artist? Do you feel there is a ‘that was then, and this is now’ aspect to it? How far have you moved on since then? JP - There’s no question that I’m always evolving as a musician and songwriter, and even as a person, so things are going to change. However, Catching Flies With Vinegar is still an excellent representation of who I am as an artist and that will never change. Some of the songs on Catching Flies With Vinegar were already around for years when I recorded them. The main difference in my songwriting now that I’m older is that I’m not focused on writing about personal relationships anymore. I’m much happier and more comfortable in my own skin these days so my newer material reflects that. I’ve always had a good sense of humor and it’s always come across in my writing, but now I’m concentrating more on observation and commentary about things outside of my personal life. I even like to role play on occasion by inhabiting an imagined character and writing from his or her perspective. Eld - You worked with Daniel Rey on the album. How did you manage to grab his attention and secure his services as a producer? Although Daniel lives very near to me and we have mutual friends, I didn’t get to know him until we recorded together. I first met Daniel briefly when I was assisting with publicity for the original Joey Ramone Birthday Bash that took place at the Hammerstein Ballroom in NYC in 2001, shortly after Joey’s death. Then in 2004, when I was ready to record a new album and was looking for a producer, somebody suggested Daniel. I was reintroduced to him at a party at a bar and we arranged to meet. We just got together at his apartment, I told him about my plans and described what I was looking for and he agreed to do the project. ElD - Do you think that his involvement helped raise your profile at the time? JP - To some degree. Any association with The Ramones can only be a positive thing. More importantly, he helped me achieve what I wanted in the studio. Also, he’s a damn good guitar player and added a lot of dimension to the recording. ElD - So what’s in the pipeline now? You must have new material that’s been honed on the road just waiting to be laid down in a studio. JP - I do have some great material that I’m itching to record, but not quite enough finished to put out a new album yet. I need to spend more time focusing on writing and not just playing. I just released a brand new digital single called “I Hate The Holidays (But I Love Spending Them With You) last November and I’m dying to get back into the studio and do more
NB: The review and interview are free for all and if anyone wants to use them they don't need any permission. Just please remember to give credit where its due. ;) Thank you.Cheers Mainy For Your Time !! :)
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