Showing posts with label STOOGES. Show all posts
Showing posts with label STOOGES. Show all posts

1.27.2015

DESTROY ALL MONSTERS:SHINDIG! MAGAZINE ARTICLE IN ISSUE #45

 destroy all monsters
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Shindig! Magazine Issue #45
submitted by Jon 'Mojo' Mills

“Motherfucker it’s comin’ out of your pay”

The genre breaking band DESTROY ALL MONSTERS featured a cast of Detroit deities including Mike Davis (The MC5) and Ron Asheton (The Stooges). COLIN BRYCE talks with them about art, noise and trees

The genre breaking band DESTROY ALL MONSTERS featured a cast of Detroit deities including Mike Davis (The MC5) and Ron Asheton (The Stooges). COLIN BRYCE talks with them about art, noise and trees

The Destroy All Monsters story began as an art project in around 1974 with the meeting of University Of Michigan (based in Ann Arbor) art students Mike Kelley, Jim Shaw, Carey Loren and front-person (most commonly known as) Niagara. Their love, respect and interest for all things trash, outside, artistic, unconventional, free, unfettered and noisy brought them together and paved the way for sonic excursions and sound treatments that should most probably be described as un-easy listening, or even – as a fitting tribute to their hero Godzilla – monstrous; unless of course you have an ear for that sort of thing. An artistic and musical mix up of Sun Ra (a Detroit area favourite), The Velvet Underground, Beefheart, comic books, Beardsley, Man Ray, countless B-movies (gangster, monster, exploitation) and a healthy distrust and distaste for authority and the mainstream and you’ll very nearly have a half-cup of the kool aid the Monsters were drinking.

After a close encounter at a one of their (very few) performances you may have found yourself in love with the bands mixture of cheap organs, effects, feedback, moaning, saxophone, violin, clanging, bashing, squealing, squalling and their interpretations of classics like ‘Nature Boy’ or even Sabbath’s ‘Iron Man’. Alternately you may have wished you skipped dropping that second hit of purple micro-dot.

“The art collaboration was a group of us that jammed in a basement for about a year,” explains Niagara. “No one ever heard or saw us, except at a college art show. The earlier stuff was quirky and funny, in an anti-music way. We invented noise music, so they say.”

Hiawatha Bailey is a long-standing face on the Ann Arbor/Detroit scene, a close friend of the band who worked as road crew/sound man for Destroy All Monsters. As a performer in his own right he also shared many bills as a member of The Cult Heroes. He recalls seeing an early DAM show at the college: “It was kind of ’50s beatnik and way out in a way.”

It is after the departure of founder members Shaw and Kelley that Larry and Ben Miller joined the Monsters and helped to set off a newer, jazzier and refined approach to the art sonics of the earlier incarnation. But it was once former Stooges and MC5 members Ron Asheton and (a freshly released from prison) Mike Davis joined the gang that all bets were off and Destroy All Monsters became a more fully-fledged rock band with Niagara front and centre sipping on her (now legendary) can of Tab, her wild mane streaked and piled atop her head, and dressed in some of the finest mini-skirts, heels and leopard print brassieres the budget of an aspiring artist will allow.

“Mike (Davis/MC5) and I were in together at Lexington,” recalls Hiawatha. “After I was released I ended up staying at a friend’s place at Whitmore Lake on about 100 acres... Mike came up there for New Year after being at his father’s place in Detroit... I had set up some space to play... More people ended up coming over and Ron told me about Niagara.” It was up at this property that the new high-energy version of Destroy All Monsters first began to get it together.

It is without doubt that the signing on of Ron Asheton and Mike Davis and their contributions musically brought Destroy All Monsters out of the artistic shadows and onto the much larger world stage. The increasing profile of all things “punk rock” and the influence of Asheton’s and Davis’s former bands on the new “punk” groups – even though their previous bands had only been broken up a few years at that point – allowed Destroy All Monsters to get their mugs in magazines like Creem, Rock Scene, Bomp and others. Asheton’s knack for a crafty, hypnotic riff and his experience working with one-of-a-kind front persons clearly also helped broaden Niagara’s often monochromatic vocal styling’s and appeal.

You could say that Ron and Mike brought a bit more “chrome” in general to the Destroy All Monsters camp (pun intended). As interesting as some of the ideas of the early DAM incarnation were they were still a group of young artists exploring and learning how to apply their chosen aesthetics. Nothing wrong of course with artistic experimentation and it certainly works for Destroy All Monsters on the early tracks like ‘From Edgar Cayce’ or ‘Silver Noise Kill Kill’.

Shindig! Magazine Issue #45
Jon 'Mojo' Mills

10.30.2014

TIGER SEX LIVE NOVEMBER 1 AT PAYCHECKS!


We’d like to invite you for our live Rock’n’Roll performance in Detroit.
Saturday Nov 1st at Paychecks Lounge - 2932 Caniff Ave (Hamtramck) 10PM
We are originally from Vegas and making our way across the country!
Detroit it a big influence on us when it comes to sound-Stooges, MC5, Motown etc.


What was once Rock’n’Roll has swallowed us whole and spit us out creating TIGER SEX.

A dangerous animal that’s ready to get EXTRA WILD! Vital, Loud, and Sexy with a twisted mind…we will eat you alive!!

9.01.2014

DENNIS THOMPSON'S HISTORIC LUDWIG DRUMS FOR SALE!!


Dennis Thompson's FAVORITE drum kit is for sale! The Ludwig White Oyster Marine set is original and in excellent condition considering the man whose style of drumming was to ATTACK.....


Dennis has treated the kit with great care over the years as you can see in the photos taken this past weekend.



BRAND: LUDWIG
COLOR: WHITE OYSTER MARINE
SET PIECES:
26X18 Bass Drum
14X6 Chrome Snare
Speed King Bass Drum Pedal
16X16 Floor Tom
18X16 Floor Tom
8X10 Tom
10X9 Tom
14X10 Tom
15X12 Tom
CYMBALS: Zildjian
20" RIDE
18'' CRASH,
15'' CRASH
 2/15'' HI-HAT

http://bit.ly/1rau3iM
 
SET HARDWARE:
 Snare Stand
Hi Hat Stand
3 Cymbal Stands
1 TOM-TOM Stand
1 Drum Seat
1 Bass Drum Pedal
1 Trap Case
4 Drum Cases


EXTRAS:
TRAP CASE
4 FLIGHT CASES
4 ORIGINAL HEADS
1 BROKEN 18'' CRASH CYMBAL

PAIR OF MACHINE GUN'S SIGNED STICKS
T SHIRT FROM MGT'S PRIVATE COLLECTION
1 PAIR OF MGT'S GLOVES/AUTOGRAPHED 



This kit has shared the stage with PINK FLOYD, STOOGES, ALICE COOPER, BOB SEGER, ERIC BURDON & WAR, and ROD STEWART AND THE SMALL FACES, just to name a few.



SHIPPING HANDLING/INSURANCE TO BE HANDLED BY PURCHASER

TO MAKE AN OFFER 
EMAIL

8.22.2014

SONNY VINCENT & SPITE

http://www.angelfire.com/ny/punkrocknroll/spiteful/

Sonny Vincent - Testors - Vocals and Guitar
Rat Scabies - The Damned - Drums
Glen Matlock - Sex Pistols-Bass
Steve Mackay - Stooges-Sax

Badassed line up, huh? But it didn’t come together by design. No, folks, it sure as heck didn’t. Well… even though I have a ton of stuff to do today, I am obligated to tell the story of this album before the Illuminati get ahold of it and rewrite history to suit their plans. (I understand they dance to my song, “I See”, at their meetings and picnics. Apparently, it’s a horrible sight of angular frenetic dancing with grimaced faces and clenched fists.)

http://www.angelfire.com/ny/punkrocknroll/spiteful/

This album was three years in the making and it all started with a phone call from Herman Verbelen. I have some friends in Belgium, notably Herman, Isabelle, and Ronny. Growing up in Brussels, they were Punk Rock/Garage fans and later followed their maniacal interests by booking bands, promoting shows, and supporting every scroungy passion powered band that came around. Everyone has crashed at their place and enjoyed a gigantic American-style breakfast (in Belgium, nice!).FULL STORY HERE

3.16.2014

LEGENDARY DRUMMER SCOTT ASHETON DIED

photo courtesy of Natalie Schlossman

Our first thought tonight when the sad news came in about Scott Asheton passing was how is Big Rich handling this? Poor Big, lost his hero Gary Grimshaw recently and Rock Asheton too....Hugs to Big...we are thinking of you tonight....


I was pal'in' around with Scott Asheton, drinkin' lots of STROHS and runnin' around... all over town. We had a HELL of a lot of fun. ROCK ACTION! Big Rich Dorris


Scott was a really down to earth guy, great with kids, loved fishing and being in the nature of Michigan.
 

Stanley T. Madhatter carried this worn Rock Asheton business card around in his wallet forever...I pried it away from him so I could scan it....Had to give it right back!

 
Dennis "Machinegun" Thompson was a very close friend of Scott's and he had this to say...

 "He was a close brother of mine..we always hung out together at the fun house and he showed thousands of young drummers how rock n roll drumming should be played..hard, strong and simple..to me he is a high caliber classic drummer and I mean that. I'm gonna miss you Scottie...Our thoughts and prayers go out to Liz, Leanna, Kathy and the fans...

Scott Asheton (Photo courtesy of Natalie Schlossman)

 Scott "Rock Action" Asheton (August 16, 1949 – March 15, 2014) was an American musician, best known as the drummer for the rock band the Stooges. Other than Iggy Pop, Asheton was the only consistent member of the Stooges after the death of his brother, guitarist Ron Asheton, in 2009.


He was born in Washington, D.C. and moved to Ann Arbor, Michigan with his family at the age of 14.

Scott Asheton (Photo courtesy of Natalie Schlossman)

Asheton co-formed the Stooges in 1967 along with his older brother Ron, Pop, and Dave Alexander. The original incarnation released two LPs on Elektra Records before moving through several lineup changes, releasing a third LP on Columbia Records in 1973 and disbanding the following year.


During the Stooges' separation he was among the few ex-members to play again with Pop, occurring during a 1978 European tour Asheton also played drums with Scott Morgan in different bands, among which were the Scott Morgan Band, Scots Pirates, and most notably Sonic's Rendezvous Band. He then went on to play drums touring in a late incarnation of Destroy All Monsters, under the name Dark Carnival.


He also recorded extensively with Sonny Vincent, playing drums on four full studio albums along with Captain Sensible on bass, as well as making special guest appearances on other Vincent releases. In addition to recording with Sonny, Asheton has toured the U.S. and Europe with Sonny and Steve Baise (on bass) of the Devil Dogs.


The Stooges reformed in 2003, and have remained active ever since, releasing a fourth album in 2007. Following the death of Ron Asheton, the group worked with later guitarist James Williamson.

After the Hellfest Festival show of June 17, 2011, in France, he suffered a severe stroke that caused his temporary retirement from live duty and was replaced by Larry Mullins (aka Toby Dammit) who had already played in Iggy Pop's band in the 90s


My dear friend Scott Asheton passed away last night.

Scott was a great artist, I have never heard anyone play the drums with more meaning than Scott Asheton. He was like my brother. He and Ron have left a huge legacy to the world. The Asheton’s have always been and continue to be a second family to me.

My thoughts are with his sister Kathy, his wife Liz and his daughter Leanna, who was the light of his life. IGGY POP

READ MORE

Dennis Machinegun Thompson Story on His time with Ron and Scott Asheton 
Deniz Tek meet the Asheton Brothers and Sonic's Rendezvous Band

2.23.2014

DENIZ TEK: SONICS RENDEZVOUS BAND, 1976 PART ONE

copyright photography Robert Matheu - robertmatheu.com
SONICS RENDEZVOUS BAND, 1976
AUTHOR: DENIZ TEK
PHOTOS: ROBERT MATHEU
            JOE RUFFNER

I was visiting home in Ann Arbor, taking a break from working with my own group, Radio Birdman, in Sydney. My brother Kurt and I were having drinks in an awful student bar on Maynard, and we were talking about the pathetic state of music now compared to the "good old days". We walked out into the bitterly cold street where I noticed a handbill sized gig poster. It was advertising a gig by a band called "Sonics Rendezvous Band", and there was a photo of these guys...

copyright photography Robert Matheu - robertmatheu.com

Rock Action,from the Stooges; Fred Smith, from the MC5; Scott Morgan, from the Rationals; Gary Rasmussen, from the Up. I knew all about them from the old days...what Michigan had been to rock and roll music six or seven years earlier, which I had thought was totally lost now. This would be worth checking out. Some of the old fire might still be alive.

The gig was at the "Roadhouse", a blue collar Michigan bar and restaurant about 10 miles north of town off US23 (Whitmore Lake). It was on for that night and the gig had already started. I knew these guys had all been great in the past, and could be great now. We got in my brother's green '72 Olds Cutlass "S", and he gunned the big block V8.

Deniz Tek with Fred's former Epiphone Crestwood Deluxe guitar

We headed up snowy North Main St, over the river bridge leaving town, on to 23 and north a couple of exits, across North Territorial, off at the top of the hill, across old Whitmore Lake Rd. and pulled up in the parking lot. We went in. The place held about 40 or fifty people, mostly sitting around at tables. There was a small empty dance floor and dim lighting.


The band was playing. Immediately, it held a great fascination for me. They were better than I had hoped. As players, they were technically solid. As a unit, they had fused into something magical. There was Fred, playing his 12 string Rick (strung with six), through an old Fender Twin through a Marshall 4x12 cab. Set against and within the bedrock rhythm background of the band, his solos were the most fluid and original I had heard since Hendrix.


His playing had progressed beyond his time in the MC5. In those days he had already started work on transcribing legendary jazz sax solos to guitar, and adapting them to rock music. He had come much closer now to perfecting this idea...starting with Coltrane, Shepp and Lester Bowie but ending up with something entirely of his own. Scott Morgan with his old Telecaster, was the perfect sixties rhythm and blues foil to Freds' experimentalist approach.

copyright photography Robert Matheu - robertmatheu.com

Morgan had the great white R&B shout, as good but more subtle than Mitch Ryder. He could hit all the notes, with incredible timing and sense of cool. For my money, the three greatest white R&B singers were all from the Detroit area: Rob Tyner, Mitch, and Scott Morgan.


Fred had an element of Bob Dylan in his voice as well. Scotty "Rock Action" Asheton had his simple Ludwig kit, beating it and the locality to submission, shaking the building with sheer brute force, but with split-atom accuracy. Every member was totally focused and were simultaneously deep in the moment while lost in nothingness.

They had achieved "loose tightness"...a term Ron Asheton used to describe the impossibly elusive balance of freedom and spontaneity yet being in the pocket. I could feel it instinctively....I abandoned myself to the sound and the look of it. I danced. I laughed. I absorbed every beat of it.


During a break between sets I talked to them a little. Fred was very polite and reserved, preferring to just sit there, bourbon and cigarette in hand, observing, thinking, but saying only an occasional word or two here and there.

 Scott,Gary, Fred and Rock  
copyright photography Robert Matheu - robertmatheu.com

Scott Asheton was Rock Action. The world famous tattoo was there. His persona initially seems intimidating. I found out later this fearsome initial impression shields a rather shy spirit with a quiet, intelligent sense of humor. Gary Rasmussen sat casually smoking, was friendly and seemed to find everything amusing. Morgan was the most approachable and happy to hold a conversation.

I left them to their break after a few minutes and went to the bar to get a drink. Coming back to find my brother, I recognized Ron Asheton at a table by himself, a Seagrams Seven and soda in front of him, smoking a Lucky through an aquafilter cigarette holder. Like something in a movie rather than real. He had on those trademark aviator glasses, and sported a full length black leather SS officers greatcoat.

 
I had seen him in the band in 1969 and on the album covers ... he was a little bit heavier now, but instantly recognizable. I went right over to him and said hi, and became an autograph hound, asking him to sign one of the Roadhouse drink menus for me. I was going to give it to Rob Younger as a gift when I got back to Sydney.  STAY TUNED FOR PART 2

Deniz Tek photo: Anne Laurent

★Deniz Tek, from Ann Arbor, Michigan, is a prolific guitarist, singer and songwriter currently based in Sydney, Australia. His career in music, grounded in late-60's Detroit, extends through several decades and across continents. He is best known as a founding member of the influential Australian independent rock band Radio Birdman.

In 2007, Deniz was inducted into the Australian Music Hall of Fame, and in 2012 was voted number 7 in the top 100 Australian guitarists of all time.★



2.07.2014

LA 1973 IGGY AND THE STOOGES: ROCK PHOTOGRAPHER HEATHER HARRIS:



How a born and bred Los Angeles person like yours truly came to appreciate Detroit/Ann Arbor/Michigan music from afar at a relatively early age... Rock and Beatles/Stones had saved my sanity from a toxic family, and I liked my music loud and fast. While I preferred Lennon's hard-edged rocker covers my chums gravitated to their beloved McCartney ballads and worshiped the latest faux-Joni. Egad, why?


Experts contend that in popular musical tastes, females prefer emphasis on great lyrics and males fixate on insistent beat or groove. Balderdash. If you don't remember the power and musicality of a song first, how can you later dissect what was sung? With this in mind, I tried to infiltrate any club that didn't catch my underaged ass and began photographing that to which I could get access in 1967. I was open to anything good, preferably great. With greatness in mind, a lot of focus came upon The Stooges circa 1970.


I was fortunate early on to encounter the in-person musical orbit of John Mendelsohn, a music writer for Creem Magazine and Rolling Stone who mattered in the late 1960s and 70s. And he didn't just like but loved the Stooges as kindred subversives. He trumpeted same to anyone who'd read or listen, particularly like-minded, quirky new friends such as visiting rookie musician David Bowie on the latter's first USA trip.

 
Corroboration of Mendelsohn introducing Bowie and consequently, for better and worse, his management MainMan to the Stooges' music can be found on page 148 of Paul Trynka's first edition of his Iggy Pop bio "Open Up and Bleed.") Here in L.A. as with most of the world in the pre-internet Pleistocene, absolutely no one beyond Midwestern zip codes had any prior Stooge exposure prior to Mendelsohn's lauding thereof.
 

Hence the importance of Mendelsohn's 1970 Entertainment World feature, one of the first if not the first nation-wide cover stories on The Stooges in a mainstream multi-arts magazine, not just a regional, music-based one. Their centerpiece article by Mendelsohn featured lots more natural stage light, live performance photos which took great skill then (and a close, personal relationship with a pro lab that would push film beyond recommended specs) by Kurt Ingham (AKA singer Mr. Twister) (and future Mr. Fastfilm.)
 

Unfortunately I hadn't met the great arbiter until after the first Stooges gigs in California mid-1970, so my first opportunity to photograph them became the Whisky A Gogo, Hollywood CA in 1973. At the only freebie possible for this impecunious college student/photojournalist, my twenty-two minutes of photographing an appallingly short second set of two songs ("She Creatures Of The Hollywood Hills" and "Open Up And Bleed") yielded all my vintage Stooges' shots since seen over the years in domestic and international periodicals both print and online. They were everything heretofore touted, wild yet precise musicians, wasted, cute and dangerous. The audience initially was scared of them: I thought it was hilarious. At the time, 1973, I could only sell a single image. The world had yet to catch up.


As a Fine Art major at UCLA, I was used to true innovators in my art history lessons being ignored by their contemporaries. Outliers are outsiders, so the slander and malediction of The Stooges meant zero to me. At least in this instance forty plus years later, its audience finally caught up with the onetime maligned Iggy and The Stooges, inducting them into the Rock and Roll Hall of Fame in 2010, acknowledging what punks everywhere had known in those intervening decades: they fucking ROCKED. I have been sufficiently fortunate to photograph Iggy and The Stooges in about a half dozen venues, nowadays always to huge, out-of-control-enthusiastic audiences. See LINK to find them all.

 Scott Thurston, James Williamson and Heather Harris

Iggy and The Stooges were my gateway drug to all that Detroit/Ann Arbor/Michigan music had to offer: now let's hear it for The Ruiners and Turn To Crime! -Heather Harris 2014

1.31.2014

DETROIT DOWN UNDER: DENIZ TEK'S STORY


** Deniz Tek has done SO much to promote Detroit Rock n Roll 
around this planet! Dr. Tek is our legend piece today......***

Deniz Tek is an American singer, guitarist and songwriter and a founding member of Australian rock group Radio Birdman. He has played in many of the underground rock bands of the 1970s including Australian bands The Visitors, and New Race but is most known for exerting his burning Detroit style guitar influence over the punk rock genre in Australia.

'

Tek was raised in Ann Arbor, Michigan, USA. He spent 1967 in Sydney, Australia with his family and was greatly attracted to the Australian landscape, moving there permanently in 1972 to begin his medical studies at University of New South Wales in Sydney.


Dr. Deniz Tek is a trained ER doctor and ex-navy flight surgeon who currently splits his time working in emergency departments in hospitals in NSW, Australia and Hawaii, USA while still taking time to record and tour.
 

In the late '60s Ann Arbor became somewhat of a nexus for rock music, hosting festivals which drew performers from all around the world such as Pink Floyd, Janis Joplin, Johnny Winter, Captain Beefheart, and a personal favorite of Tek's, The Rolling Stones.


Tek was heavily influenced by the underground scene of Ann Arbor, which included bands such as The MC5, The Stooges, The Rationals, Frost, Mitch Ryder, Carnal Kitchen with Steve Mackay, The Up, SRC plus jazz greats Pharoah Sanders, Sun Ra, Archie Shepp and Yusef Lateef.


IN 1972 when Deniz moved to Australia he took his love of Detroit Rock n roll with him introducing thousands of young Aussies to our favorite music and taught them about our corridor to the City I 94...


1974-78 Tek proceeded to form a new band with long time friend Rob Younger, with the addition of Chris "Klondike" Masuak, Warwick Gilbert, Pip Hoyle and Ron Keeley, and called themselves Radio Birdman, after a misheard Stooges lyric.

 
The Radio Birdman sound was unconventional and raw... it echoed the Motor City influences of Tek's youth. 
 

Birdman are often attributed with the initiation of the Australian indie rock scene, as after being repeatedly rejected from various clubs and bars in the Sydney area, Birdman took it upon themselves to record and release their first recording Burn My Eye, and distribute it out the back of the band members' station wagons.

 
Radio Birdman began a world tour in 1977 traveling to England and playing a few shows around London as well as recording their second album Living Eyes, until in 1978 the band broke up mid-tour.


READ MORE ON WIKI

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