The Muddy Brothers are a Brazilian band, from Vila Velha (ES), formed by the end of 2012. Their basic influences are the blues man from the North-American Delta and the rocknroll sound of the 70’s.

As a trio the band members are João Lucas (Vocals), Will Just (Guitars) and Renato Just (Drums). In November 2013, the band released their first full album, Handmade, recorded and produced by themselves in a totally independent environment.

Recently, they won the “Rock on Top” contest that featured over 300 bands from all over Brazil, that gave the band the opportunity to be an opening band at The Planeta Terra

We also served as an opening act for names like Beck, Blur, Lana Del Rey, The Roots, Travis and others.

The Muddy Brothers was formed and breathes through their member's passion for the American Bluesmen that changed the world banging their feet on the floor and scratching their guitars, The Muddy Brothers are trying something like that. Only with a lot of drive and Fuzz.



Diablos are stoked to play with Eric Burdon and The Animals Thursday Nite at Michigan Theatre Ann Arbor!

'House Of The Rising Sun' goes back to the '30s recorded by many, including Dave Van Ronk, who was pissed when Dylan cut it, but The Animals nailed it...but so did Detroit's Frigid Pink! Come out to a LIVE Show...Tino Gross



The Mutants at Bookie's Club 870, 1978. 
Photo Deanne Nichols

Scott Campbell
March 10, 2014
The Detroit original rock scene had fallen on hard times in the 70's. In the mid-60's, Mitch Ryder, Bob Seger, The Amboy Dukes, The Rationals, The MC5, and numerous other bands got record deals and radio airplay. By the mid-70's, new Detroit acts were frozen out of airplay with the death of underground radio and record labels weren't signing. A band could earn a living playing five 45 minute sets per night but they had to be AOL radio rock hits. Typically, a band would get a song list from the bar owner and NO original songs were allowed.

By early 1977, new bands such as The Sillies, The Romantics, and a new MC5 fronted by original singer Rob Tyner were looking for anywhere to play original sets of their own music. The Sillies rented The Kramer Theater on Michigan Avenue east of Livernois to do a real concert with themselves in between the new MC5 and an opening set by Destroy All Monsters with Stooges guitarist Ron Asheton and original MC5 bassist Michael Davis. The show drew 1,000 people but most of the money was mysteriously missing from the till, leaving Sillies founder Scott Campbell $1,000 in the hole.

Much as bars were a step down from theater concerts, a nightclub that would host original concerts in the style of NYC's Max's Kansas City or the Whiskey A Go Go in LA was needed for Detroit. The trick was finding a place and making it successful.


Mitch Ryder - Vocals Johnny Bee Badanjek - Drums, Vocals Steve Hunter -
Guitar W.R. Cooke - Bass, Vocals Mark Manko - Guitar Harry Phillips - Keyboards
John Sauter - Bass Brett Tuggle - Guitar Dirty Ed - Congas & Tambourine
3rd from the right is Boot Hamilton(Boot Hill)

Back in the day...Steve Hunter had just gotten out of the Army and was living in his hometown of Decatur, Illinois..we wondered how did Steve make the leap from Decatur to Detroit?

It was in the wintertime 'cause it was horrible, the drive there, so it must have been the end of 1970. I was out somewhere with the Light Brigade (band in Decatur, Illinois) and I think I was in a hotel and the phone rang and it was John Sauter. Apparently, he had called Tootie (Steve’s sister) and then Tootie gave him the hotel where I was staying and I said Hey John, Polar Bear (nickname) how you doin? Then he said well listen, I’m playing with Mitch Ryder up in Detroit and I said wow, that’s great.

And he said well you outta come up here, they’re auditioning for guitar players and they haven’t found anybody, I said really? And he said yeah you should come up here quick, I don’t remember when I went up there, but I went up there as soon as I could so I don’t know if I had to get back to Decatur. But I know I left as soon as I could, probably within a day of the phone call. It was an eight hour drive, all I had in the car was the guitar.

What guitar did you bring?

An SG, I had an old SG a 64 or 60 something or other. And I drove all the way up there and I found the place on Cass Avenue, and it was a condemned building. And I don’t remember whether I rang the doorbell, and it was upstairs, so I went upstairs and it looked like it used to be a newspaper building or something cos it had a great big boardroom which is where they rehearsed, huge!

I don’t even know how it all came about, I guess they were expecting me, there were no cell phones so I couldn’t call ahead and say I was on my way, I just told Johnny when I’d get there. And I don’t think I auditioned the day I got there. Somebody called Mitch and Johnny B and said I was in town and I think we set up something for the next day.

And that’s when I walked in the room and saw a Marshall half stack and the only place I had ever seen one was with Jimi Hendrix and Cream. And right then I thought, you know I don’t give a shit whether I get this audition or not, I didn’t even know what an audition was, I had never done one before. I didn’t know what I was supposed to do or anything. I just didn’t care, I thought, I’m going to be able to play through a Marshall so lets see what that sounds like. And as soon as I plugged it in and turned it on, whatever the settings were that were on it, it sounded F**** great!

Right out of the shoot, and I think it was Mitch, or somebody said “Do you know any Cream tunes” so I said, yeah, I know Crossroads, so we jammed on Crossroads, and then I think we did some Hendrix, and Bob was there (Bob Ezrin?) Yeah Bob was there, Bob came in a little bit later that afternoon, after everybody else and he heard it, (and that was the first time you had met him?) Yeah, I didn’t know who he was, I didn’t know they had an album deal, I didn’t know he was a producer and he was going to produce it, I didn’t know any of that.

I thought he was just some other part of the organization, and um…. they liked it.

And they said well can you move up here? And I say well yeah whatever. I’ll need to go home and get some stuff, yeah sure (they said) can you be back here (I think ) it was by the weekend I don’t remember what day it was, just sometime before the weekend, so we can start rehearsing. Sure, so I drove all the way back to Decatur, threw in some clothes and shit I didn’t bring anything else up with me really, drove all the way back to Detroit and they gave me a room in this condemned building. (So was the half stack theirs or had they hired it?) No, that was theirs; that was back in the days when you could buy a Marshall half stack for $250, it was cheap then. So they owned like a couple.

The first gig I did with them, somebody else had the half stack I didn’t get to use it, I used a Twin, and the Twin had two giant SRO 12’s in it (Speakers) it sounded great but it wasn’t loud enough, they sounded F**** great though. I was standing in front of it thinking man, this sounds better than the Marshall does but it wasn’t nearly loud enough. So they went out and bought me another Marshall. I just used it, it wasn’t mine but that’s it really, the rest of it’s a blur.

I just remember I tried to quit smoking, and that was a terribly wrong place to try to quit smoking, and the day I’d gone the longest without smoking, this arrangement for Rock and Roll (Lou Reed song) came to me like a shot, the whole thing. (Wow! it was like your head cleared) I guess so, it must have cleared up for a second, and the whole Rock and Roll thing came out. So, we went up to rehearsal next day, and I told the guys, I said, you know I kind got an idea for this Rock and Roll cos they wanted to do the tune.

They had played the tune for me, on a cassette or on a record, I think it was probably on a record cos we didn’t have cassettes yet. And I thought, well I don’t know, it sounds kind of folky, the way Lou Did it, it was kinda folky, and they wanted to rock it up. And I just remember the first thing that entered my mind was I wonder how Mountain would do this tune if they were doing it, and the whole arrangement came after that.

So I went up and showed it to them, and they F**** loved it, I could tell, but Detroit people never say anything like “oh that’s great man!” which is one of the reasons I like them, they don’t hype you like LA, over the top. In Detroit they say, yeah this is cool.

I could tell when Mitch was singing it that he loved it just the way he’d sing it, he just punched it out and it sounded great! Then Bob heard it, he said, “what the F*** is that!” and I said well, you know, it’s my arrangement of Rock and Roll; he loved it.

It must have been pretty tough going from Decatur to Detroit?

You know, I was so young and naïve it made no difference to me, I just thought, Oh cool I’m going to playing with Mitch Ryder. I was 21 maybe 22, I didn’t give a shit about any of that stuff.

(Note: Steve’s arrangement of Lou Reed’s ‘Rock and Roll’ was to later catch Lou’s attention and along with Bob Ezrin, that is how Steve came to do his second ever album; Lou Reed’s ‘Berlin’)

Get Manhattan Blues Project





The Fabulous Royal Oak Clay, Glass and Metal Show features an amazing diversity of work within the flame worked mediums....

The Royal Oak Clay, Glass and Metal Show features an amazing diversity of work within the flame worked mediums. Patrons are often surprised to see just how different artists are able to add their own spin on creative functional and decorative items. Our jurors work to find the most diversity possible so that you can see everything from basic plates to elaborate installations.

JUNE 14-15, 2014
Downtown Royal Oak, MI

Each year as many as twelve artists are selected to demonstrate so that you can more fully understand the work you are seeing. Live glass blowing, wheel throwing and metal working make this event unique.



Ron and I began to work on songs and were often hanging out at his Mom's house on Highlake Rd on the west end of Ann Arbor, where he was living. Ron had contact with some other local musicians, and was trying to put something together. This was before Destroy All Monsters, and not too long after the New Order. We would sit in the TV room (the TV was on continuously) and have drinks until 4 or 5 AM, and go down to the basement to jam.

There was a singer in Ypsilanti...a bit too much of a "rock god" type for me, and Rob King who would later drum in Destroy All Monsters, and Dennis "Machine Gun" Thompson, from the MC5, who was living in downriver Detroit.

Dennis was with Ron in the New Order, and would be part of our New Race project in 1981. We jammed with Dennis a few times, and made some tapes.

Wayne Kramer had just gotten out of prison, and came by while we were jamming in a studio and making tapes. He was doing something with Brits Mick Farren from the Deviants, and Larry Wallis guitarist of the Pink Fairies. Soon after that Wayne would form Gang War with Johnny Thunders, more or less a debacle in which Thunders was usually too smashed to play, but it still offered a good opportunity to see the great Wayne Kramer at very small clubs.

Here, at last, was the energy source. It seems that it never dies, but like an artesian water source it sometimes goes underground and reappears later, elsewhere. It can have multiple tributaries and it needs to be replenished from time to time, not just taken from. You take, but you have to give back. It goes on.

I would see Sonics Rendezvous as often as possible from then on. I was collecting tons of raw inspirational material to take back with me to Radio Birdman. In all the shows I went to, that was always foremost in my mind. There had been no mentors .. not even peers … for a long time. No one to gain knowledge from. No one to inspire my muse.

Radio Birdman was completely and utterly isolated in the first months of 1976. Staying on that island without contact for too long could have caused the inspiration to fade, dry up, blow away. The vision could lose clarity, dissipate.

My band had not yet achieved full power, and I knew I needed new influences to help it go to the next level. For me, Sonics Rendezvous made the difference. It was like finding a clear cold mountain spring in a trackless desert.

By around February (1976) it was time to return from the Michigan snow to the blast furnace heat of Sydney. In those days the transpacific routes were mostly flown by DC-10s or early model 747s which had to make one refueling stop between LA and Sydney. Continental stopped in Samoa, Qantas stopped in Fiji, and United stopped in Honolulu.

I flew on all these routes, whatever ticket was the cheapest at the time. I was able usually to write material for songs on these long tedious flights, so as to make some productive use of the time. Sometimes I'd get off for a couple of days in these places and look around. I had a friend in Honolulu, John Berger, and sometimes we would go into town and see bands in between these flights.

Once I stopped in Fiji and hitchhiked into the countryside, wandered off the road into the jungle and enjoyed generous hospitality in a small village. Guys spent evenings listening to the radio, playing cards and drinking raw grey muddy kava juice ... the chief was all too happy for this skinny white guy with a guitar to join in the circle and share some laughs as the kava bowl got passed around.

Arriving in Sydney I went straight over to Radio Birdman manager George Kringas' house in Blues Point. I wanted to get back into rehearsals and get ready to record. I got a shock when I went to the bathroom. There was a dead lamb in the bathtub that seemed to be staring at me. Band sidekick Mark Sisto had bought it. It was waiting in the bath because of drainage, later to be roasted on a spit, for my homecoming party that night.


★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.★



Glad Winter is getting toward the end! It's time to rock! Spring is right around the corner and so is the first release on Funky D Records, 'Ride The Whale' by the young Detroit Rockers, Awesome Jarvis and The Whales (Produced by Tino Gross)

Awesome Jarvis and The Whales will be joined by Mega Weedge Feat. Tony Muggs and Funky D Recording artists Woven Tangles and DJ Linda Lexy

Awesome Jarvis is:
Ben Kay-guitar
Chris Tomko-Vocals
Phil Giannotti-drums
Emily Weintecha-bass
Brian Weintecha-guitar

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