Documentary Review: Freakscene: The Story of Dinosaur Jr.

 Text © Robert Barry Francos / FFanzeen, 2022
Images from the Internet

Freakscene: The Story of Dinosaur Jr.
Directed by Philipp Virus (aka Philipp Rockenheim)
Rapid Eye Movies; Virus Films; Utopia
82 minutes, 2021 / 2022
https://dinosaurjrmovie.com/#modal
https://rapideyemovies.de/2020/08/19/freakscene-the-story-of-dinosaur-jr-2/

An infamous story about the Western Massachusetts-based trio that formed in the early 1980s, is that the band was originally named Dinosaur and had their first album titled as such on the highly influential SST Records label. A classic rock cover band, also called Dinosaur, who never went anywhere, got lawyers involved, and the threesome had to change their name to the new moniker. Dinosaur Jr.

Wikipedia lists Dinosaur Jr. (DJ) as “alternative rock.” While most people would simply put them into the “hardcore” label, it could be that AR is a bit more accurate than hardcore. DJ were different than most of their label mates at the time, such as Black Flag and the Minutemen in that they were often a mix of melodic verses and much more explosive and experimental sounds, especially during the bridges of songs. I would go so far as to say guitarist J. Mascis is as innovative as, say, Johnny Thunders in that the sound is almost undefinable and, for most, unrepeatable.

That is not to say, however, there were not some equally brilliant guitarists that broke the boundaries, such as Greg Ginn (in his post-Black Flag days, such as with his band Gone, for example), Sonic Youth, and Bob Mould (Hüsker Dü), but we are here to discuss power noise trio Dinosaur Jr., consisting of J. Mascis (vox/guitar/songwriter), Lou Barlow (bass), and Murph (aka Patrick Murphy), drums.

Even before I start the documentary, one of the points I am really interested in is that Mascis is known to be quite contentious. I’m not sure if it’s punk anger, ego aggrandizement, or that he’s just an asshole, but (a) there is no argument that he is influential, and (b) I am hoping to find out a bit more about the band beyond the vinyl (yes, I have all of DJ’s early albums in first-pressings LP form).

We are musically introduced to the band right off the bat, with a for-the-documentary music video of one of their early tunes, with a mixture of photos and videos, both archival and present day. When we actually meet the trio in the modern day during their interview stints, the mixture of old and new continues, which makes it truly interesting, especially their early days as a hardcore band called Deep Wound, when they were still in high school. Even at this beginning you can see the rumbling of Mascis’ need for control of every aspect of the band, more than even Johnny Ramone. The amps had to be right, the guitar sound, the songs themselves, etc. It’s hard to please a perfectionist.

One of the highlights – if not the highlight – is the live footage of the band onstage during their early years. Watching Mascis just shred is a sight to see. It is like he is taking all his emotions, frustrations, and anger out in his thrashing.

The band was a bit contentious, and soon found themselves blacklisted from venues in Western Mass. Funny, because these places obviously had no idea about New York bands like Suicide and Red Transistor, who physically assaulted the audience. But they did get on the EVOL release tour opening for Sonic Youth. Both Kim Gordon and Thurston Moore are interviewed (not together; to find out why, read Kim’s book, Girl in a Band), and home movies of the two bands intermingling is fun.

Also interviewed in the doc are some of the band’s friends and relations, Henry Rollins (is there any documentary about the 1980s that he is not in?), Bob Mould, and Frank Black/Black Francis (the Pixies), along with members of other groups.

The second most famous thing about DJ (in my opinion), is the conflicts within the band. Even early on, Mascis and Barlow were going head-to-head. Still, though early on Mascis refers to the band as “family” here, he kicks out Barlow in 1988, and he did not rejoin the band until 2005, but it did give Barlow a chance to form other bands like Sebadoh, and a lengthy solo career. As the rhythm section, Barlow and Murph seemed to get along, and then the relationship with Murph and Mascis proceeded poorly after that. Murph exclaims here, “this band was never fun. It was never about fun. It was always blood, sweat, and fucking tears.” To which he followed by leaving the band to keep his own sanity.

To most people, J. Mascis = Dinosaur Jr., and he even did an DJ album practically by himself. For touring, he picked a revolving door of musicians during the height of their fame in the 1990s, when they signed with Sire Records, and after Nirvana broke everything wide open.

There is a couple of interesting clips of Mascis playing with the Ashton Brothers and Mike Watt, performing Stooges songs. Now, from what I understand, Ron Ashton is similar to Mascis when it comes to attitude and demeaner, and one has to wonder how fire and fire combined. Also, these clips were ones I would have really liked to see completely, as every piece of music is abbreviated for time.

I find it interesting that none of the other members of DJ while Barlow and Murph were gone are interviewed. By the time the original members reformed in 2005, Mascis’ hair is white and Murph is cue-ball bald.

One thing that drove me a bit crazy was that for a man who likes to play as loud as possible, it’s ironic that Mascis’ voice is so rumblingly deep and quiet, it’s was hard for me to hear him onscreen sometimes, and I had to back-up to catch it. Mind you, my ears are affected by live music in clubs since 1975, so it may not all be Mascis’ fault.

Most band documentaries tend to focus on a specific time period, such as the formation, or their rise to fame, but this one is broken up basically into three sections. The first, which is the formation and beginning of their recordings up until Barlow and Murph are gone, the second is the middle period with others filling their spots, and the third is the reformation in 2005 and going forward to the present. Wisely, the focus is on the first and the last, with the Barlow-less and Murph-less DJ given short time. I love how much they spend on the third act, the relative now, showing them backstage, on stage (including their 30-anniversary show in New York City at the Bowery Ballroom in 2015), and more interviews (Murph comes out the most sympathetic). There is not a weak moment in the film, and it is just the right length.

While there are a large number of great both archival and newer footage, interviews and still photos for all the parts, it’s the interviews I found most interesting, getting to know their personalities (well, the public ones anyway), and how they managed to reunite and get along (unlike most of the Ramones who hated each other).

Mascis put it well towards the end of the film: “We’re more like family than friends. A dysfunctional family.”

IMBD Listing HERE 

 

Albums and Singles/Video Reviews: November 2021

Albums and Singles/Video Reviews: November 2021

 Text © Robert Barry Francos / FFanzeen, 2021
Images from the Internet

Note that these reviews are alphabetical by first letter, and not listed in a “ratings” order.

Albums:

James Lee Stanley & Dan Navarro
All Wood and Led
www.allwoodandled.com
This release is just part of a series of covers of classic rock songs, where the “wood” represents acoustic guitars, which have included albums of material by the Rolling Stones and the Doors (both previously reviewed on this blog). As Navarro says, “With absolute respect and admiration, we chose not to simply duplicate the originals, but instead imagined, ‘What if Led Zeppelin had lived in Laurel Canyon in 1967 instead of England?’” The folkie soul in me is quite satisfied with the rocker part of this collection. While not a popular opinion, I was never a Zep fan, and honestly, a lot of this material is new to me for that reason, giving it some virgin ears. They nail such classics like the obvious “Stairway to Heaven,” “Whole Lotta Love” and “Dazed and Confused,” but they also do a stack of non-radio saturated numbers like “Good Times Bad Times” and “Hey Hey What Can I Do?” True to their word, they reinvent the songs to their own spirits and it works out incredibly well. The Doors was a pretty easy translation, and the Stones’ blues riffs fit quite well into the model, but Zep is more of a transition, but the hand-to-glove still works in surprisingly good ways, mainly due (in my opinion) to Zep’s use of Olde English melodies in rock form, such as “The Battle of Evermore.” If you are either a folk fan or a curiosity seeker, this may meet your needs on multiple levels.
Full sample song HERE 

 

Nine Pound Hammer
When the Sh*t Goes Down
www.acetate.com
As the sticker on my CD clearly states, “Original members Blaine Cartwright and Scott Luallen team up with Ramones Super-Producer Daniel Rey.” Who in my shoes could not have their curiosity piqued? Especially since I am not very familiar with the Kentucky cowpunk (their description) band. I must say, after most of my life being force-fed Southern Rock like Skynyrd with the occasional good stuff like Rank & File and Nashville Pussy (which shares Blaine as guitarist), this is so refreshing. From the opening, using a clip of Mel Blanc’s Foghorn Leghorn, you know they don’t take themselves too seriously (meant in attitude, not aptitude). Starting strong with “What Kind of God,” and especially the second, title cut, you can definitely hear the Rey influence as the sound is laid bare and stripped, though Cartwright’s guitar flairs brilliantly here and there. It’s almost like the Ramones zeitgeist if they listened to country rather than surf and girl groups. At gut-wrenching speed, most songs are quite short at about 2:30, with a couple being longer. Their mindset can be seen in titles like “Street Chicken,” “Mama Lied,” “Billy Lost His Feet,” “Get the Hell Off the Farm,” “Daviess Co Tractor Massacre,” and “Lizard Brain.” I know I haven’t gotten the full effect of the lyrics yet, but this one is so much fun and kicks so much butt, it will certainly be replayed, so I’ll get there and enjoy the ride. Just wish there was a lyric sheet included.
Full title cut can be heard HERE 

 

Yod Crewsy
The Longings of Paul Roalsvig
www.darkmarbles.com
Before he was in bands like the Splatcats, the Sky Cabin Boys, the Dark Marbles and the Bernie Kugel Experience, Yod was known by his birth name, Paul Roalsvig. This two-disc collection is split into a “Love” group and “Peace” selection. There are 31 cuts in total, being a mix of covers both infamous and obscure, and originals. Some of Buffalo’s musical royalty appear on here, such as Dave Meinzer, Russell Steinberg, and Cathy Carfagna. He starts off strong with Icehouse’s “Crazy,” which follows one of Yod’s personal favorites, the poppy theme to the film “That Thing That You Do!” Third cut in is when we get our first original, “I’ll Keep Sending You Flowers,” proving that Crewsy knows his way around creating both a melody and a strong lyric. Of course, I won’t be discussing all the cuts, but will pick and choose. His cover of the Stones’ “Dead Flowers” is almost projected through a folk lens which actually works quite well. More somewhat obscurities with Dylan’s bluesy “I Threw It All Away” and the Monkees’ “Sometime in the Morning,” and then a deep version of Orbison’s classic “In Dreams.” The more folk-oriented Peace disc starts off with one of my fave tunes, “Eve of Destruction”; here it is handled more folk pop leaning towards the Turtles cover rather than Barry McGuire, but the stanzas are intact. Included are masterful covers such as Dylan’s snarky “With God on Our Side” (banjo led), Nick Lowe’s “(What’s So Funny About) Peace, Love and Understanding,” and a raucous Five Man Electrical Band’s “Signs,” But the gem here is the back half of this second disc that is solid originals, including “Edie” (about Edie Sedgwick) and the timely ballad “When They Stormed the Capital.”
Full sample song HERE 

Singles:

Chesty Malone and the Slice ‘Em Ups
Turn to Crime
1332 Records / www.chestymalone.com/
Despite moving relatively recently to the hinterlands of Pennsylvania, CMatSEUs have lost none of their drive or appeal. The main focus is still vocalist Jacqueline Blownaparte and her partner in – er – crime, guitarist superb Anthony Begnal, with a new bassist and drummer. Their aggressive hardcore both brings reminiscence of the 1980s style of in-your-face madness with a touch of harmonies that do not fall into the wishy-washy ‘90s Green Day kind of fluff. What I especially like about the chorus is that it can be both chantable, and can be used in the fist pumping way to build up adrenaline for the mosh pit (or in lieu of it; I’m old enough to be a lieu of person, but I digress…). Possibly the best comparison would be the flavor/attitude of the Cramps mixed with the influence of the likes of GBH. This is just one side of their new single (7”-er, remember them?). This is some of the better post-hardcore sound I have heard in a while, and a high mark even for them, and they set the bar high.
Can be heard HERE 

 

The Dictators
“Let’s Get the Band Back Together”
2:25 minutes
Dictators Multi/Media
I have liked the Dictators (DFFD) since I heard their introductory album, and even more when I saw them live (CBGB in 1975) for the first of multiple times (including at The Bottom Line, The Left Bank, and Irving Plaza). Over the years, HDM got most of the attention, but I always thought that the songs Andy/Adny Shernoff voxed were amazing, as well. They had a style that was metal and could be juvenile at the same time, which was part of their charm. Songs were singalongs and often brilliantly silly (such as “Master Race Rock”), but they could also be profound (“Steppin’ Out”). Over the years through various incarnations of the band, they are back, with Andy on vocals and bass, ace metal guitarist and right winger Ross “The Boss” Friedman, Albert Bouchard (ex-Blue Oyster Cult) on drums, and for this recording, the recently late, great rhythm guitarist Scott “Top Ten” Kempner. This song feels, in tone, like it could fit somewhere between the first and second album. The “C’mon” in the chorus, sung by Manic Panic/Sic F*cks’ own Tish and Snooky Bellomo, is certainly chantable, layered with Andy’s New Yawk accent, sounds like fun. The phrasing of the song is a bit melodic rock, even with Ross’s solo burst, but with its occasional hint of early rock’n’roll on some parts, it is definitely an enjoyable listen. While I look forward to the full album, as an aside, after you have heard this Dictators’ song, it is also worth hearing an earlier, more pop solo Shernoff version of it from almost a decade ago HERE. 
Full song can be heard HERE 

 

Gary Louris
“Almost Home”
3:31 minutes
https://orcd.co/jumpforjoy
This travel song has a nice “hoo-hoo-hoo” chorus to sing along with, with it’s poppy and upbeat singer-songwriter tone. Of course, as should be, the rhythm is steady like the wheels of the car (truck?) humming along a highway, not too far from the final exit. Louris’ vocals fit the sound so well, and the video that accompanies it is arty without being obtuse. It’s as simple as the driving beat. Humorously, I wonder about the line “When I close my eyes, I see your face…” Err, aren’t you driving? Still, the chorus is extremely catchy possible earworm and a hoot. A good listen, but that should come as no surprise as he was in the seminal band The Jayhawks, and a founding member of “supergroup” Golden Smog.
Can be heard HERE 

Review: Records Collecting Dust II

Text © Robert Barry Francos / FFanzeen, 2018

Images from the Internet

Records Collecting Dust II

Written, produced and directed by Jason Blackmore

Ralph Wayne’s Vintage Backyard Films / Riot House Pictures / MVD Visual

78 minutes, 2018

www.recordscollectingdust.com

www.riothousepictures.com  

www.mvdvisual.com

The subtitle for this DVD is “…a documentary film about the music and records that changed our lives.”

In the original film from 2015, which I have yet to see, the focus was on 1980s West Coast Punk. For this sequel, we are switched to the East Coast punk scene of that period. In the pre-digital world – including CDs – the early 1980s was the last great hurrah for records in the pre-Marshall McLuhan-esque “replaced technology comes back as art” (paraphrased) world of new vinyl. Bands started labels or just put out their own stuff. I still remember heading down to Disc-O-Rama on Eighth Street in Greenwich Village to see the new indie recordings coming out and pick the ones I wanted. Thanks to FFanzeen, I was also sent many by the labels directly to review that I would never have seen, from both East and West Coasts, as well as in-between.

I firmly believe that record collecting is both an art and an addiction that can catch from one to another (e.g., I learned from a high school friend, and passed it on to a FFanzeen reader back in the day who has never really forgiven me). However, I will add that unless one has the collector “gene” it’s a moot point. Here is some of my record collecting philosophy called “Reflections on Being a Record Collector.” 

The focus of the film – well, the first half anyway – isn’t really about collecting, but more about what the subtitle posits, the song that sparked interest in music. Lots of Beatles, and even odder stuff like Kay Kaiser’s “Three Little Fishies” (I knew that song from a Zero Mostel LP, which I still have).  Along with the Fab Four, the most common mentions are Led Zeppelin and KISS (spelled both KISS and Kiss in the captions).

Most of those interviewed, which we hear in bursts of two or three sentences at a time, are mostly musicians, primarily in Boston and the Washington DC area, in groups like Mission of Burma, Agnostic Front, Helmet, the Cro-Mags, the Freeze, the FUs, and so many others. It’s definitely a hardcore roll call.

One of the subtle accuracies of this documentary is that historically that I have noticed is that while there are women who are collectors, the overwhelming majority are male. The Yin side of the equation is presented here by Amy Pickering and Cynthia Connolly, both of Dischord Records. Even many women I know who have encyclopedic knowledge of the music, most of them are free of the collecting virus, which I totally respect.

                                                            

There are sort of different chapters, including “your first record,” “who was a key influencer” (usually an older sibling or cousin), “the record that changed your life,” “the last record you purchased,” and “if your house was on fire, what three records would you save?” Personally, I think that last one is a ridiculous question only because there are too many I like and by the time I chose, I’d be a french fry. What I find interesting is most of the answers are along the lines of “here is this rare record so I could sell it to either buy more records or fix my house.” My guess the point of the question is what are the important records to you as a metaphor, not as a reality. I have rare records, but in this context I would answer differently; that being said, Ian MacKaye gives my fave answer.

Overall, this is an incredibly fun film, with strong nostalgia strings to pull at your heart. “Oh, yeah, that’s a great record,” or “Wow, I hate that one,” will shine through, though there is bound to be some “Oh, Jeez, I didn’t even know that existed, and now I want it!” All bound to bounce around your noggin as you’re watching. There’s not a dull moment.

The bonus material on the DVD includes the original trailer and 20:57 of additional interview footage. While it’s totally understandable why this never made the final cut, the first third is a load of fun as those interviewed show off their prize possessions. For the next third, it’s kind of a mesh-mash of different ideas, which is also interesting. The last third, though, is one long rambling interview that really doesn’t say that much by someone I strongly admire, FYI, and if it was someone else it probably would never have seen the light of HD day.

I did have one issue with this: every single person interviewed is either connected to the music industry behind the scenes, or are musicians (one who even admits he doesn’t collect vinyl, but only digital…does that even count?), but what about collectors who collect for collecting’s sake, i.e., love of the music alone? There are so many fanatical record collectors who I find absolutely fascinating that never played a note in their lives. I know some “hopelessly obscure” collectors, and they are much more interesting because they didn’t create the music, but their devotion is just as – err – hardcore. Perhaps that can be film Number 3?

Finally, I realize this has nuthin’ to do with nuthin’, but the subtitles are a bit psychotic. For example, it states “The Monkeys” (though it’s spelled correctly later on), “Cool and the Gang,” “Henry Rawlins” (Rollins), and then another early one has a collector referring to “Corvette’s”; for those of us old enough to know, it’s EJ Korvettes, a department store where many of us did our initial mainstream record shopping. Here’s my totally unrelated Korvettes vinyl story: When I was in high school, I was with someone who bought the Woodstock soundtrack; when we got it home we found it skipped, so we brought it back to the store. Of course, they had to test it to prove it was actually defective. The sales clerk put on the record just as the phone rang, so she ran out, not realizing that the turntable was connected to the store’s PA. All of a sudden, through the entire store, you heard Country Joe yell echoing, “Gimme an F…, Gimme a U...,”  Good record collecting times.

Review: Finding Joseph I: The HR from Bad Brains Documentary

Text © Robert Barry Francos / FFanzeen, 2017

Images from the Internet

Finding Joseph I: The HR from Bad Brains Documentary

Directed by James Lathos

Small Axe Films; Giraffe Productions; MVD Visual

91 minutes / 2016; 2017

www.hrdocumentary.com

www.mvdvisual.com

I truly believe it would be hard to argue that the Bad Brains (BB) were one of the top American hardcore groups in the 1980s, and possibly the loudest and fastest of the bunch. As musicians, they are hard to beat. As people? Well… more on that later.

The British-American BB’s lead singer was Paul Hudson, whose name was abbreviated to just HR. As a kid, he was known as “Hunting Rod” for the walking stick he habitually carried, and in the middle days it became “Human Rights,” as in the post-BB group, the HR Band (Human Rights). With the deepening of his Rasta studies, he became Joseph I.  

I was actually excited to see this documentary as, to be honest, I never saw the BB play live, or any of his other bands. I’ve seen some videos though, and they are damn exciting to watch. But what interested me the most is to see what others had to say about him.

There is no doubt this documentary by first time director James Lathos is a love fest for the man. Even though it does not shy away from some of his personal issues and demons, it presents a string of people saying how he “sparked modern punk rock” right to being a “living legend,” which is stated more than once.

Y’know what, yeah, some of that is true. While I don’t believe the BB “sparked” hardcore, they definitely upped it more than a notch that set a very high bar. They were known for their speed, their dexterity, and a brilliant stage show with HR as its center. It was the Dead Boys that turned the BB onto what would become hardcore, and I believe the Dead Boys were the catalyst that truly sparked hardcore, but man, the BB were right at the fore.

Bad Brains, with HR in the forefront
(Earl on the right)

The documentary starts with a history lesson, as these things are wont to do, describing HR’s childhood mostly through his eyes and those of his BB band mate and real life brother, drummer Earl Hudson. They describe a somewhat tumultuous family life that moved around a lot, which scarred HR. Music, though, always seemed a focusing point to center him then.

Over the years, HR fronted many other bands as well as the BB, such as Human Rights, Zion Train, Soul Brains (the reunited BB), and he even sat in with Sublime. Over the years, it almost seems like he was increasingly channeling George Clinton’s haberdasher.

What becomes ever clearer over time is that there was something seriously wrong with him, on which the documentary shines a strong light, which is the advent and crush of mental illness. In his youth and well into the BB, he was a strong user of LSD; and even into his “purer” Rasta days when he reportedly stopped using acid, I cannot imagine his not overindulging in the religion’s holy weed. While not truly defined, it is assumed here (and sounds right to me) that with over use of substances, he has fallen into schizophrenia, including hearing and seeing what’s not necessarily there for most humans to hear and see.

Other than his brother, the clearest picture is given by his long-time manager, Anthony Countey, and his later-married wife. Of course, he joins a long history of modern and innovative musicians who have suffered from mental distress, such as Syd Barrett and Roky Erickson.

Speaking of musicians, there are a lot here speaking up for him at a pedestal level, even if things didn’t go well with the band, such as (of course) the BB, Sublime, and various others such as Vernon Reid, members of the Cro-Mags, the Brothers MacKaye of Minor Threat and Fugazi (Ian and Alec; the BB started in Washington DC), and Fishbone.

I was surprised there wasn’t more of Positive Force on there, and also missing was anyone from the Beastie Boys; HR’s band infamously toured with them, as they were signed to the Boys’ Maverick label. Someone from the label is represented here, but not the pseudo-punk rappers.  I was not, however, amazed at all (though curious to see) that no members from the Texas groups MDC (Millions of Dead Cops/Multi-Death Corporation) or the Big Boys were accounted for, all things considered:

Back in 1983, I published (but did not write) an article in FFanzeen about the people in the BB, which was less than flattering. For this, I received a lot hate mail from the hardcore scene. The core of the piece centers on that when the band found Rasta, as is described in the documentary, they also accepted its generally homophobic stance, which is not detailed in the film. There was also at least one recording studio they ripped off in New York, forcing it to close. The link to that article is HERE. 

One could look back and say, “Oh, well, HR was mentally sick,” but this is before any symptoms were apparent, and it was the whole band, not just HR. But, of course, this documentary is mostly focused on the person, so I’ll continue on that course.

Despite the standardized beginning of a biography documentary that more-or-less lists the facts (s/he was born there, lived here, moved there, etc.), thankfully it’s less than 10 minutes before we hear about a young HR going to New York and seeing the Dead Boys (nice clip of them from 1982 at CBGBs; yes, I was there). This changed the direction of the newly-formed BB into the hardcore mavericks and scene leaders they became; it’s arguable who were more influential in DC, the BB or Minor Threat; I’m happy to just call it a tie.

Following the progress of the BB, their dissolving due in large part to unpredictability, and the follow-through of other bands, as well as the onset of HR’s mental illness definitely makes compelling viewing. The use of a lot of historical images and videos, both off and especially on stage, keeps the story perking along quite well. Some keen animation just adds to the honeypot.

As documentaries go, this one isn’t brilliant necessarily, but then again, it has no problem keeping interest up. After all, with all his foibles and questionable choices, HR is an interesting person even beyond the BB, who has managed a career in music in extreme conditions, both on the external and internal levels.

While there may be some who boycott viewing this for reasons I’ve mentioned, I would say it’s still worth checking out, even if with a grain of salt. HR is and was a key player in the punk scene for many years, and even for that alone this is historically good viewing.

https://www.youtube.com/watch?v=lyBCQBL7A-M

DVD Review: GG Allin – (Un)Censored: Live 1993

Text © Robert Barry Francos / FFanzeen, 2015
Images from the Internet

GG Allin – (Un)Censored: Live 1993

Produced by Merle Allin
MVD Visual
110 minutes, 1993 / 2014
www.mvdvisual.com

Iggy Pop’s infamous glass on skin and self-peanut butter smearing was outrageous in the late 1960s and early 1970s. The next step up was Suicide’s in your face aggression and Transistor’s Von Lmo chasing his audience out of clubs (usually Max’s Kansas City) with a running chainsaw. They all paled in comparison to what GG Allin had in store for his audiences. His shows (and arrest records) were notorious.

This DVD is a collection of four shows during the Murder Junkies’ Terror in America 1993 Tour in the spring of 1993. GG would be dead less than a month later from the last one here, after an extremely wild and violent show at a New York club called the Gas Station.

If Allin wore any clothes at the beginning of a show, odds were good he was stark naked at the end (not counting the dog collar, boots and gloves), and somewhat lighter than when he came in, as he was known for both peeing and crapping on stage (and on occasion throwing said releases into the audience). Words to describe him have been transgressive and disgusting, but the first word in my mind is fearless.

The first show is from New Orleans at the RC Bridge Lounge, on May 16, 1993 (22 minutes long). Starting with his iconic “Bite It You Scum,” this actually ends up being the closest to a real show of GG’s I’ve seen in quite a while. Other than the occasional foray into the crowd, he stands his ground on stage and there is actually some quite agro moshing by the audience.

Here is also something I don’t see very often when watching these shows, and that is the audience gives as much violence at they get, if not more so. There is one fuckin’ huge inked and shirtless mofo (the bouncer?) who stands on the stage with him occasionally before diving off. The crowd is hyped, and when GG starts swinging at them, they don’t run away, they actually fight back. Props. I would like to believe that GG acknowledged them in return by actually keeping with the songs. Unlike some later, more theatrical shows (see the Chicago one, for example) where he’s brought props to the stage, here he keeps his jacket and jockstrap on for the whole show, though he does pull it down and do some yanking on his surprisingly micro-member (this was even discussed at his funeral, from the 1993 video I've seen called GG's Last Ride).

While the lighting is questionable due to the lack of decent illumination from the stage, and it seems the only brightness you can see is from the video cameras, the action is mostly viewable other than the occasional near “blackouts” when the floodlights from the videos are off. As with all the shows on this DVD, the entire gig is single-shot-camera, with no editing.

Next up is in Houston at the Catal Huyuk on May 17 (26 minutes). Funny, but the most eye-opening part of the show for me is when his microphone inevitably dies about a third of the way in, and as the techs work on it, GG goes into the audience and says, ‘How ya doin’?” and then sits down with them on some wooden, joined bleacher-type fold-down chairs. Someone hands him a plastic clear cup with beer and he drinks it down. It’s a very calm moment, and something I’ve never seen before at an Allin show, even when there are technical problems.

This is, in fact, a pretty sedate audience. Even as he prowls among the throng, they seem to be just standing them. When he whacks one or two along the way, they either duck or get hit and laugh. It is hard to explain just how surreal this all is. It is for this reason that a sudden fierce fist-led gang-up attack by a group occurs, it is also a shock. Still, this is one of the better musical shows of the four.

The Chicago show is from the Medusas club, on June 5 (33 minutes). It’s kind of fuzzy and the sound is terrible, also shot on a handheld camcorder in VHS. For over half an hour you get balls out (literally) GG, and the Murder Junkies pile drive their sound.

During “Bite It You Scum,” the opening number, GG removes his overcoat, which revels that all he’s wearing is tall leather boots, black gloves (I am assuming leather as well), and his spiked dog collar. As his brother Merle leads the band with his bass, GG rolls out an American flag onto the stage floor, gives himself an enema with a turkey baster, poops on the flag, pees on it and into a cup (which he flings out into the audience after a swig), and then uses lighter fluid set the flag alight (after wiping his butt with it, of course). In between all of that, he takes physical swipes at members of the audience, who douse him in beer from those omnipresent red cups. I’m not making an opinion, just relaying the action. And this is only the first song.

GG roams the crowd, occasionally being herded by the club’s bouncer to behind a fence between the front of the stage and the people in attendance. As many times has he climbs over, or tries to breach it (including breaking the separator’s metal braces which he wields as a weapon that someone grabs out of his hand), he is thwarted, sometimes not to daintily.

My major complaint about this quarter of the film is more in the line of how fuzzy the picture and sound is. If I didn’t know “Bite It,” I would not have been able to make out any of the song.

The last show is at the Marquee in Detroit, on June 6 (32 minutes). This one starts off a bit freewheeling, with fewer props at the start. Yes, “Bite It” is the first number, but no flag.

So what’s an artist to do? Crap on the stage and fling it, of course! He continues to roam around with a big, brown smudge on his rear, like someone with lack of sphincter control who did not wipe himself. However, none of this is as gross, to me, as when he does a “Pink Flamingos.”

There is no barrier between the man and his crowd in this place. He roams and with the exception of people taking pictures of him, people tend to avoid him and scream out verbal abuse. He spends more time off the stage than on, but that’s not too unusual.

Also not unusual is that his microphone keeps going in and out. Nearly every show I’ve have seen (recorded; was always too much of a wuss to see him live) the spotty mic has been an issue, but it’s hardly surprising with all the abuse it goes through, between his hitting his head with it until he bleeds, or shoving it up his anus. I think about the modern remote mic, and how that might have made a difference (not to mention HD video).

The club is kind of a cavernous  warehouse setting with pool tables, but the audience doesn’t seem to be that extensive; either that or they are staying way far away from him, and possible (make that probable) genetic projectiles. However, it’s the audience who is the most violent here, throwing either objects or oral confrontations. Yes, GG definitely confronts the occasional audience member, but it’s the macho jock assholes that just seem to be there for no other reason than an excuse for violence that had me scratching my head. At one point, GG screams at them, “Say that to my face!” but the chickenshit cowards never do, preferring to insult him from a safe distance. Some of what GG does on (and off) stage is not pleasant, but he’s the real deal. These guys doing the hollering are bully posers, and far more disgusting in my eyes. And I bet some of those same pussies smugly went home and said, “Yeah, we showed him.” Yes, you showed the world that you’re not even worth having poo flung at you.

What is interesting to me is that no matter what is happening by or to GG, the band just keeps playing, as if they were in another room. Singer’s microphone doesn’t work? They play. GG is in the audience beating someone? They play. Someone or a group is beating on GG? They keep playing. It really was an interesting social experiment.

When I see GG being interviewed in other places, like on the infamous Springer episode, I see theater. When I see video recordings of him perform, I see theater. Yes, I believe he believed in what he was saying, I also believe there is some narcissistic element that underlied his way of thinking that he is supreme, and I know people who have taken his message of “no PC as I envision it” that translates as just another way of either self-aggrandizement or the degradation of others (from the interviews, I believe GG would agree with that): “I can say whatever shitty thing I want, be it racist, sexist, homophobic or genderist, and if you don’t like it, you’re just being ‘PC.’ This is the same mentality of those hyper-Christians (and other religious groups as well) that state that if they discriminate against others, it’s religious right, but if someone complains about it, it’s a War on [Religion]. I could rant on for a while on this, but I will stop as I digress…

Whether you agree with GG and his stage performances or not, as a media theorist, I admire that a musician at his level has as many shows available as he does – thanks in large part to his brother Merle, who controls his estate – and remains a strong presence in the likes of social media and YouTube.

Songs list (in total from all shows):

Bite It You Scum
Cunt Sucking Cannibal
Expose Yourself to Kids
Highest Power
I Kill Everything I Fuck
I Wanna Rape You
Kill the Police
Live to Be Hated
Look Into My Eyes (and Hate Me)
Outlaw Scumfuc
Terror in America

 

DVD Review: Alice Donut: Freaks in Love

Text © Robert Barry Francos/FFanzeen, 2012
Images from the Internet

Freaks in Love: A Quarter Century in Underground Rock with Alice Donut
Written and directed by David Koslowski and Skizz Cyzyk
1200B Films / Duotone Films
98 minutes, 2011
Freaksinlove.com
MVDvisual.com

When you think of influential bands from the 1980s, the first name to come to mind may not be Alice Donut. That’s irrelevant, because there is so much music you listen to – especially Generation X and Y – that have a bit of them in there. It’s the same way you need not know Johnny Thunders to have heard those who have.

Originally from New York, Alice Donut (a play on the name Alice Doesn’t Live Here Anymore) is an extension of the artistic side of hardcore, much as was Pulsallama. They were a fine mix of hard bash-and-crash sounds, harmonies, and experimental bizarrities (yeah, I made that word up, whadovit?)

How good were they? Well, I don’t remember what I thought of them when their albums came out (yeah, I got ‘em), but “Egg” has become a new fave, especially for the off-beat, sweet sounding chorus and the mess in-between.

The filmmakers David Koslowski and Skizz Cyzyk do a splendid job following the band around as they ready and perform a reunion show, while presenting us the history of the band in an oral history manner (also with clips), managing to work in just about every living member of the band; while the core stayed the same, there were some who came, went, returned, repeat.

If musicians and accomplices were associated with the band, then they tracked ‘em down. Some who show up include Mindy Weisberger, who shot all the song videos over their 25-year career, and Jello Biafra, who signed them to his Alternative Tentacles label (and, of course, was once lead singer of a little band called the Dead Kennedys…). Even Curt Kirkwood (Meat Puppets) comes around to explain why they were so important. KUSF’s DJ, Germ, appears to illuminate how he became the first to ever play AD on-air. Their long-time producer, Martin Bisi chimes in about working with them. However, the one I wanted to hear from especially was Chet Mazur, the man who the band consistently dressed in frumpy women’s clothes and curlers (he’s on the DVD box), and happily he explains how the whole drag thing came about, even though it seems he’s not sure exactly of the why, either.

One thing that is totally admirable about the band is that even though some members have played musical chairs, they’ve all remained friends over the years, even after annoying each other after long tours; enough that they come back, continue to collaborate, and have nice things to say here, while still being honest enough to admit that not everything was always honky-dory.

.As good as their early material was, as a unit Alice Donut really came together when Viennese classically-trained musician Sissi Shulmeister (translated as schoolmaster?) came to the New World and joined. When the band finally did disburse, she and lead singer Tomas Antona moved to North Carolina and are raising two kids who probably cannot fathom that they probably have the coolest parents in Durham.

Alice Donut songs tend to be about the hardships and absolute absurdities of life, from dealing with loneliness, living an unfulfilled life (such as the song, “The Son of a Disgruntled X-Postal Worker Reflects on His Life While Getting Stones in the Parking Lot of a Winn-Dixie Listening to Metallica”), and general angst and ennui. Their first song, though, was the controversial “Lisa’s Father,” whose subject matter includes alcoholism, child abuse, and false religious beliefs.

Part of the band’s charm, and how they got away with all they did, I believe is in part due to Antona’s high-pitched meandering wail of a voice, which distracts from what he’s actually singing about. This is a good thing, in my mind.

Alice Donut may occasionally show up for a reunion show, but make no mistake about it, their legacy is strong, and held close by their fans. And someday, Antona’s hand-painted raincoats are gonna fetch quite the price.

As if the documentary isn’t enough, there are plenty of extras that last over 40 minutes, most notably a wide variety of live material and interviews from other sources.

Freaks in Love is well crafted from beginning to end. It’s hard not to fall for these people, as they are as entertaining off the stage as they are on.



Bonus video:

DVD Review: GG Allin & the Murder Junkies: Blood, Shit, and Fears

Text © Robert Barry Francos/FFanzeen, 2012
Images from the Internet

GG Allin & the Murder Junkies: Blood, Shit, and Fears
Directed by Merle Allin
MVD Visual
90 minutes, 2012
GGAllin.com
MVDvisual.com

By this point, does anyone reading this need to be told that GG and his band (whatever incarnation it may be, whether the AIDS Brigade, the Jabbers, or the Murder Junkies) were fucked up? Even relatively among those who backed him, GG seriously walked the walk, talked the talk, and ate the poop, both figuratively and literally as is shown numerous times on this collection of full shows.

Let’s face it, GG had to die, because there is no one could have lived that an extreme a life, full of violence, substance abuse, and malevolence towards an audience, without it taking its final toll.

The thing is, though, despite the arguably despicable lifestyle, GG could write a great song; “Drink, Fight and Fuck,” “Bite It You Scum,” and “You’re an Asshole,” are good examples. Yes, they were not necessarily ditties you’d want to play for your auntie’s tea (depending on said auntie, I guess), but the melodies are solid and catchy, and the lyrics, well, they’re hard to make out just like any other hardcore song anyway. And they’re no more (or less) disturbing than some other period bands, such as the Angry Samoans (“They Saved Hitler’s Cock”), the Sex Pistols (“Belsen Was a Gas”), or even the Hoosier proto-punks, the Gizmos (“Pumpin’ to Playboy”).

Actually, GG was not even an originator of antagonism to the audience, what with being preceded by Suicide and Red Transistor, a band led by Von Lmo who would chase the patrons out of a club with a whirring chainsaw.

And yet, there is definitely something unique in the way GG would roam the stage and club wearing nothing but a dog collar and his boots, pulling on his penis while singing, writhing around on stage or club floor, randomly punch someone near him, violently assaulting women (either grabbing at their clothes or trying to get them to perform fellatio – which I have never seen him accomplish).

For me, as has always been with GG, it still comes back to the music. I still have the demo tape he sent me from when he was starting out in New Hampshire, and it was the songs that attracted my attention. Did I ever go see him perform live? No, I admit I’m either too much a coward, or love myself too much to put myself in that much real physical danger.

Watching the five shows on this DVD, authorized by GG’s brother and bassist, Merle, it is clear the audience both likes and fears GG at the same time, giving him plenty of room to roam and fling his poop. Those who remain close enough to his orbit get pulled in one way or another. Some antagonize him by throwing things like bottles or cups of beer, or getting in a punch themselves. Perhaps they didn’t realize just how fearless and ruthless GG was when in performance mode. And yet, as soon as the altercation cools in any way, he’s back to roaming like a shark through the ocean, nearly naked as a jaybird, egging on others. In fact, at the end of the first show, the camera follows the band backstage, and GG shows a vertical scratch across his belly where he was cut with a knife by an audience member.

Wisely, GG and crew had a camera – er – crew handy for many of their shows. Sometimes even the cameraperson ends up on the wrong side of the GG stick, but with multiple cameras, all the action is captured, and is now being fed out to a still legion-size of adoring fans (it’s easier to be a follower being separated by six feet of earth).

There is an 18 month gap between the Live Shit and Bonus Blood extras. The quality of the shows varies somewhat (such as there being some pretty steady feedback happening throughout the Fuped Duck show), not to mention the inconsistencies of the camcorders used, some of which produces video “noise.” Plus, the N’orleans show is really dark, as the only lighting is from behind the stage.

One of the nice aspects of this DVD is that you can search by show or by song in each performance; this gives you the option to hear a specific piece, and it gives you the songs titles that way.

You may need a strong stomach to watch some of the antics that go on, such as when he does a, well, Pink Flamingos, but it will keep you glued to the chair to see just what the hell he’s going to do next. R.I.P. GG.

Contents
Live Shit: 1991
Antenna Club, Memphis, TN: Nov. 16 (23 min.)
Fuped Duck, New Orleans, LA: Nov. 17 (18 min.)
Orpheus Theater, Knoxville, TN: Nov. 23 (25 min.)

Bonus Blood: 1993
Penguin Pub, Youngstown, OH: May 12 (22 min.)
Metro, Richmond, VA: May 13 (32 min.)