Um alô do Bob Stubbs

Bob Stubbs, baterista do Social Distortion no obscuro período entre os discos Mommy’s Little Monster, de 1982, e Prison Bound, de 1988, mandou essa pro blog:

Thank you for the link:there are so many misinformed websites about this subject.I am glad someone got it right this time.Keep up the good work-hope to see more of your work in the future.
Originally, in the early part of 2001 I had spoken with our old manager”MonkRock”about writing a book about the early days of Social Distortion which would include myself and others that get left out of the band’s story so of 2011,No book has yet been written on this subject-It would be a good idea to do a Book soon before all of the people who were there in those early days are Dead and their story goes untold and forgotten. It would be a loss for future generations to come.Thanks
Bob Stubbs
Valeu, Bob!

Drummers of Social Distortion III – Bob Stubbs

Outra tradução a pedido do Christopher Reece

Another translation for Christopher Reece:

After Derek O’Brien, Social Distortion’s forth drummer was Bob Stubbs. He was born in Sacramento, Northern California. There, he played in the bands Authorities, The Vacant, Circle Kross and Red Tape with Duane Peters. After Red Tape disbanded, Stubbs moved to Los Angeles, where he met John Maurer. They added Briton Holmstrom to create a band that was supposed to be called The Last Fetish, but before it happened Mike Ness asked Maurer and Bob to join Social Distortion, replacing O’Brien and Brent Liles.

Stubbs became friends with Mike Ness during the first Social Distortions concerts around Northern California. They lived together in Fullerton, Orange County. He got in the band when they we’re thinking of having Casey Royer back.

During the 80’s, Stubbs played with Social Distortion, recording some demos for Prison Bound. On the final recordings Christopher Reece was already the drummer. Stubbs co-wrote I Want What I Want. Looks like this was the most dangerous period of Mike Ness’ life, facing problems with the police and drugs. In one of these episodes, Social D. disbanded, with Ness going to jail, Maurer to work with his dad, and Dannel in a band called King Vultures.

Stubbs is still involved with punk rock. Sometimes, he comes to see Social D. playing live. When Social Distortion toured with the Ramones, in the Somewhere Between Heaven and Hell tour, they went to play a bar called The Hollywood Alley, and Stubbs, who was already out of the band, was there to play a jam. Stubbs now plays Gretsch drums in the band Downhill Trend.

On his Facebook page, you can read this:

A Partial Musical Biography,
Bob Stubbs started playing drums at age 10 because of a band called “the Twinkeyz”from Northern California.Bob Stubbs got an early introduction into underground & punk rock music through attending this particular bands early rehearsals and concerts at a young age because of Bob’s sisters relationship with the bands drummer at the time, Joe Von Hagel.Bob Stubbs received his first Drumkit from Joe Von Hagel, this was an early influence that inspired Bob to play drums.As the early 1980s Music scene picked up,Bob Stubbs was playing drums with alot of known local Sacramento,California & Southern California bands from that time such as:
“The Vacant” , “Circle Kross” , “The Authorities” , “True West” , “Social Distortion”to name a few.Bob Stubbs was included on quite alot of compilation albums during his time drumming with these many bands as well as inclusion on some independent releases by the individual bands themselves.As the earlier 1980s punk music scene was closing,around 1986 Bob Stubbs was already ahead of the new music scene by forming bands like “Race Train Schizo” that toured with “T.S.O.L.” and opened for “Guns & Roses” and “Nirvana”.Bob Stubbs formed the band “Skullduggery” after “Race Train Schizo” was ending and as 1989 rolled around he took that band “Skullduggery” to Las Vegas,NV. with an all new line-up formed in Las Vegas,NV.and played some smaller venues and shows locally,but did not record any songs that were released during that time.Slightly before that time period Bob Stubbs had worked with “No Show Sound” for a brief period doing grunt sound work at clubs in Los Angeles,CA. like, “The SCREAM” , “Club With No Name” and the infamous “Cathouse” at the Probe on Highland st.After Las Vegas,NV. and that line-up of “Skullduggery” was coming to an end,Bob Stubbs decided to move on to Ohio and later Detroit,MI. and ended up playing drums with “The Flyin’ Saucers” a local “Rockabilly”band there with long ties to the local Detroit,MI. & Columbus,OH. music scenes.That band put out some 7inch singles on “Pristine Records”.The “Flyin’Saucers” had some records that charted at number 14 & 21 respectively on the Adult Contemporary charts.”The Flyin’ Saucers” were also featured in a Feature Film called “Rockabilly the Documentary”in the early 1990s.After playing the huge “Columbus,Ohio arts festival and performing on a local television show to promote the “Columbus,Ohio arts festival,”The Flyin’Saucers”broke-up.Bob Stubbs was asked to join a band called “Elvis Hitler” and another called “Goober & the Peas”but eventually chose to head back towards California for more opportunities.After 1992 Bob Stubbs found a new band in Tempe Arizona with “The Voice” and released a 7inch vinyl E.P. on Disclaim records produced by the legendary “Greg Sage” of “the Wipers” who Was and Is instrumental in the “NIRVANA” sound and look and was also cited as a major influence for “Kurt Cobain” in his early Seattle music scene days.In 1994 and from the ashes of “The Voice”came “The Glass Heroes”with Bob Stubbs on drums again and “Keith Jackson”of the band “Shock Therapy”on guitar and vocals.This band released 7 songs on a compilation for distribution in Europe only on “Step 1 records” called “High Voltage Punk & Oi”and “The Glass Heroes”were a featured act on that compilation.”The Glass Heroes received a “Best of Phoenix”award for “Best Alternative Band”in 1994. Around 1995 Bob Stubbs was in Las Vegas,NV. again,and this time playing drums with his cousin “Jesse Amoroso”in a band called “Cyanide Blues”.This band recorded some songs for a compilation record put out by “Flipside fanzine”called “It’s All Downhill From Here”a Las Vegas compilation”.”Cyanide Blues”recorded some tracks in Los Angeles for the “T.O.N. record label,but those songs were never released and In 1996 Bob Stubbs left that band to form “Benny & the Goons”a”Horror Surf”music band in Las Vegas,NV.”Benny & the Goons” became a feature house-band on a weekly television show called”the Count Cool Rider T.V. Show”on “Warner Brothers Television” Channel 33 in Las Vegas,NV..”Benny & the Goons” also put out a few 7inch vinyl singles including a song called “Monster Swell”which was a song co-written by Bob Stubbs and “Benny Hammond”.”Benny & the Goons”broke up in 1997 because of a lack of finding a Bass Player to replace their own who had chosen to return to College.
In September of 1997 Bob Stubbs returned to Sacramento,California and soon formed a new band called “The Hypnotic IV” with some fellow “Surf Music”enthusiasts in the local music scene there.”The Hypnotic IV”released an album called “Hypnotica!”in 1998 & another album called “Hypnotic IV LIVE! too loud,outta tune & barely gettin’ paid” with Bob Stubbs on drums.Bob Stubbs brought some of the songs from “Benny & the Goons”with him to add to “The Hypnotic IV’s”sound.One song included “Monster Swell”which actually charted on the underground Surf Music”scene charts and was given praise from many Surf Music”enthusiasts calling it”the best NEW Surf song to come along since “The Ventures” “Walk Don’t Run” from 1959.
Bob Stubbs formed another infamous band while playing drums in the “Hypnotic IV” called “The Inertians” to satisfy his longing for his “Punk Rock” roots that included Jesse Bunker on Bass & Paul Ostrander on Guitar & Bob Stubbs on drums.This band recorded an 8 track recorded C.D. entitled “The Inertians”.This C.D. was only a local Sacramento,California release.Bob Stubbs moved from Sacramento,CA. back to Phoenix,Arizona in 2000 to rejoin “The Glass Heroes”.Since then Bob Stubbs recorded a full album of new songs he co-wrote with “Chris Buskirk” that are included on a yet to be released album entitled”Brazen Beat”.This album was produced & played on by another old friend and fellow “Surf Music”ex-band member “Klaus Flouride” of San Francisco California’s “Dead Kennedys”.As of 2010 ,Bob Stubbs is again forming a new band currently including former members of the bands “Tread” & “DownHill Trend”.A new album of songs is in the works and a possible tour with music festival dates is currently underway.Bob Stubbs will be re-recording some of his previous un-released music and alot of new songs with this new band.More to come in the next few months,so this Bio is destined to change.



We Were Feared

Existem alguns livros excelentes para entrar no clima da California Punk na década de 1970. Um deles é o já clássico Kids of the Black Hole: Punk Rock in Postsuburban California, do Dewar MacLeod, publicado ano passado. Outro é o super-clássico We Got the Neutron Bomb: The Untold Story of L.A. Punk, leitura mais que obrigatória para quem se interessa no assunto. O título remete ao segundo EP do Weirdos, que tem o mesmo nome, de 1978. Outro que vale muito a pena é o Hardcore California: A History of Punk and New Wave, lançado no começo da década de 1980. Todos esses livros estão à venda na Amazon.

Além dos livros, ainda tem alguns videos que valem muito. O clássico The Decline of Western Civilization, dirigido pela Penelope Spheeris, sobre o qual um dia faço um post, é fora de série. Também, lógico, o Another State of Mind, com a turnê do Youth Brigade e do Social Distortion, que ficou anos fora de catálogo e há uns tempos foi relançado em DVD, com extras. Três anos atrás saiu o What We Do Is Secret, o controvertido filme sobre a história de Darby Crash, vocalista do Germs, baseado no livro homônimo de Kief Hillsbery, que se soma ao livro Lexicon Devil: The Fast Times and Short Life of Darby Crash and the Germs, sobre o mesmo cara. Parêntese: Germs, provavelmente, foi a primeira banda punk da Californa a lançar algum material em vinil: o EP Forming, de 1977. Darby Crash, com problemas com sua heroína e seu homossexualismo, matou-se em 7 de dezembro de 1980, com uma overdose proposital da mesma droga que esses dias pegou o Casey Royer (ver o post anterior), e que já matou, dentre outros, Johnny Thunders e Dee Dee Ramone. Germs também deve, mais cedo ou mais tarde, voltar para o Califorina Sons. Aliás, voltaram até a tocar ao vivo, com o ator (!) Shane West, que faz o papel do Crash no filme, nos vocais (!!). Depois da foto abaixo, do Derby Crash, sua jacketa de couro estilo Sid Vicious e seu skateboard, fecha-se o parêntese.

Mas, dos filmes, o mais novo lançamento, que não pode deixar de ser assistido, chama-se We Were Feared. Lançado no ano passado, o filme conta a história do club The Cuckoo’s Nest, que, durante algum tempo, foi o único lugar para shows punks em Costa Mesa, cidade de Orange County.

O nome, “ninho do cuco”, remete ao livro One Flew Over the Cuckoo’s Nest, de Ken Kesey, lançado em 1962, cujo tema envolve problemas mentais – o cara finge de doente pra não ir pra cadeia e ficar no sanatório, e depois é arrebentado com uma lobotomia pelos médicos. Esse livro foi filmado em 1975, com Jack Nicholson, absolutamente espectacular, no papel principal. Em português, o nome do filme foi Um Estranho no Ninho. Angelic Upstarts gravou uma música chamada Five Flew Over the Cuckoo’s Nest.

O bar durou apenas três anos, entre 1978 e 1981, e fechou por encrencas sérias com a polícia, e menos sérias com os vizinhos. Na época, saiu o documentário Urban Struggle: The Battle of the Cuckoo’s Nest. E agora sai esse outro, o We Were Feared.

Entre os que tocaram no bar do Jerry Roach, em uma lista de altíssimo gabarito, pode-se listar, sem medo de errar: Iggy Pop, David Johansen, Ramones, Weirdos, Black Flag, Fear, Circle Jerks, Vandals, TSOL (o antigo), Dead Kennedys, 999, XTC, Adolescents, Dickies, Blasters, Go-Go’s, Legal Weapon, Damned, DI, 45 Grave, Eddie and the Subs e Social Distortion, além de outras que, com toda certeza, nunca ouvi falar.

Nas fotos abaixo, na sequência: Ramones no bar, na virada de 1970 para 1980, junto com o dono, devidamente trajado; o dia do lançamento do filme: Steve Soto, Casey Royer e Eric Blair; depois, no mesmo dia, Duane Peters e Jerry Roach:

Se quiser checar o trailer do filme, o link é este, com, no som de fundo, Who Is Who do Adolescents. Os destaques são os mosh pits, stage dives e slam dancings. Se você olhar para as sugestões do youtube, do lado direito, verá trechos do Urban Struggle e entrevistas, no We Were Feared, com Mike Roche, Duane Peters e Casey Royer.

Para fotos e histórias sensacionais do Cuckoo’s Nest, confira o blog das Go-Go’s, aqui – clássica banda de LA, formada em 1978 apenas por gurias, sendo uma delas a vocalista Belinda Carlisle, que largou o Germs assustada com o nível de abuso de droga do pessoal. No Germs, banda na qual todo mundo tinha um pseudônimo, a Berlinda chamava-se Dottie Danger, nomezinho de luxo, cá entre nós.

Compre o filme e boa diversão !

Drummers of Social Distortion II – Carrot

Outra versão em inglês, a pedido do Christopher Reece

Another english version for Christopher Reece

After the departure of the guys from Adolescents, the first drummer to ever record something with Social Distortion was a man named Carrot. He recorded the band’s first single, Mainliner/Playpen, in 1981. On the cover appeared Social Distortion’s first logo, still on Mike Ness autograph signature.

Beside this EP, Robbie Field, from Posh Boy records, and his engineer David Hines, recorded other four songs in the same sessions of April 1981, with Carrot on drums: 1945, All the Answers, Moral Threat and Justice for All.

Justice for All was later renamed It´s The Law in the album Prison Bound, when drummer was the unbeatable Christopher Reece. A small piece on the second verse was changed. If you pay attention you´ll listen to it.

In 1981, the song Justice For All, almost a hardcore song, was like this:

The deputy had a bad night
He had a little fight with his wife
So he’s gonna be pissed on the job and
He’s gonna bum out your life

(follows translation in Portuguese)

In 1988, It´s The Law had these lyrics:

The deputy had a bad night
He couldn’t get it up for his wife
So he’s gonna be pissed on the job and
He’s gonna bum out your life

(follows translation in Portuguese)

It looks like Mike Ness was more pissed off in 1988 than in 1981. He was arrested and involved with heroin. In 1996, during the White Light White Heat White Trash tour, he once said on stage: “We don´t do no happy songs”. He became softer on 2003´s release Sex Love and Rock and Roll, and eventually did a couple of happy songs on 2011´s release Hard Times and Nursery Rhymes.

But in 1981, the band was a trio, with Carrot, Ness and Dannel. Mike played a SG guitar, with a Joan Jett and the Blackhearts decal on it.

All those songs from the 1981 sessions were re-released on Mainliner: Wreckage from the Past by Time Bomb Records.

The song 1945, in Posh Boy´s version, was played by Rodney Bingenheimer on KROQ-FM, and was released on the Rodney on the ROQ collection on the same year. Reappeared on 1983´s Blood On The ROQ and in 1989´s The Best Of Rodney On The ROQ.

This is all I know about Carrot, who is from Fullerton, Orange County. Anyway, he´s the second know drummer of Social Distortion, and the first to release anything on the band´s drums. The only picture of him I´ve ever seen is on the back cover of the fist EP. Next drummer would be Derek O´Brien.

Sick Of It All e California

Faltou fazer alguma conexão entre o Sick Of It All e os sons da California.

Haveria algumas, mas uma delas é bem fácil: durante muitos anos, a banda novaiorquina gravou pela Fat Wreck Chords, gravadora do Fat Mike, do NOFX, sediada em San Francisco. Dentre as bandas de seu cast, algumas com sons mais tradicionais, como Descendents e Swingin’ Utters; outras com um som mais moderno, como Good Riddance e Strung Out; e outras bem mais pro melódico – e às vezes chato -, como No Use For a Name e Lagwagon. O primeiro lançamento do Sick Of It All pela nova gravadora foi o EP Potential for a Fall:

Em 1999, o quinto disco de estúdio da banda foi lançado pela Fat, intitulado Call to Arms:

No ano seguinte, sai Yours Truly, com essa capa esquisitona aí, nada a ver com a estética do SOIA:

Já com quase quinze anos de carreira, a banda resolve lançar um video, também assinado pela Fat Wreck Chords. É o The Story so Far, agora com uma bela capa:

A abertura desse VHS você pode conferir aqui.

Em 2002, o Sick Of It All lança seu segundo disco ao vivo – o primeiro houvera sido o Live In A World Full Of Hate, de 1995. Foi o lançamento do SOIA na série Live in a Dive, da Fat Wreck Chords, que também contou com No Use For A Name, Bracket, Strung Out, Subhumans, Swinging Utters e Lagwagon:

O sétimo disco de estúdio deles, Life on the Ropes, saiu em 2003, e foi o último pela gravadora da Bay Area:

Death to Tyrans, na minha opinião o melhor disco da carreira do Sick Of It All até agora, com uma produção inacreditável, já saiu, no início de 2006, pela gravadora Abacus, uma divisão da alemã Century Media. Lá, os novaiorquinos figuraram ao lado de Backyard Babies, Lacuna Coil, Ignite e os noruegueses do Turbonegro, entre várias outras.

If you ain’t Hardcore you ain’t shit

O California Sons atravessa o deserto e chega na East Coast. É que hoje toca, em Curitiba, o Sick Of It All, a melhor dentre todas as excelentes bandas da cena hardcore tradicional de New York City.

Quando a SG distorcida e pesadíssima do Pete Koller soar, hoje, no John Bull Music Hall, eu serei, novamente, um pouco mais feliz. Será o meu terceiro show do SOIA, depois de um naquele 92 da Alameda Cabral, e outro no Espaço Callas. A banda está de disco novo, Based on a True Story, de 2010. Abrem o show os canadenses Comeback Kid e os locais One True Reason.

Tirem suas bandanas da gaveta !

Todos ao John Bull !