Tuesday, October 19, 2021

Big Love for a Little Man: Inside Kira's Solo Debut


Photo by Jack Grisham 


Kira needs no introduction, but here’s one anyway...


Best known to Punk fans around the world as the bassist for Black Flag from late 1983 to late 1985 and one half of the two-bass project dos with Mike Watt, Kira has spent the past several years building an accomplished career as a dialogue editor for television and film. Her many credits include Joker, the 2018 remake of A Star Is Born and the second season of Game of Thrones. Additionally, she’s received two Emmys and was part of the sound team that won an Oscar for its work on Mad Max: Fury Road. Now, at 60, she has a brand-new addition to her extraordinary résumé: Solo music artist.


Out today, Kira’s eponymous 10-song debut solo album offers a considerably more subdued atmosphere than anything she played on during her days with Greg Ginn and company. For a general understanding of its immediate vibe, picture a quaint avant-garde Jazz club rather than, say, the old City Gardens in Trenton, NJ. In addition to showcasing her ever-exquisite bass playing, the album features her soothing (but nonetheless evocative) vocals on all tracks. Guests include the amazing Petra Haden (who you can read more about here), guitarist Glenn Brown and drummer Dave Bach.


The album is Kira’s latest sonic undertaking to also feature her older brother, Paul Roessler, whose life in music has included stints with The Screamers, Nina Hagen, Nervous Gender, 45 Grave, The Gitane DeMone Quartet and a host of others. Paul’s role as co-producer and musical contributor is only fitting when considering he is the one Kira credits for inspiring her to play bass to begin with. Circa 1976, Paul put together a band called Arc2 to play a primitive version of his epic 47-minute, Prog-inspired composition, “The Arc” (finally recorded in proper form and released on limited-edition vinyl in 2013). Kira, who was 15 at the time, wanted in.


Their bass player quit, which is the exact reason that I borrowed a bass and started practicing really hard – I wanted to join Arc2. I was never good enough, and then Paul got into Punk Rock. It all works out like it’s supposed to, I guess.”


Released on Paul’s Kitten Robot label (which he founded in 2019 with singer Josie Cotton), the album was written and recorded over a 13-year period. The track listing tells a chronological 38-minute story of (in Kira’s words) “love and loss.” Many of the songs address the passing of her beloved dog Hombrito (“Little Man”), who died of cancer in 2013 at only eight years old. Fittingly, a portrait of him graces the album’s front cover.





“I kind of had to go through the whole process – the early phases and the actual loss and sort of what happens after and with a little distance from the loss. For me, it was just natural to write about this and write this story. I tend to be extremely personal and try to connect with just raw emotion and then see if I can portray that in a way that someone can connect with. The songs are chronological, but they are not all specifically on the topic of the great love of my life in some ways, which was my dog.

“I never had a child, but I raised this dog from a baby,” she adds. “It was as close as I will ever get to having a child, having that connection and going through that process of him growing ill and dying – and how it feels now afterwards. He was everything; he still is. I love my dogs that I have now, but I didn’t have them as babies; I rescued them as adults. It is different when you start from the beginning.”

Although anyone who’s loved and lost a pet will readily empathize with what Kira is expressing with this album, she insists that the emotions experienced throughout the CD are universal.

“I believe by sharing those deep feelings, others can connect with it – nothing to do with the topic per se, but it’s that raw emotion that people can tap into. For me, that was huge […] Back in the Punk Rock days, we were expressing rage and anger, and [that music] captured that so well. This is really just more of the same: ‘Okay, I’m having this sort of frustration/annoyance feeling. How do I capture that?’
Already a feverishly prolific band, Black Flag experienced its most productive era during the Kira years, recording six albums (four studio/two live) and two EPs from 1983 to 1985. The band also blazed through nearly 300 shows during that same time period. Those facts are amazing on their own, but they become jaw-dropping when considering that Kira was also an active student at UCLA at the time. Not surprisingly, this tough-as-nails work ethic established her as a force within the predominantly male Punk/Hardcore scene and earned the admiration of her fellow musicians.

As former Black Flag singer Henry Rollins noted in a statement sent to this website, “[Kira] was a mere slip of a woman, but physical size really didn't matter. She was in one of the most ferocious bands at the peak of violence in that scene in the '80s. She was as tough as any of us and could stand up to anything.”

Thirty-six years after Kira’s departure from the band, Black Flag remains one of the most lauded contributors to the history of American underground music. Interestingly, she believes that much of the group’s ongoing cultural relevance has little to do with the actual sounds it created.

“A lot of people who’ve heard of Black Flag haven’t necessarily heard Black Flag. It’s a concept; it sort of represents something. It’s sort of like the words ‘Punk Rock;’ what is the actual meaning? In a sense, Black Flag became this set of words that represented something much larger than the band actually was. If you played Black Flag music for a bunch of different people, you wouldn’t necessarily get the kind the impact response than if you just talked about it or showed them the logo. Back then, it was one of the few bands that was touring as extensively as it did, so it was a little more well known than a lot of the local bands that played maybe New York or LA and big cities but didn’t play three gigs in Louisiana or five gigs in Florida. So, that helped, but we were starving; we didn’t make a lot of money. People think now, ‘You guys were so big,’ but we were not big in the commercial scheme of things. We were sleeping on peoples’ floors and living off of $10 day per diems. It was not the glamorous lifestyle. But the big transition really started with bands like Nirvana and the Chili Peppers saying they were hugely inspired by Punk Rock – and maybe the LA Punk scene specifically. Maybe Black Flag was even specifically mentioned, and these bands did get huge. They were saying, ‘Hey, these are our roots.’ I think that made people start diving in. There is this mystique because of the logo, because of the name and because of the spread across the country that allowed it to become something defined. Not all bands could [do that]. People have heard, let’s say, the name ‘The Germs,’ but you can’t quite grab onto it. There was enough to grab onto with Black Flag that it actually stands upright as a thing. But I really don’t think it’s much about the music; I could be wrong. If you asked someone, ‘Hey, what’s your favorite Black Flag song,’ I don’t think there would be one for a lot of people. And that’s okay. It’s like ‘Punk Rock;’ it’s more of a concept than necessarily something you can explain and have a definition of.”

As for the records she performed on with Black Flag, she cites 1985’s In My Head as the one that resonates the most with her.

“There’s something about In My Head that people may not necessarily glom onto the way I do, but I was there. That could have well been an instrumental record. We were jamming most of those songs as instrumentals, like we did. We had a lot of instrumental stuff, but Henry started to write lyrics. When Henry is singing his own lyrics, there’s an emotion to it that he doesn’t always capture with other songs. He gets intense, but especially with Greg’s songs, he couldn’t necessarily identify as closely as something he wrote himself or something of course that [former bassist] Chuck Dukowski wrote, because Chuck wrote the most amazing anthems in Black Flag. But Henry was actually sitting down and writing. In a sense, [In My Head] was the most collaborative and the most of Henry expressing his own true feelings. I’ve always had a soft spot for the way those songs became the way they are.”





Nearly a quarter-century later, Kira found herself again recording Black Flag material in the studio – this time for the 2010 release Gimmie Gimmie Gimmie: Reinterpreting Black Flag. As the title suggests, the six-song, worth-seeking-out EP features vastly different arrangements of classic Black Flag tunes. The release boasts appearances by Blondie’s Jimmy Destri, The Plimsouls’ Peter Case, Mike Watt, Saccharine Trust’s Joe Baiza and original Black Flag singer Keith Morris, among many others. Invited by former Black Flag singer/guitarist Dez Cadena to participate in the project, Kira provides lead vocals on a Patsy Cline-tinged cover of “Nervous Breakdown” and plays bass and sings on a rendition of “Gimmie Gimmie Gimmie” that is absolutely nothing like the original. Kira looks back on the release with great fondness.

“I think [the EP] hangs together as an interpretation as well as anything I’ve heard, and I often point to it as something I’ve done that I’m proud of and thought was a very creative, cool project.”





Although Kira’s profile in the national underground circles grew exponentially upon her arrival in Black Flag, she was already well established in the Los Angeles scene via her time in a variety of bands, including Waxx, The Visitors, Geza X and the Mommymen, The Monsters, Sexsick, Twisted Roots and DC3. This writer’s personal favorite of the lot, the adventurous and brilliant Twisted Roots, formed in 1981 as a way for Paul, former Germs guitarist Pat Smear and the rest of the new band to focus their attention away from grieving the recent death of their friend Darby Crash. Kira, drummer Emil McKown (later of a pre-Kira lineup of Black Flag) and singer Maggie Ehrig completed the band’s original lineup.

“For me, Twisted Roots – especially the first incarnation – was a somewhat unique experience musically. I went to school with Maggie in the 12th grade and met her there. I was telling her about Punk Rock while she was still a hippie girl. I corrupted her into Punk Rock in our cooking class. It was some of the first times my basslines got a certain amount of freedom. Because the structures of the songs were not my own, I started to learn to write basslines that actually complemented the music. I think it was some of the earliest times when I got a little bit free with the bass parts, and Paul gave me a lot of freedom to do that. There were multiple incarnations of Twisted Roots, all of which were very special to me. Even though it wasn’t necessarily known musically for a lot of people, it was very big in my musical life. Obviously, Paul’s a big influence on me, and it was a big chunk of time for him trying to make [Twisted Roots] happen. In a lot of ways, I was just a side player trying to support him; there was a lot of me trying to figure out how to work in his framework. Until I have my own bands, I’m always just trying to find ways of supporting somebody else’s vision. In my own way, that’s what I was trying to do in Twisted Roots. It was a great experience, because sometimes people are more constraining of you, but Paul was not constraining of me.”

In 2011, fourth-fifths of the original band (with later member Gary Jacoby filling in for McKown) reconvened for a live performance at a Los Angeles screening of Dave Travis’ film, A History Lesson: Part 1, which features footage of the 1984 lineup of the band alongside live clips of The Meat Puppets, The Minutemen and Redd Kross.

“I actually said no when they first asked me, but the bass player who agreed to do it couldn’t do it for whatever reason,” Kira recalls. “When Paul and Pat came to me then, I had to do it. Of course, I was enmeshed in a very big work project and felt overwhelmed by trying to practice and get this together, but it was a great experience. I’m so glad we did it!”

(A 2012 feature by this writer on the history of Twisted Roots is available here.)
Although the stage still calls to Kira from time to time, listeners who enjoy her new album shouldn’t expect to see her take this material on the road any time soon.

“The likelihood of me touring is very low. It’s funny; life just kind of keeps moving, and that feels so far away and so difficult. It wouldn’t be the same if I did it again. That doesn’t appeal to me at all. That being said, performing live is one of those experiences that is so particular and rare; I certainly can’t say I don’t miss that and wouldn’t like to do it. So, the answer is I’m hoping to find a way to do something live performance-wise, but I haven’t figured out how. If I do perform live, it won’t be an exact capturing of that record; it will be interpretations of the songs. At this point, it’s a concept but not a reality.”

More than four decades after first picking up the bass, Kira is still creating captivating music drawn from the depths of her core emotions. With 60 years’ worth of experiences under her belt, how would she best describe herself at this point in her life?

“Bass player first and foremost – this is just who I am. Then a sound editor, dog mom, loving wife and loner.”

Order Kira from Kitten Robot Records




EMAIL JOEL at gaustenbooks@gmail.com

Tuesday, October 5, 2021

An Update from Richie Faulkner of Judas Priest



Photo courtesy of Chipster PR

Moments ago, I received the below update from Richie Faulkner of Judas Priest. It appears unedited below:

Maniacs…

I’ve always been grateful for the opportunities I’ve been presented with.  I’ve always considered myself THE most fortunate man ever - to be able to play my favourite music - with my favourite band - to my favourite people around the world…

Today just being able to type this to you all is the biggest gift of all…

As I watch footage from the Louder Than Life Festival in Kentucky, I can see in my face the confusion and anguish I was feeling whilst playing ‘Painkiller’ as my aorta ruptured and started to spill blood into my chest cavity….

I was having what my doctor called an aortic aneurysm and complete aortic dissection.

From what I’ve been told by my surgeon, people with this don’t usually make it to the hospital alive…..

I was taken to nearby Rudd Heart & Lung Center and quickly went into what turned out to be a 10 ½ hour emergency open heart surgery.

Five parts of my chest were replaced with mechanical components…..I’m literally made of metal now….

It could have all ended so differently – we only had an hours set that night due to Metallica’s performance after us – and it does cross my mind if it was a full set, would I have played until total collapse…? If it hadn’t happened in such a high adrenaline situation would my body have been able to keep going long enough to reach the hospital…?

The amazing Heart & Lung Center was 4 miles away from the gig site – if it had been further away……..

We can always drive ourselves crazy with these things but I’m still alive thankfully.  Whatever the circumstances, when watching that footage, the truth is, knowing what I know now, I see a dying man…..

I’ve been moved to tears and humbled by friends, family, my fantastic band, crew and management and also you guys sending me videos and messages of love and support during the last week – I thank you all so much and although I have a recovery road ahead of me, as soon as I’m able to get up and running again, you’ll be the first to know and we’ll get back out there delivering the goods for you all….!

One last thing maniacs, this came totally out of the blue for me – no history of a bad heart, no clogged arteries etc…my point is I don’t even have high cholesterol and this could’ve been the end for me.  If you can get yourselves checked – do it for me please……     

Lots of love and see you down the front again soon….

Richie…

This is from our strong falcon -  he will be flying high again just as soon as he is able….

JUDAS PRIEST
October 6th, 2021



EMAIL JOEL at gaustenbooks@gmail.com

Monday, October 4, 2021

"Motherf**ker!:" The Oedipal Rage behind "The Many Saints of Newark" (SPOILERS)

 



Despite presenting a world of gun-toting tough guys and chest-beating bravado, it’s Giuseppina Bruno – not Tony Soprano, and not even protagonist Dickie Moltisanti – who matters most in The Many Saints of Newark.


This truth becomes clear early in the film, when Giuseppina (played with doe-eyed aplomb by Michela De Rossi) utters the word “motherfucker.” On its surface, the scene is a chuckle-inducing throwaway: New to America, the young Italian beauty is slowly grasping English while living in the company of a crew of Jersey mobsters – most notably her new lover, Dickie. (It’s a pretty easy word to pick up in a crowd like that, no?) But what’s important here is that she says it with equal parts glee and authority – cutely enjoying the novelty of expressing a dirty American word while simultaneously giving the audience more than a passing nod to its relevance.


“Motherfucker” carries considerable weight in this film. A few minutes prior to this pivotal scene, Giuseppina is introduced to Dickie – and the rest of us – as the much younger bride of his father, Hollywood Dick. At first, both Moltisanti men appear decent enough (at least by gangster standards): Dickie is a charismatic gentleman whose attitude and mannerisms hint at a heart of gold under his flashy wardrobe, while Hollywood Dick comes off as a doting husband – well, a doting husband with a subtle penchant for control and a glaring habit of speaking for his better half.


Before long, Hollywood Dick’s power over Guiseppina reaches a savage climax when he kicks her down the stairs for keeping an untidy bathroom. Upon learning of what happened, Dickie – fueled by memories of his father’s abuse of his mother – confronts the elder Moltisanti in his car. The exchange soon turns violent, resulting in Dickie killing dear ol’ dad by repeatedly bashing his head against the steering wheel. Unlike the ice-cold vibe of typical mob film deaths, the unplanned act leaves Dickie in a state of shock and panic – a condition worsened when he suddenly has to contend with distracting his wife, Joanne, and Tony (still a young boy at this point in the film) from the reality of what has just occurred.

And before long, Guiseppina becomes Dickie’s goomah.

Of course, the problem with being someone’s side carnival is you’re always left waiting for your ticket: Guiseppina makes Dickie dinner, only to have him swiftly get dressed and return to his regular life when responsibilities call. She also gets frustrated by what she perceives as Dickie’s disinterest in helping her open a beauty parlor. Alone and out of place in a foreign land, she finds solace in the arms (and more) of Dickie’s black associate, Harold, who concurrently separates from his Jersey crime connection and builds his own presence on the streets (including a murderous attempted takedown of Dickie’s crew) as racial tensions in the area escalate.

The inevitable revelation of Guiseppina’s betrayal leads to the film’s most bone-chilling scene. While the couple take an idyllic stroll on the beach, she confesses her infidelity to Dickie, who devolves into rage over his lover’s illicit acts with a “murdering nigger.” Within seconds, he drowns her, leaving her lifeless body to float above the waves. Guiseppina’s swift death comes out of nowhere and parallels the sheer brutality and masculine force of Ralph’s murder of Tracee during The Sopranos’ fourth season. But unlike Ralph, Dickie seems genuinely appalled by his actions as he suddenly finds himself responsible for the brutal death of a second loved one. In a flash, Dickie, who initially earned the audience’s empathy in his role as Guiseppina’s protector, becomes worse than the monster he originally killed in her defense.

The audience may care for Dickie as a character, but he is still a tragic personification of evil. It’s the same duality that made us eagerly follow an adult Tony’s flawed attempts to balance family and family for six seasons despite the fact we were rooting for a killer every step of the way. And despite Dickie building an empire in the darkest corners of New Jersey while fending off imposing male adversaries, the actions of a lithe female – driven and ultimately destroyed by her desire to achieve something greater for herself – lead to his undoing. Dickie is assassinated at the film’s conclusion, but he truly died with Guiseppina on that beach.

At a superficial glance, women were seemingly given short shrift in The Sopranos, often reduced to serving as fretting wives, background strippers at the Bing or runtime-filling goomahs. But in reality, some of the series’ strongest and most impactful characters were female: Janice schemes her way through her storylines, while Livia – a classic case of Borderline Personality Disorder and the root of most of Tony’s inner conflicts – torments her son’s psyche even after death. And of course, Dr. Melfi – the sanctuary-providing recipient of Tony’s most insidious confessions and arguably the show’s greatest moral compass – was a woman.

The Sopranos was a ladies’ playground; the men merely existed in it.

(By the way, pay very close attention to Vera Farmiga’s portrayal of a younger Livia. She looks and acts an awful lot like Carmela at times, doesn’t she? I doubt this detail – presented during a movie with a subplot involving a man’s affair with his stepmother – is a mere coincidence. You can practically feel Melfi’s future appointment book getting filled as this film unfolds.)

And then there’s Junior, the man responsible for a narrative bombshell in the film’s final act. The guy’s always had an inferiority complex, which we saw a lot of through his deteriorating relationship with Tony in the original series. In The Many Saints of Newark, Dickie – dripping with good looks, charm and street smarts – regularly upstages Junior in that thing of theirs. Later, Dickie mocks the balding and bespectacled Junior when he hurts his back while slipping down some stairs. This back injury leads to Junior’s sexual ineptitude – and, notably, emasculating words from the woman in his bed. It’s the final straw for Junior and the moment when Dickie’s fate is sealed.

For all its surface misogyny, The Sopranos was always a tale driven by women. The Many Saints of Newark continues this trend, mixing in enough Greek tragedy to brilliantly undermine the cinematically alluring but ultimately paper-thin machismo of Mafia culture.



EMAIL JOEL at gaustenbooks@gmail.com

Sunday, August 15, 2021

From Legend to Upstart: Veteran Bassist Bob Daisley Returns with New Music





Australian bassist and songwriter Bob Daisley has been around.

A professional musician since the late ’60s, he has written and performed on some of the most iconic songs in Hard Rock and Metal. Perhaps best known for his work with Ozzy Osbourne (which included his considerable songwriting contributions to the vast majority of the singer’s ’80s/’90s output), Daisley has worked with a who’s who of musical giants, including Rainbow, Gary Moore, Black Sabbath, Yngwie Malmsteen and many others. Now, he enters the next era of his storied career with the recently released eponymous debut from his latest project, The Upstarts.

A collaboration with multi-instrumentalist Rob Grosser, The Upstarts is unlike any band Daisley has ever graced, producing what may best be described as Psychedelic-tinged Surf music. Much closer to The Shadows than Black Sabbath, The Upstarts represents an intriguing full-circle experience for a bassist most affiliated with considerably heavier sounds.

“When I was 13, I cut my musical teeth on Surfing music. That was popular music in those days – The Shadows, The Ventures, The Chantays and all that sort of thing. All the young lads were learning guitar and would have little bands that played parties and barbeques and things like that. It was always Surfing music.”

Daisley’s history with Grosser dates back to the early 2000s, when the two played in the Australian Blues band The Hoochie Coochie Men alongside guitarist/singer Tim Gaze (who previously played with Daisley circa 1970-71 in the band Kahvas Jute) and a string of special guests that included Deep Purple’s Jon Lord and Ian Gillan. The two later worked together on Moore Blues for Gary, Daisley’s 2018 star-studded tribute album to the late Gary Moore.

“When Rob and I had finished doing the Gary Moore tribute album, Rob said, ‘I’ve got a couple of ideas. Will you play on one or two of them for me?’ I said, ‘Yeah, go on; let’s have a listen.’ It wasn’t strictly Surfing music as such; it was just kind of in that vein. We did more and more, and I was really enjoying it. It wasn’t really planned or premeditated; it just sort of happened. I think the spontaneity of it helped the general vibe of it, and you can hear that we’re enjoying it. Enjoyment always comes out in music when you’re having fun.”

With Grosser on guitar and drums and Daisley delivering another bulletproof performance on bass, The Upstarts presents 13 instrumentals that provide the perfect summer soundtrack. In fact, many of the album’s song titles were inspired by Daisley’s time relaxing by the sea. Eagle-eyed fans will spot some nice tongue-in-cheek wordplay – and more than a passing nod to the great Monty Python – with titles like “Seabird Flavour” (which features a guest bottleneck solo by guitarist Illya Szwec) and “Life of Brine,” while the album itself is sure to put them in a chilled-out mood.

“It’s very easy and pleasant listening, and some it’s a bit meditative. You can almost see the joint being passed.” (laughs)
So far, the Upstarts project has already yielded three albums’ worth of recorded material.

“Some of the stuff sounds like TV themes; I’ve heard that comment many times. If any of this stuff that we’ve already released gets used for a TV theme or music in a movie or whatever, they’re bound to say, ‘What else have you got?’ So, we want to have more stuff ready.”

Last month’s release of The Upstarts coincided with the 50th anniversary of Daisley’s 1971 arrival in London, an event that kickstarted a journey that began with stints in Chicken Shack and Mungo Jerry (perhaps best known for their 1970 hit “In The Summetime”) and eventually took him to contribute to some of the biggest albums in Metal history. However, he certainly had no clue what he was getting himself into when he packed up and moved thousands of miles away at just 21 years old. Originally, the plan was for him to relocate to London to rejoin his former bandmates in Kahvas Jute, who had moved there earlier but were having trouble finding a suitable bassist. Two days before he was about to leave, they phoned and said they had found someone else.

“I didn’t know what I was going to; I was shit scared, really.” (laughs) I was at the airport, and my mom and dad, sister and some of my friends were there. It was all sort of, ‘Have a nice time! Don’t forget to write!’ I got on the plane, it started going down the runway and I thought, ‘Oh, fuck! What have I done?!’ I was going 12,000 miles to the other side of the world.”

With 50 years and 40-plus albums album under his belt, Daisley has enjoyed longevity in an industry that isn’t known for producing many survivors.

“Some people have one band and do very well. They have a couple of albums or some singles that do very well, and that’s the highlight of their career. It seems to me that I’ve had about 20 highlights! (laughs) It’s just gone from one thing to another. Each time, it’s a step up or something of note, which I’m really pleased about. I think a lot of it came from my attitude of being professional and reliable, being into it all for the love of the music. You’ve got to get on with things, and you’ve got to be trustworthy and honest. I’ve always tried to be all those things. In the mid ’70s, I got involved with Buddhism, and I think that helped a lot to keep my feet on the ground and keep focused.”

Although Daisley’s body of work boasts plenty of undisputed heavy hitters, not every release to feature his name succeeded in capturing widespread attention. When asked to name one release that he felt deserved more listens, he was quick to point to Abominog, his excellent yet tragically overlooked 1982 album with Uriah Heep.

"It was released in England, and then it was released in America through Bronze Records. Abominog had started to make waves in America; we had a song on that album, ‘That’s The Way That It Is,’ that was getting airplay on MTV. It was getting recognition, and the album was starting to get some airplay. Geffen Records became very interested in it. David Geffen went to [Bronze Records owner] Gerry Bron and asked if he would release the Abominog album through Geffen Records. David loved the album, but Gerry Bron said, ‘Well, yeah, you can have Uriah Heep if you take Motörhead and Girlschool, too.’ David said, ‘No, I don’t want Motörhead and Girlschool. I want Uriah Heep; I want this album.’ Jerry said no, and that blew it for us, because David Geffen at that time had just had a huge hit with the John Lennon album [Double Fantasy]. Geffen Records was huge. He could have done all sorts of things for that album, but Gerry Bron blew that for us. A lot of people love that album, but it really didn’t get to see the bright light of day like it could have and should have.”

This lost momentum plagued Uriah Heep’s fortunes going into 1983’s Head First, after which Daisley left the band to return to the Osbourne camp in time to appear on Bark At The Moon later that year.

“To be honest with you, I didn’t really want to go back to Ozzy, but I kind of had to. Things weren’t taking off like I had hoped for with Uriah Heep, and it was down to really getting the record company behind it and doing something with it, which they didn’t. We passed them a really good ball, and they wouldn’t run with it.”

Although Daisley’s tenure in the band was short-lived, it gave him another chance to play alongside Blizzard Of Ozz/Diary Of A Madman-era Ozzy drummer Lee Kerslake, who had originally played with Uriah Heep from 1971 to 1979 and returned after his dismissal from the Osbourne camp in 1981. The two remained friends in the ensuing decades, even reuniting a third time in the mid-2000s as part of the supergroup Living Loud with singer Jimmy Barnes and Deep Purple/Dixie Dregs guitarist Steve Morse. Sadly, Kerslake died last year at 73 after a year-long cancer battle. The months that followed saw the posthumous release of the drummer’s first-ever solo album, the fantastic Eleventeen, and a 50th anniversary reissue of Orgasm, his sole album with the band Head Machine. Daisley finds comfort in knowing his old friend is finally at peace.

“To be honest, I was relieved when he went, because he was not having a good time. He was suffering; he was in pain – but what a soldier. What a brave man he was, because he was going through all that and still did a good album. That’s amazing, you know. It’s like, ‘Okay, I’ve got to leave and I’m going through shit, but I’m going to leave this for the world to have a listen to after I’m gone.’ That’s what he did, and it was great.

“Lee’s heart was in the right place, and he played from heart, too,” he adds. “You can have musicians who are great players and virtuosos, and they can be slick and impressive and all that, but playing from the heart is the most important thing. Lee was like that.”
As for the future, Daisley is looking forward to seeing where his current work with Grosser will lead him next. However, his time as a regularly touring live performer, which began slowing down as early as the mid ’90s, is nonexistent on his list of current career goals.

“There were rumors flying about that I had retired. No, I haven’t retired; I’ll probably never retire. I’ll never give up music; I’ll always write, record and create. I still get people coming to me to saying, ‘Will you play on a track?’ I’ll go to Rob’s studio and do it and send them the audio file. It’s just that I’m not going to do any live or road stuff anymore.”

Naturally, a 50-year run in the music business has put Daisley on stage and in the studio with more than a few people who sadly succumbed – either physically or mentally – to the typical excesses associated with the profession. At 71, he believes his ability to stay sane and move forward after so many years comes down to a commitment to keeping his head together every step of the way.

“Success can be detrimental to you; it can be destructive. People let their egos or self-importance get out of focus. They can get carried away with the fame and the money and whatever else. It’s really good to stay focused on what you’re in it for – and that’s the music and creating it for other people to hear. Always respect the people who are listening to it. Without them, it’s pointless doing it. What’s the use of making great music if no one’s going to listen or no one’s interested? You do it for them.”

The Upstarts is out now digitally on Apple Music via SSK Records. Vinyl and CD versions are in the works; watch Bob Daisley’s Facebook page for news and updates.





EMAIL JOEL at gaustenbooks@gmail.com

Sunday, July 18, 2021

Journey to the Satanic Planet: A Conversation with Lucien Greaves



Remember when records scared the hell out of people?

Venom. Ozzy. Maiden. Judas Priest. Slayer. These were some of the artists who landed on the hit lists of many a devout (some would say hysterical) Christian and/or political leader during the infamous Satanic Panic of the 1980s. Television programs and news reports regularly featured horrified parents and self-proclaimed “occult authorities” who shook audiences with tales of devil worship, murderous cults and the evil (and often “subliminal”) messages found in Heavy Metal music. Of course, such handwringing was complete and utter bullshit, but it was thrilling to know that Rock ‘n’ Roll still possessed the ability to instill the right amount of fear in the hearts and minds of those who will never understand.

So, here we are in 2021, and the real world is a lot more frightening than anything presented on a recorded work. That said, the sinister crew calling itself Satanic Planet has just unleashed one of the darkest and most undeniably devilish debut albums in years. It certainly helps that a bona fide Satanist – Lucien Greaves, co-founder of The Satanic Temple – is among the group’s ranks. None other than Dave fucking Lombardo (Slayer/Dead Cross/Mr. Bungle/The Original Misfits/Suicidal Tendencies/Fantômas) supplies the drums and additional sounds, while Justin Pearson (The Locust/Dead Cross/Swing Kids/Deaf Club/Retox/All Leather) and Luke Henshaw (Planet B/Sonido de la Frontera) round out the quarter. They are joined on their recently released eponymous album by a slew of guests, including Shiva Honey, Travis Ryan (Cattle Decapitation), Jung Sing (Silent/All Leather), Eric Livingston (First Church of the Void), Nomi Abadi and Carrie Feller (Hexa).

At first listen, Satanic Planet sounds like a Hammer Film soundtrack LP that’s been left out in the sun for an afternoon. However, repeated spins reveal a richly complex and wildly inventive ride. Leave your preconceived notions at the door, because this is not mere juvenile shock value packaged in a spooky name.

Satanic Planet’s history dates back to Greaves’ 2019 press campaign for the Satanic Temple documentary, Hail Satan? While in England, he was asked by Metal Hammer to discuss some of his favorite music and immediately included Dead Cross – Pearson and Lombardo’s band with Faith No More’s Mike Patton – on the list.

“This interview found its way to the guys in Dead Cross, and Justin reached out to me and wanted to know if I’d do an interview with him for a podcast he does with Luke Henshaw, who is now part of Satanic Planet,” he recalls. “Justin does another act with him called Planet B. So, they came out to Salem. We were sitting around talking, doing this podcast and hanging out. Justin floated the idea that we would do some kind of album.”

The initial plan was for Greaves to perform spoken word over background sounds. However, this concept swiftly changed once he traveled to the West Coast to begin work on the project.

“When we got into the studio, we just kind of abandoned the spoken word concept and just started working full-on into music. It was a bizarre kind of dynamic we had in the studio, because we went in there without much preparatory work. We had this idea of doing spoken word, and I had some text. Then, we ended up working on music, which made me kind of abandon the text I had and start revising things. So, we were actually in the studio for a couple of weeks where we were playing around with sounds simultaneously to me writing lyrics for those sounds and rhythms we were coming up with on the spot. I would text segments of these lyrics I was writing to Justin and Luke, and Luke and I would get in the sound booth and play around with vocals and things like that. I don’t know how many bands just actually write everything in real time when they go into the studio.”

Unfortunately, no one involved in Satanic Planet knew that the entire world was about to pause.

“I had just gotten home from the studio in San Diego and went straight into lockdown. This was March 14th of 2020. We were supposed to play our first shows starting like March 23, something like that. We had the album pretty much all recorded by the time I went into lockdown and stayed in Massachusetts for the entirety of the pandemic.”

Although the virus’ arrival halted Satanic Planet’s immediate plans to perform, the group continued to collaborate remotely on new ideas and ultimately came up with an additional song, “Strangers.”

“At that point, we thought we were done with the album. [‘Strangers’] originally started as just an off-the-cuff project; I thought it might be its own independent release or whatever, but we just incorporated it into the album.”

“Strangers” – and the entire Satanic Planet project, for that matter – took on a new life once Pearson passed the track along to Lombardo to see if he’d be interested in putting down live drums for it. Before long, the Metal legend was adding his unique touch all over the place.

“He had fun working on the entire album and really liked the idea of not necessarily doing live drums. He really liked giving the tracks this kind of deep, resonating ambience and doom sound that kind of permeates the album. He really added something there.”

Clearly, Satanic Planet is not the kind of album you play for your grandparents over cookies and cake on a quiet Sunday afternoon. Although there’s little ambiguity in the message this particular release aims to send, this writer has always maintained that “Satanic” music can be found anywhere – from Classical to Country and often without horns or a Baphomet in sight. With this in mind, I asked Greaves for his thoughts on what makes a piece of music inherently in league with The Big Guy Downstairs.

“The Satanic Planet album is laden with the philosophy we’ve injected into The Satanic Temple and things like that. To that end, I wouldn’t want to put too fine a point on, ‘This is legitimate Satanic music, and this is not.’ At the end of the day, I feel like Satanism embraces art. It doesn’t really matter if it’s a heavy-handed, specific message related to Satanism in the arts; what’s important is that it makes you feel something and that it’s enriching in some way. A lot of the intensely theocratic, monotheistic religions have had a historic acrimonious relationship to art. I feel like art, in and of itself in many ways, is very much a Satanic practice.”

Now that Satanic Planet has been unleashed upon the masses, the menace captured on disc and vinyl is raising more than a few eyebrows – especially within a Metal community that is largely scratching its head (and spouting considerable online vitriol) over everything from Lombardo’s presence to the album’s overall content. (Let’s get real for a moment: Fans of Slayer’s Hell Awaits shouldn’t be too shocked over the drummer’s involvement in something called Satanic Planet, while anyone who’s genuinely surprised by Lombardo’s contributions to such esoteric sounds would do well to check out his past work with John Zorn and Bill Laswell.) While he is certainly no stranger to controversy, Greaves is nonetheless nonplussed by the response.

“I had no idea how shitty the Metal scene can be with its purists. There are people who are outright pissed off that this isn’t a Metal album or that Dave isn’t playing Slayer drums on every track. That’s bizarre to me – the insistence some people have that the music you make needs to fall within some well-defined genre parameters. That wasn’t something I was familiar with until watching people’s reactions to this album.”

Away from Satanic Planet, Greaves is of course maintaining a heavy schedule with The Satanic Temple, the first overtly political occult organization in American history. While the Temple’s headline-grabbing activities are a far cry from those of other Satanic organizations, Greaves believes that such tactics are a necessary evil.

“I had no need to join or create an organization unless it was serving some organizational function. To me, in the case of The Satanic Temple, that was fighting back against the attempted theocratic overthrow of the United States – and, by extension, the entirety of the world.”

Naturally, not everyone has welcomed this cause with open arms. Although Greaves’ various media appearances have consistently demonstrated that he is affable, articulate and quick-witted, it’s not a stretch to suggest that many reporters and viewers have mentally placed either a target on his chest or a clown nose on his face. (As just one example, check out Tucker Carlson’s characteristically histrionic exchange with the guy.) How does he respond to critics who suggest that The Satanic Temple is merely trolling at best and proselytizing at worst?

“First and foremost, I find it odd that people contrast us against the theocrats we’re obviously pushing back against and find us to be the ones who are being provocative, inflammatory or otherwise poking our noses in where they don’t belong. It drives me insane to see people hitting us with criticism that we’re just trying to insert ourselves where we don’t belong when we’re asking to put a Satanic monument alongside a Ten Commandments monument on public grounds – and that our drive to do so is merely political or trolling and not really religious. I can handle that type of scrutiny as long as it’s equally applied. They don’t look at the evangelical groups that are fighting to have these monuments that open the door for us to have our monuments and ask, ‘Well, are they just being provocative against secularists? Are they just trying to spit in their eye? Are they just trolling to get their evangelical advertising all over public grounds?’ People are just kind of inert to this idea that [evangelicals] deserve placement there and any other claim to equal representation can’t actually be something that is reflective of somebody’s deeply held belief. They see what were doing as just something that is meant to offend the Christians; it doesn’t matter if what they’re doing is offensive or not. To me, that’s just really bizarre […] I just don’t understand what people don’t understand about what we’re trying to do here and how it goes well beyond being some kind of prank or just mere trolling.”

Considering the political and social divides in our country these days, it comes as no surprise that conflicts of opinion often exist within The Satanic Temple’s membership. (A Satanist myself, I have misgivings about the potential unintended consequences of some of the Temple’s legislative endeavors, but that’s a topic for another time.) What is surprising is that these squabbles don’t faze Greaves in the least.

“I think one of the good things about us is we don’t demand that everybody agrees with everything that we do. We try to keep things flexible so that there can be internal debate, and we’re not cult-like; we don’t prevent people from affiliations with any outside groups or ex-members or anything like that. Sometimes, people look at the disagreements we have internally and think this is a sign of weakness or our impending collapse. In fact, I think it’s a sign of our strength and our dedication to leaving those avenues open and leaving people to free inquiry.”

As for the future of Satanic Planet, Greaves confirms that a second album is currently being composed via filesharing, adding that Lombardo is taking an active role in the initial creation of the tracks this time around.

“The kinds of files that we’re exchanging back and forth right now indicate that this one’s going to sound a little different, but it’s also going to have a lot of that same complexity to it. I’m really excited about it.”

The group also hopes to make its long-delayed debut on the live stage in the coming months.

“We’re looking at our prospects for playing live sometime in the near future. We don’t have anything set yet. I guess the shows we were originally going to play were delayed for a while and listed as ‘postponed,’ but I think they’re considered canceled at this point. Last I heard, the festivals just aren’t booking anybody new right now, because they’re catching up from what they didn’t [have] during COVID. It looks like most of the festivals put their lineups together before we even recorded our album. But I think by the fall, we’ll certainly be playing shows.”

Although Greaves has built a deeply polarizing public-facing life for himself, there is no denying that Satanic Planet represents his ability to attract sonic collaborators of the highest caliber. Despite its faux fretting, the world truly loves a good fright, and the album provides a fun – and ultimately harmless – way for folks to indulge in this fetish.

Happy listening – and see you in Hell!





EMAIL JOEL at gaustenbooks@gmail.com