Sunday, August 9, 2020

Bassist Viscarra recalls a raucous night with the Stains in 1981

LP cover photo by Don Lewis; Ceasar Viscarra at right.


By Andy

Adrenaline was rushing through band members' bodies at breakneck speed. A massive, rowdy crowd was ready to unleash its pent-up aggression. It was fucking go-time for the Stains.

On the night of Sept. 11, 1981 in the former airplane hanger Devonshire Downs in Northridge, CA, the scene was set. Caustic Cause and Youth Gone Mad had already knocked the punks about... Boyle Heights' Stains were ready to continue the slaughter... paving the way for the mighty FEAR and Black Flag.

Even before the Stains let a chord loose, wiry and pumped-up singer Rudy Navarro leaped into the crowd after being heckled by a ruffled punk. The mouthing off turned into a scuffle before Navarro and the other dude were pulled apart and the vocalist returned to the stage.

"Yes, that tended to happen," laughed Stains bassist Ceasar Viscarra over the phone on a recent evening from his home in the Hacienda Heights/La Puente area of SoCal.

That was the first violent band/crowd type of interaction I had witnessed at gigs, so 14-year-old me was a little freaked out and I definitely moved off to the side. I hung in there for maybe the whole set, and I remember the Stains' 25-minute pummel-fest being pretty crazy and memorable, for sure.

Viscarra and his bandmates -- including manic, shredding guitarist Robert Becerra and drummer Louie Dufau -- were well-versed in the history of Devonshire Downs, which featured concerts by Jimi Hendrix, Janis Joplin and copious other greats in the '60s and '70s, so the Stains were bent on leaving their mark on the venue.

"We were just really excited to play there. So on stage, yeah, 'cause, you know, you feed off the energy from the crowd. Once we hit the stage, I know there was a lot of people who didn't really know who we were, who maybe heard of us at that time. Once we started playing, and Robert...if you remember Robert being a maniac on stage... you'd stay out of his way because he has this look like he's gonna stick his hand down your throat," said Viscarra, noting that Becerra's bulging eyes matched his six-string ferocity and virtuosity. He has never known anyone with such solid guitaristry beaming off their sturdy hands.

"There was a song towards the end of the set, 'I'm Normal,' we would extend that one out and let Robert do his thing, do crazy guitar solos and stuff," Viscarra added with a chuckle.

We knew just two Stains songs at that juncture, "Pretty Girls" from the "Future Looks Bright" cassette compilation, and "Sick and Crazy" blasting out of our home speakers on Rodney on the Roq's radio show. The Stains' album that Spot recorded in '81 didn't see the light of day until '83 on SST Records and has long escaped collectors' eager hands. People have been begging for a reissue of that raucous 11-song corker for years.


Flyer from the TSHIT collection.


Viscarra stage dives into his memory bank for more nuggets about that epic gig, which later saw Henry Rollins wrap the microphone cord around his neck like a hangman's noose during the long, droning, wonderful "Damaged I."

Drummer "Louie Louie's" brother was the Stains' security man on stage that night.

"I remember this crazy look on his face 'cause he was sitting down waiting, daring punks to jump up on stage and he would run up and throw them off. The amount of people... I maybe played for a crowd as big. I know I played when DC3 was on tour, we played the Ritz in New York and that was a pretty big crowd as well. We opened up for ALL," Viscarra said.

He continued: "(At Devonshire) I remember just looking out, 'cause the stage was probably 5 1/2-foot height, I remember being able to look at the very back of the auditorium and seeing people as far as I could see, and just the mosh pit while we were playing was ... it seemed to me like it was a half of the audience. Right in front of the stage, there was just so many people moving in a circle. It was crazy."

Viscarra's head was probably shaking in amazement when he noted that a skater Slack, who had been to many Stains gigs, put on a show of his own as the blistering music gave the speakers a workout. Slack knew the security man, so it was time to rage.

"He kind of gave him the eye, and he let him run across the stage. He climbed to the top of the monitor that was on stage right and did a backflip into the crowd. Somebody made a board tape of the show and I remember listening to this tape afterwards and knowing the exact minute that happened because the crowd just went crazy. They were already going crazy, but they saw him jump off the stack and just went wild," Viscarra said.


Stains armband from Devonshire,  from the TSHIT collection.


Aside from the musical portion of the gig, Viscarra recalls the camaraderie between the bands being at a premium.

"Anywhere we went, whoever we played with, we all just hung out together. Black Flag, obviously, we were on SST, they were friends of ours and always were on our side and trying to help us, promote us. I remember Spot doing sound for that night and I remember hanging out with those guys. FEAR... Derf Scratch, he was a friendly guy. He would come up to us. We had seen him at shows, and I would go up to him and pat him on the back and stuff like that. Youth Gone Mad, they were maybe a little intimidated by us, I remember back then, but I do remember hanging out 'cause we were in the backstage area, which was basically behind the hall," he said.

All the bands were huddled around in the same circle, talking about the show and drinking beers and more: "Smoking and joking," Viscarra said.

Viscarra has kept in touch with Youth Gone Mad's vocalist Tammi Sarno Contreras since those rugged days and they play together in the band No Rival.

"We've been in contact for years and years and we've always talked about the old punk-rock days and how cool it would be to be in a band together 'cause, man, she has an amazing voice," Viscarra said. "I've heard some of her stuff over the years, so, yeah, it's just everything worked out and we're actually in a band together."

That untamed night at Devonshire Downs clearly lives on into the present day.

Tuesday, July 21, 2020

Suzi Quatro: Walking through the fire to achieve success / Interview

Suzi Quatro in action. (Photo courtesy of Sicily Publicity)


By Andy

Lita Ford absolutely nails it on the head when she describes Suzi Quatro in the fist-raising yet gut-wrenching documentary "Suzi Q": "All this thunder coming out of this little girl."

With Australian filmmakers Liam Firmager and Tait Brady at the helm, viewers are transported from Quatro's hometown of Detroit -- where she performed with her sisters in The Pleasure Seekers starting in 1964 -- and then to England -- where she busted down the male-dominated music doors in 1973 with sterling rockers like "Can the Can," "48 Crash," "Daytona Demon" and more crucial tunes over the years.

It's painful to watch Quatro -- who sports a small frame but possesses a big bass, strut and attitude -- leave her hometown and sisters behind, but she winds up victorious while hammering away to make her mark and eventually pave the way for Ford's Runaways and copious other female musicians.

I spoke with Quatro, 70, via Zoom on Monday, with me in Seattle and she in Essex, England.


** We watched the documentary last night... pretty emotional. What were your thoughts while watching the documentary and having your life all there, and the highs and lows...was it pretty intense to watch?

Yes, for the watcher as well, for the audience. I mean I've watched it with audiences, I've heard gasps, I've heard the tears, I've heard the laughter. Sure, it's emotional because it's your life up there, blown up, huge. So what I've found -- I'm very very in touch and very hands on and very normal and down to earth -- but when you see something blown up on that screen, you cannot kid yourself about anything. It is what it is. Maybe a couple people I try to make excuses for, but I think, 'No, here it is. That's your life.' And I'm proud of my life, and I'm very proud I've made the documentary -- honest. It's my biggest achievement.

It's always been on my bucket list to do one, 'cause it's so much to put straight. My story needs to be put straight -- there's so much bullshit. (The director) said to me, 'First of all, I have to tell you that I'm not a fan,' and I went, 'Hmm, fine.' He said immediately, 'Oh, no, no, no, no... It's not that I don't like your music, I do. I'm not a fan.' Which is fine. So I said, 'OK, that's cool, so then why do you wanna do the film?' And he said, 'Because I saw you talking on a television show, and you fascinated me.' I thought, 'OK. If I'm gonna do this documentary, which is putting my life on the line, I wanna do it with somebody who is not at my backside, who will be objective, who will fight me on the points that he wants to get in there -- even if I don't agree with him.' So we made an agreement right from the start... I said, 'Of course, I will have editing rights because it's my life, but I won't exercise them unless what is being said is not true.'

If it's true, even if it's uncomfortable, it stays in. And as you watched the film, you saw there were lots of uncomfortable moments. When I've been with audiences on my premieres and Q and A afterwards, there were times in that film when I wanted to get on my hands and knees and crawl out of the cinema (laughs). No, no, don't go out, watch it -- those are the most valuable moments in the film, those were like all my cringe moments.


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** To have it 100 percent honest like that, that's how we learn from our highs and lows in life and that's how we become who we are and how we advance in life. Hopefully everyone, including yourself, will come away with learning something... some valuable lessons there.

(Nods her head in agreement.) Judging by what everybody has been saying, including yourself, it certainly has been a teacher in a way, and for me, too. I put myself out there. I thought, 'OK, I'm gonna hurt on some of this, but this is what it is.' And what greater way then to just put the record straight with truth. That's the main word in my life anyway: truth. However hard it might be.

I have a little theory that I live by my whole life. Let's say you're upset with somebody else about something and you're reluctant to say it and they're reluctant to say it. It's so funny... you stick it on the table, 'Boom, there it is.' You know, it loses it's power because nothing is that important. It's such an important lesson to learn. I've never been afraid of the truth, and I've been a walk-through-the-fire kind of girl my whole life. 'There's the fire. OK, I'm gonna go through it. I know it's gonna burn me, but I will come out the other side.'


Back in 1973. (Photo courtesy of Sicily Publicity)



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** (In all of our lives) some moments you're extremely proud of, some moments you're kind of like, 'Ehh.' And some you cringe, but you know, it's you. It's part of you. And you need to live with it.

Yeah, you do, and you need to own it and you need to be proud of it. I don't do regrets, I never have done, but I've always learned. And I don't have any problem putting my hand up and saying, 'Hey, I'm an asshole on that one.' No problem at all, if I'm wrong, I'm wrong. I don't mind. But one thing you can count on from me, and everybody that knows me really knows that I will always say the truth.


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** What really got me... right at the beginning, there's a really great shot of you kind of side stage in the shadows, overlooking the crowd and obviously in a private moment. What are you thinking then before you take the stage and let loose and do your thing? Is it just kind of a nice private moment before you hammer away?

No. It's more a moment of fighting the war. It's a new audience. You know, they can be a Saturday night crowd. In fact, I read this from Elvis after I'd said it eight million times, I saw a documentary, he said the same thing --- Every audience is a new animal. You must respect them for that. You have to let them get to know you. You have to open yourself up. You have to be vulnerable. Try this, maybe they don't like that; OK, try this, maybe they don't like that. It's a whole process. There's a real moment where... my book is written as two people, my autobiography, 'Little Susie From Detroit' and 'Suzi Quatro: Rock Girl.' So, Little Susie is backstage, and she takes the bass and she walks out as Suzi Quatro... and they are both me, but they're two different people.

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** And then going back to the beginning, how did you feel, maybe in a moment like that before you hit the stage? Kind of a similar attitude back in the early days?

Yeah, I think my attitude's always been the same. I always have the absolutely unshakeable knowledge, since very small, that I could entertain and I knew I could hold an audience. But it's how to entertain. Even before I go out, let's say we're at a big festival or whatever, I will always go out and peek at the audience before I walk on that stage. I'll peek through the curtains. I'll look at everybody, I'll see what they're doing. I'll feel them before I go out. I take what I do very seriously.


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** (In the documentary) how does it feel to have such solid feedback coming from all those great people coming back at ya? Another emotional moment, I would imagine.

Every time I watch it, I go in tears. It's just humbling. The first thought that always runs through my head, 'You're saying that? And I did that?' (laughs) It's like a little kid, you know? It's quite something -- wow. I influenced so many people and I didn't even know it when I was doing it. It's amazing. I thank to God that I was allowed to do what I do and allowed to be successful. Everybody on this documentary that spoke, all the famous people, which kind of set it aside from other documentaries that I've seen, anyway, maybe you'll agree -- Everybody that was on my documentary, they were there because they wanted to be there. They said it with a passion. It wasn't just, 'Oh, yeah, she's great.' That isn't what happened -- they went the distance and that made me go, 'Jesus Christ, almighty.'

When I watched the rough cut and Debbie (Harry) came on and she said, 'And Suzi was so beautiful,' I wanted my voice to do a voice-over and say, 'Fuck off, Debbie!' (laughs) Which I think it would have been very, very, very funny... 'You don't tell me that. You, you do not tell me that.' But my director said, 'No, no, no, no, no. Let her compliment you.'

(Editor's note: Along with praise, comes a flood of tears. When Cherie Currie honored Quatro at the She Rocks Awards this past January in Los Angeles, the former Runaway broke out crying. Suze DeMarchi of Baby Animals visited Quatro in the UK to record and she stayed at Quatro's home; while there, DeMarchi began crying when she entered Quatro's memorabilia 'Ego Room.' While Quatro was participating in a Zoom interview for a documentary with Kathy Valentine of the Go-Go's -- who also presented her with a Woman of Valor award two years ago in Texas -- and Currie, the two Quatro fans shed some tears.)

I said to Cherie the other day, 'I'm amazed.' I realize, I guess, and I have to say it how it is because I'm not a bullshitter... I didn't know that I was doing this, OK? I was just being me, but this is the effect it had. What I did was, without knowing it, I gave these girls who didn't belong anywhere, a place to belong. And that's why they were crying. That just made me go, 'What?' And all I did was stick to me. But that's, I guess, what it took to open the doors. I'm humbled by that. They cry and then I cry -- we all cry (laughs).


** And in turn, later on when you listened to their music, they give it right back to you. They influence you -- it's reciprocating. And they fire you up to even rock harder.

Sure. Back and forth and back and forth. You know, I love them all and I'm just so happy that I had the balls to stick to me. You could have fallen by the wayside at any point in my story, but, no.


Rockin' hard. (Photo courtesy of Sicily Publicity)


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** What is it like recording that new album with your son? You're back at it again, still doing it. (She received rave reviews for 'No Control' in 2019, and there's a new album in the works.)

The option was taken up and we were discussing, 'How are we gonna do this?' He was on the road, I was on the road and then the lockdown happened. So then he's not on the road, I'm not gigging... there are no gigs. So I said, 'You know what? Everything happens for a reason, let's write the album.' So now we start actually recording it out there. We've demoed it and done the songs, like 16 songs during lockdown. And I'm still writing -- I'm doing two with Linda Perry, I did a whole album with KT Tunstall. Jeez, anyway so we started writing, it's great working with him. He pushed my Suzi Quatro buttons, big time. Yeah, because he grew up watching me, so he has it in his head who Suzi Quatro is. And undiluted, this is who he sees. He makes me revisit myself, which is great. We work well together. My daughter's a fine singer, too, but she's not really rock 'n' roll, she's more Aretha, Billie Holiday, that kind of thing.

I have not stopped writing. I've actually written a book during lockdown, too, which comes out July 27, called 'Through My Words.' It's the second book, the first was 'Through My Eyes,' my illustrated poetry book, big coffee-table sized. And I always had it on my bucket list to do a lyric book... so lockdown, 'Boom!' Done. And it's already No. 1 in the Amazon charts in Australia on pre-sales.


** Still hitting it big in Australia. They still love you, which is great.

They do. I think I have the record of the most tours of any international artist, I've done 37. We've always gotten along. I don't know what it is. I can't explain it. They kind of get me, and I get them. It's like my second home. But I wanna get back and tour America next again -- get me in the Rock 'n' Roll Hall of Fame and do the tour, then I'm happy. Bucket list for myself ... or 'fuck it list.' (laughs)


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** What was the first real moment where you knew you wanted to be a musician?

Jeez, well, I guess it would have been seeing Elvis Presley when I was 5 1/2 going on 6. On TV, we were watching the absolutely essential Sunday night viewing for all American audiences, which was 'The Ed Sullivan Show.' Big family I come from, so my eldest sister was nine years older than me, so I was 5 1/2, she was 15. He always brought on something for the youngsters at the end of the show, and on comes Elvis but I was distracted from him for a minute because my sister started to scream. I'm only 5 1/2 and I'm looking and I'm thinking, 'What's the matter with you? You know, why are you screaming?' Then I turned into the television and went like hypnotized, and I went into it -- a little lightning bolt -- and in my head, I thought, 'I'm gonna do that.' That's nuts. It's really inspired, and it happens that way. And then we saw the Beatles, we started a band, the bass was given to me, and I put it on I went, 'Yeah!' It was just correct.

When you go back into my history, nobody taught me how to stand, nobody taught me how to play, nobody taught me how to sing, nobody taught me how to have an attitude, nobody taught me how to entertain. It's just within this little frame here. I don't know why. I guess it's because I believe that's what I was born to do.

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** What about your mindset early on, you're over in England, when you got that band together and you were kicking down those doors?

I was aware during that year of not having success yet, just being here with nothing, that there's a lot of girls out there being successful and I was aware that I wasn't like any of them. And you get tempted, 'Oh, maybe I'll just sing a little sweeter, stand a little more girly' ... No, no. And I just had to wait that year out and just stick to me, which is what I did, I had to have the balls to do that -- and then I made it on my terms, which is important.

Even in the first band when I was 14, when I sang certain songs, like a shock went through my body. I had no control over it -- it just happened. And this has gone on all the way through my career. I just have been, I guess, in tune with myself -- knowing what turns me on, and knowing that in turn, that's gonna turn the audience on.


Checkin' out the crowd. (Photo courtesy of Sicily Publicity)



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** You've done so many things... obviously music and then acting, writing, everything. What would you consider your biggest accomplishment and why?

I've done everything within the entertainment profession, which is what I love. I'm an unashamedly artiste. I'm a communicator, I'm a creator, I'm an entertainer -- this is who I am. I would say my biggest accomplishment is to be 70... 56 years in the business, and still have my feet firmly planted on the ground.


** You feel just as passionate about everything as you were from the get-go?

Ridiculous. More so. I just wish I could say I've grown up, but I can't say it. (laughs) Otherwise I'd be lying -- I don't lie.

You know how you get strong? I'll tell you something, this is a good idea for a song. You get strong by not being afraid of being weak.


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** What would you consider a killer bass line? Not necessarily yours, but maybe just a bass line that has really stuck with you?

Well, the one that amazed me and I've used it in many tutorials and on my radio shows is 'How Sweet It Is' by Marvin Gaye, and that's (James) Jamerson. It's a little trick that I play, I'll tell whoever I'm gonna play the record to, I do it all the time and it works every time: I'm gonna play this for like 10 seconds and then I want you to hum me the bass line. And they hum the bass line and it's nothing what you heard. It's completely different. 'Cause Jamerson was a master of space. (She hums bits of the bass line.) And you're waiting and you think you've heard all these notes and you didn't hear 'em. And when you try to jam along with that and you think you've got it -- he does the phrasing, (and you think) 'I'll get it next time,' he doesn't do the same phrase. He drives you mad, Jamerson's great.



** And what about a vocal performance, something that just knocked you out?

God, there's a lot of them. Well, what just came to my head, it's an old Billie Holiday track called 'Them There Eyes.' And I had the pleasure of doing it with an orchestra at an awards ceremony. Believe it or not, she's one of my favorite singers. I learned a lot about phrasing from her.


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** You have a son and a daughter. What's the best advice that you feel you've ever given them?

Mine was always about love. I said it to my son, he's very sensitive, I used to say to him all the time, 'When you meet the right one, you'll see it in their eyes and you won't need to ask any questions.' And he's met the right one now, which is good.



** What about for an up-and-coming musician? You dial it back to when you were 14. What would you tell someone who picks up a bass or a guitar, how would I make it?

First of all, this is not a business for the faint-hearted, it's a hard business. You have to be so focused. It's not sex, drugs and rock 'n' roll -- it's being a professional. If you can't be that, then don't get in the business. Go join a hippie commune or go get stoned somewhere, but don't litter the tracks. And if you're gonna play an instrument, make sure you play it, learn it. You should learn properly at least one instrument. I know two that I read and write and play, which is percussion and piano. I play classical piano, taught myself bass, but once you've learned piano you can learn anything -- it's kind of like your orchestra. If you're on the stage, leave your ego there, 'cause that's where it belongs.


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** What's your go-to bass nowadays?

I always play on the (Fender) Precision at home. What I started with, 1957 Precision was my first bass. And I learned on the hardest one. I didn't know that, of course, I was given that by my father, so I just thought, 'OK, this is the bass I have to know.' I didn't know there was a smaller bass, I didn't know there was a lighter bass. So consequentially, I ended up a very good bass player 'cause I learned on the hardest. That's my choice in the studio. On stage I play a Fender Jazz, just because when I'm doing my solo, it's a slighter smaller neck and I've got a little hand. I've got a couple of acoustics there, I've got a couple of fretless. I just got a new guitar from Rios Guitars and he's making me a Suzi Quatro model. I'm pretty much Fender but I have been through many others and then ended up back home.


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**  If you could go to dinner with one person, who would that be?

You're not gonna believe it when I tell you: Jesus. I've always wanted to meet him. Can you imagine? Talk about X factor. Can you imagine that magic he must have had, you know? Forget about what you think he was or who he was, doesn't matter. He must have been charismatic with a capital C. And I'd love to have a discussion with him. And he could bring the wine! (laughs)


Pure gold. (Photo courtesy of Sicily Publicity)

Monday, July 20, 2020

Sohrab Habibion: Hardcore punk videos, 'Creem' doc and Savak on tap/ Feature story

Sohrab Habibion in action. (Aaliyah Deacon photo)


By Andy

The Kid$ For Ca$h monetary situation probably wasn't plentiful when the Burke, Virginia, hardcore punk band was active in the mid-1980s, but guitarist Sohrab Habibion possessed something that would amount to musical gold in his hands years down the line.

A cache of Beta videotapes that the then-15-year-old shot of bands like Government Issue, Marginal Man, One Last Wish, Dag Nasty and much more are currently a hit in the hardcore realm of the Internet. Approximately 70-75 sets have been digitized and a cluster of them are featured on Habibion's You Tube channel. For now, some of those Beta tapes sit in the Washington DC Public Library's punk archive with a hard drive of the digitized versions on the way.

"Honestly, I had no business doing it," Habibion said with a laugh a week ago on the phone from Brooklyn. "I did not in any way intend to document these things, and I never watched them after the fact, either. I would make copies for the bands if they wanted it. I would find a way to duplicate it."

When Habibion's mother's grandmother passed away, she inherited some cash and bought her son a video camera so Kid$ For Ca$h could initially shoot their gigs at the local community center. Mom also stepped in and sponsored the gigs as the adult signing the paper for the shows to proceed.

After the Kid$' instruments were retired for the night -- or when they weren't on the bill -- Habibion became the camera man of the scene. The camera was bulky and there wasn't a tripod in sight.

"I had it on my scrawny 15-year-old shoulders," he said with a chuckle.


Habibion on the left.


For a few decades, those tapes were nestled in a box in Habibion's parents' DC home before documentarians James Schneider ("Punk The Capital") and Scott Crawford ("Salad Days") came calling to unearth those gems and put them to use in their films. Hell, while you're at it, fire them off to Dave Grohl's production company Roswell Films since the man hammered the drums for Mission Impossible and Dain Bramage on those tapes. The good folks at Roswell digitized the whole lot, so that's another plus in this hardcore past-to-present trek.

"I think the cool thing, honestly, is the music subculture, that this many years later there are still enough people interested in it. I can put up a video of a One Last Wish show and there's 2,000 people out there who wanna actually (see it). That's a testament to the bands and I just happened to have the capture," said Habibion, noting that while editing a set by DOA, he was literally transported back into his teenage body to be blown away again.

Bands like The Hated and Moss Icon have been lifted from virtual obscurity more than three decades later thanks to Habibion's tape treasury.

"Now the people who are watching these videos, the enthusiasm that they have of the bands is so outsized compared to when they were an actual active band, so that's pretty interesting, too," he said.

It's a time-travel experience for Habibion every time he steps into his editing chair.

"There are the ones from the community center that are so sort of deeply ingrained in me: from my mom sponsored the show, it was all my friends we were in the band together or other bands, kids from the high school, so all these things that are tied into those. So when I see that, I literally can remember the texture of the carpet and the sleek wood-paneled walls and the painted cinder block by the bathroom. All those things I remember in a very visceral way," he added.

Following his Kid$ For Ca$h and teen videography days, Habibion unleashed his guitaristry and vocals in Edsel and the Obits, and his current unit Savak released a pair of singles in June and July. He describes Savak as a rock 'n' roll band that has snatched up bits of post punk, late '70s power pop and even non-rock music along the way. There are no restrictions, as long as the band feels comfortable welcoming different styles into their domain.

Habibion can tread a musical path from punk to hardcore to psychedelic to Appalachian to Italian folk.

"There's just these kind of like endless little threads that you can follow, that for me make it exciting to be a music fan," said Habibion, noting that the hardcore scene was the crucial terrain for his musical life to begin taking shape.


Habibion at home in Brooklyn. (Carol Diuguid photo)


Thirty-five years later, Habibion has paired up with one of his former video subjects, guitarist Michael Hampton of One Last Wish and other critical DC punk bands, to write soundtracks for films -- including Crawford's recent "Creem: America's Only Rock 'n' Roll Magazine" documentary -- and commercials. Habibion continues his ties with the past by joining the staff of Akashic Books, founded by Johnny Temple of Girls Against Boys, as a designer and video editor.

Habibion said the "Creem" documentary is a fun ride and he was glad to see the crazy bunch of characters involved in bringing the magazine to life. Hampton supplied some music for "Salad Days" and Crawford wanted him and Habibion involved with his latest venture. They ended up using about 25-30 of their pieces in the flick.

"It's a pretty fast-paced movie. There's a lot of edits and so you get a lot of little riffs, and cut to the next scene," Habibion said. "It was cool. It's always fun to hear stuff that you've done in a different context. We'll write this stuff and record it at Michael's house, and then to actually see it on a screen in a movie theater is pretty fun."

When the duo hooks up for soundtrack sessions, they'll utilize electric and acoustic guitars, plus Habibion has added clarinet and saxophone while Hampton and his daughter have mixed in piano and cello, respectively. Sometimes they'll go electronic, and once a filmmaker was keen on just using reverb and delay tracks from their guitar work.

"We really do try to find the balance between doing the thing that we're asked to do and giving our own voice a little bit. Michael has a very distinctive guitar style, so if and when it's appropriate, play a guitar thing on top of whatever we're doing," Habibion said. "It's a cool challenge, it really is. It's a little bit like a crossword puzzle where you get little clues and you sort of have to figure out the missing pieces."

Habibion says with a laugh that he'll occasionally ask Hampton to dig back into his One Last Wish repertoire and give a quick riff tutorial to Habibion.

And there's not a Beta videotape anywhere near the scene.

Friday, July 17, 2020

RIP, Chi Pig

Chi Pig in full flight. (Photo by Joseph B. Henderson)


By Andy

Who can possibly forget the ultra-energetic singer who flew so high that the local air-traffic controller should have been on duty? Hell, set up a landing strip on the stage, right?

That's SNFU's Chi Pig for you and the wiry Canadian frontman let loose an unforgettable presence when the band tore up the stage. And those fucking vocals can best be described as a melodic snarl laced with whip-smart lyrics that were drenched in a vast sea of humor.

Today, we're mourning as Chi passed away at the age of 57 on July 16.

One of my favorite gig memories involved SNFU, Corrosion of Conformity, Bl'ast! and Honor Role (the Meatmen didn't show) at a belter in 1987 at The Skate Palace in Oxnard. After the show, the SNFU guys grabbed a bunch of hockey sticks out of their van and I joined them in smacking balls against a wall, until one of them broke a window and they bailed out of there.

It's a night that will forever be etched in my memory.

A few years ago while we attended a Piggy gig in Vancouver featuring Ron Reyes on guitar, we spotted Chi in the crowd and were stoked that he was nearby. I now kick myself for not chatting with him and buying him a beverage. Rest easy, high-flyer.



Monday, July 13, 2020

Jawbox / Unseen Photos part 3

Jawbox (All Cat Rose photos)


Since most of 2020 has been a bust for shows, we've dug into some of Cat Rose's unseen photos from this time last year, so you can visually rock out until the amps are plugged in again on stage.

Here's Jawbox from July 9, 2019 at Neumos in Seattle, WA.


#wemissshows




















Helms Alee / Unseen Photos part 2

Helms Alee (All Cat Rose photos)


Since most of 2020 has been a bust for shows, we've dug into some of Cat Rose's unseen photos from this time last year, so you can visually rock out until the amps are plugged in again on stage.

Here's Helms Alee from May 3, 2019 at the Spanish Ballroom (McMenamins Elks Temple) in Tacoma, WA, and on July 9, 2019 at Neumos in Seattle, WA.

#wemissshows














Melvins and Holy Grove / Unseen Photos part 1

Mr. King Buzzo (All Cat Rose photos)


Since most of 2020 has been a bust for shows, we've dug into some of Cat Rose's unseen photos from this time last year, so you can visually rock out until the amps are plugged in again on stage.

Here's the Melvins and Holy Grove from May 3, 2019 at the Spanish Ballroom (McMenamins Elks Temple) in Tacoma, WA.

#wemissshows



MELVINS


















HOLY GROVE