Horns and Halos

Recently, Bring Back Glam! spoke with singer/guitarist Acey Slade about his new project Trashlight Vision. During the interview, Acey talks about his band's new album, the current state of commercial rock radio and a possible Murderdolls reunion. Transcription follows.

Bring Back Glam!: Tell me about your band Trashlight Vision.

Acey Slade:  We’re a dirty, punky rock n’ roll band and I’ve got Steve Haley on guitars, Roger Segal on bass and Jonny Chops is our new drummer.

BBG: What drove you to form Trashlight Vision?

Acey: As Joan Jett says “I love rock n’ roll!” I didn’t feel like there were too many dirty, rock n’ roll bands around anymore. I was playing in the Murderdolls, I knew eventually Joey (Jordison) was going to go back to Slipknot and I was going to have to find something to do afterwards. It’s a funny thing, the Murderdolls. I love – or loved, depending how you look at it, that band. If it were up to me, Joey would not have gone back to Slipknot. It’s a weird thing for a band to end during a successful run, and everyone’s getting along and everything’s cool. What I loved about the band, is because we were very similar…Murderdolls was a dirty rock n’ roll band, but I didn’t just want to repeat what I’ve already done. Everyone used to say the Murderdolls were like the Misfits meet Motley Crue. Now some people are saying that Trashlight Vision is like Guns n’ Roses meet the Ramones.

BBG: Are you telling me the Murderdolls are officially done?

Acey: No. It’s just going to be a timing thing. I’ve got a tour, with Wednesday (Wednesday 13, lead singer of the Murderdolls) it’s not that there’s any weird feelings. We’re all in agreement that anything we would do in the future would have to be a pretty close resemblance to the original line-up.

BBG: So you are hoping for a Murderdolls reunion with all the original members?

Acey: Yes, absolutely.

BBG: Tell me about Trashlight Vision’s new CD Alibis and Ammunition?

Acey: It’s a little strange. The album has a little jet lag to it. It’s been out in Europe and Japan for eight or nine months now. It’s a little weird for us…we’re kind of sick of the record already. I love it though. We did it totally DIY, recording mostly while on tour and I think that kind of reflects a lot of it. It has a live feel. I’m just happy to have it in stores. I don’t give a shit if it spawns a number one hit single or whatever, I’m just happy people can go into a record store and pick the thing up.

BBG: Well, what are some of your favorite tacks on Alibis and Ammunition?

Acey: “Dead Waves on the Air” is probably my favorite, because it’s basically just fucking kick ass. It’s an off the hook track…and I think it’s a statement to how bad radio sucks these days. Here in New York, the one rock station we had – the one rock station we had – went talk! Then, what’s even funnier…they just went back to playing music and they went back to the same play lists they had before. It’s the same old stuff: Staind, System of a Down…but, like, two records back. It’s just fucking ridiculous. Another track on the album I like a lot is Nola. I wrote that about New Orleans, my favorite city. I actually wrote that song before the whole Katrina thing. We worked really hard on that song. From the first inception to what it eventually became. It was funny, we always came back to it. It was one of those songs that no one was really blown away by. We wrote that song, and everyone was like “Meh, it’s not that good.” Well, a few months ago I said “You remember that ‘Nola’ song? I’ve got a new part for it.” Then everyone started thinking it was cool. We did this for like a year. When we nailed it, we all looked at each other and said “Damn! This song is cool!” It has a different feel than the rest of the album.

BBG: You said your album has been out in Japan for several months. It seems like American rock bands are massive in Japan right now. Why?

Acey: We’re taller! I go to Japan a lot. To them…we’re someone they see on TV that they don’t see on the Subway. I think that’s a problem with rock in general today. In America, the guys you see on T.V…do look like the guys on the subway. Where as, in Japan, even if you’re dressed like the guy at the gas station, you’re still taller, your hair color is different, different features…you are just different by default. In America…it’s like, who cares about seeing the bands when it’s like looking at idiots on the subway.

BBG: Drummer Jonny Chops is the newest member of Trashlight Vision. How did you find him?

Acey: Believe it or not, we posted bulletins on our Myspace page. We had people come form England, Sweden and all over…and Jonny is from Philly. I’m from Philly originally, and the other two guys are still down there. It just happened that Jonny was like four miles away.

BBG: Who has Jonny played with in the past?

Acey: No one really.

BBG: No one?

Acey: Nope. He’s never even mentioned any names to me. I guess if they’re not important enough for him to mention, I guess they must not be that important period.

BBG: Art is very important to you. When did that become a hobby?

Acey: I grew up in the suburbs of Pennsylvania. The only – only - sanctuary I had was art class. In my school, I was the “hair farmer.” The poser. There was me, the punk rock kid and the goth-industrial kid. We all kind of looked at each other and went “Alright, none of us have parents that can buy us BMWs and none of us play sports. We better look out for each other.” There were not enough of us…but we all had hairspray and eyeliner in common.  We were all really supportive of each other artistically and musically. A lot of those kids in my art class were not musicians. I just always respected bands that did their own artwork.

(Editor's note: The Ghouls on Parade Tour will be coming to a city near you in the fall. The boys will stop in Cincinnati on October 13, with special guests Drugstore Valentine. For dates, please visit www.myspace.com/trashlightvision).

Alibis and Ammunition

You never know who will end up in your email in-box.

A few weeks ago, sweet Acey Slade of Trashlight Vision and the Murderdolls dropped me a line. We conversed via e-mail a few times, and then set-up a formal interview. The transcription of that interview will post tomorrow on Bring Back Glam! Today, a review of the new Trashlight Vision album Alibis and Ammunition (the album has been available in the U.K. for several months, but was finally released for U.S distribution on July 10, 2007).

Trashlight Vision is much more sleaze-oriented than the Murderdolls. The sound is generally different, mainly because Acey Slade assumes lead vocal duties (don’t worry; he plays guitars for Trashlight Vision as well).

Alibis and Ammunition opens with “Dead Waves on the Air,” featuring punk-fast guitar riffs and vocals that verge on screaming. It’s a good little track, but not the best that Trashlight Vision has to offer. That distinction is reserved for “Allergic to You.”

“Allergic to You” features lyrics you can actually understand under all that angst-fueled musicianship. Yes Acey still screams here, but the rest of the “trashy” bunch prove that they can harmonize. Harmonies matter in punk-sleaze! In some ways, the backing vocals really carrying this song. This isn’t to say that Acey can’t sing – quite the contrary. Rather, he possesses the rare musical ability to spot talent in others, and that means he formed a band to enhance his abilities as a frontman. Someone else must agree, because “Allergic to You” is the first track from Alibis and Ammunition to garner significant radio airplay.

Moving along, “Screw Worm Baby” features an interesting sound with syncopated rhythms and a nice, simple, drum part. Every smart band writes a song with an easy chorus that fans can remember. This is especially important for those pressure-filled moments during concerts when the lead singer demand the audience participate! It doesn’t matter if it’s a dive bar or a stadium, “Screw Worm Baby” will be the song that Acey demands a sing-a-long. I say, bring it on!

“Faceplant Pavement” begins with canned sounds of a news report. It features a traditional anchor toss: “New, exclusive details in the story./He’s live in Voorhees tonight with the details, Harry?” I’m pretty sure I’ve written this toss in my illustrious news career about 9,987 times. Is this a reference to the U.K. thrash band Voorhees? A snub at celebrity infotainment? Almost immediately, Acey screams lyrics dealing with “celebrity skin.” Is this homage to Courtney Love and Hole? Later in the song, Acey recounts the story of woman left for dead – in spoken word. There are lots of thrash elements to this song. So much so, it’s almost metal core, and not sleaze. This isn’t a bad thing, just a different sound.

Trashlight Vision also covers the Ramones on Alibis and Ammunition. It’s pretty cool hearing Acey Slade’s voice on “My Brain Is Hanging Upside Down (Bonzo Goes To Bitburg).” The cover is definitely a new spin on the classic track, but Trashlight Vision does the song much justice. Here, Acey’s voice is clean, and again the backing vocals are strong. It was a good production decision to use this song at the mid-point of Alibis and Ammunition.

Loyal readers to this online magazine know the glam mistress loves strong bass lines and progressive Metal. “Horns and Halo’s” (apostrophe included) features a nice progressive-like intro with a short string arrangement before the sleaze-punk screams begin. The track is short, but here that’s a good thing. “Horns and Halo’s gives listeners the correct amount of Progressive Metal on a punk-inspired release. The effort is smart and doesn’t feel contrived.

Trashlight Vision are:

Acey Slade - Vocals/guitar
Steve Haley - Guitar/vocals
Roger Segal - Bass/vocals
Jonny Chops – Drums

www.myspace.com/trashlightvision

Photo Credit: Steve Prue for Trashlight Vision

Van Halen: Three Choices

The rumors - or truths - continue to fly that a reunited Van Halen are about to embark on a fall stadium tour. The current line-up will be the original, minus Michael Anthony on bass. Instead, Eddie Van Halen's teenage son Wolfgang will fill that role.

In the summer 2007 edition (issue 108) of Classic Rock magazine, the editor's provide a tip sheet on buying Van Halen. Most every album the band has ever released is considered at least "good." The album to avoid - according to the editor's - is Van Halen III.

Here's a secret: I don't own Van Halen III, and I'm not certain I've even ever heard one track off this poorly rated album. Of course, this is the only Gary Cherone era release, and I suppose that speaks volumes right there.

Does anyone out there own Van Halen III? Would you leave me a comment and explain why it's either a good or bad release?

In the Classic Rock article, the editor's write "Gary Cherone was that wuss who sang in Extreme - wearing a leotard...Van Halen and Cherone were a disastrous mismatch, and produced just one album - that sold on 500,000 copies, when every other VH album had shifted at least two million. The reason is that Van Halen III stinks like a wet dog. Every song sucks, and Cherone sings them like a drowning man."

Wow. This is not a good review people. I did a little YouTube research, looking for some Cherone-era VH clips. Surprised, I found more than a few.

I'll be honest. I watched a few of the clips, and didn't seem that disheartened with Cherone. Yes, I like Extreme, but he doesn't sound like Extreme while standing next to Eddie Van Halen. In some respects, Cherone sounds like a poor woman's David Lee Roth.

I suppose this in itself is a little creepy.

So, let's compare. Here's Gary Cherone performing "Ain't Talkin' Bout Love" during Van Halen's 1998 world tour.

Now, here's Sammy Hagar performing the same song during a Van Halen tour stop. Judging by the clothes, this is a late 80s or early 90s tour.

Diamond David Lee Roth originally sang the lyrics to "Ain't Talkin' 'Bout Love" for Van Halen's massively successful debut album, released way back in 1978. This clip is from the 1984 tour.

So, which is better? You decide.

Take It Sleezy

Ah, Dirty Penny. 

Formally known as Antidote, the band recently changed their name because of legal issues. Not long ago, Dirty Penny released their debut effort Take It Sleezy. 12 tracks in total, the album is an exceptionally strong freshman effort from this California based quartet. With the power of Myspace and word of mouth, Dirty Penny entered the JPOT Music contest, and won a spot on the main stage to Rocklahoma. These boys look like Motley Crue in 1984 and in some ways they sound even better.

Take It Sleezy opens with "Midnight Ride," a throwback to classic 80s glam. Strong riffs, screechy vocals, and -yes, a cowbell - mean this song would fit on Motley Crue's debut Too Fast for Love.

Of course, Dirty Penny are a new band, and that means they have a sound all their own. Singer Binge Daniels can play it straight or dirty with his voice, and that's refreshing. While Vains of Jenna frontman Lizzy DeVine is 100% scratchy, Daniels can be smooth when it's necessary. There are times on Take It Sleezy when this is necessary. The boys in Dirty Penny also know how to harmonize. This is first evident on "Hot & Heavy," but exceptionally well executed on the appropriately titled "Scream and Shout." The latter track features all the requisite themes of a great sleaze-glam effort: parental discontent, including the need for a strong father figure. Consider the lyrics: "Check out the papers/Who's number 1?/Oh my goodness, it's your good for nothing son/Look at me now.../Daddy are you proud? (Ahem, Nikki Sixx anyone?)

The best track on Take It Sleezy is "Vendetta." Already the band's calling card, it seems like everyone at Rocklahoma knew the words to this song. This is no small fall feat considering Dirty Penny is an unsigned band. They gained a bit of name recognition during the Crue Fest (Hollywood) last summer. (On August 10, the band will team up with Vains of Jenna, RATT and Poison for a special show in Salinas, California). "Vendetta" features big guitar solos, a sing-a-long chorus and punchy lyrics.

A completely different sound is "Black N' Blue." Here, the band uses a blues-based sound and incorporates Aerosmith-standards like harmonica and fast drum fills. It's a nice change at the mid-point of Take It Sleezy.

Another strong point of Take It Sleezy is "Sleeze Disease." Here, the lyrics tell a coherent story, and the vocals are not buried by electric guitar. The boys also include an acoustic version of this track on the album. The electric version features a strong bass line and a nice drum part.

Dirty Penny are:

Binge Daniels -     Vocals
Jonny Prynce -    Guitar
Tyno Vincent -     Bass
Spanky Savage - Drums  

You can purchase Take it Sleezy for only ten bucks at www.dirtypennysucks.com.
Preview tracks at www.myspace.com/dirtypennysucks

Junk Rock...For Lovers!

Straight out of Pittsburgh and ready to take the world by storm are The CosmoSonics. Interesting name, great musicians. Their effort Junk Rock…For Lovers! is a sleaze-glam masterpiece from beginning to end.

The album starts with the high energy “Stun Gun Fun.” Almost immediately, I knew someone in this band has to be at least a little familiar with Alleycat Scratch, because “Stun Gun Fun” sounds like it would fit easily on the amazing Deadboys in Trash City. Lead singer and guitarist Gary D’ Grave has a voice as sleazy as Eddie Robinson of Alleycat Scratch. For those in the glam know, a comparison to the brilliant Alleycat Scratch is a great endorsement.

The boys in The CosmoSonics like using canned sounds to enhance the production of their tracks. Think the roar of the crowd, and you’ve got the underpinning for “Rave It Up!!,” easily the strongest track on Junk Rock…For Lovers! Here, the guitars are crunchy and the bass line isn’t buried. In fact, there are a few snippets of bass solo, which is always welcome on glam albums. The lyrics are good too. Consider this: “Hey, hey if you wanna play/It’s rock n’ roll baby, bottoms away.” Catchy lyrics and powerful guitar riffs are the cornerstone of quality glam metal. “Rave It Up!!” has both.

“Skinpop 19” is another stand-out track on Junk Rock…For Lovers! Clocking in at just over three minutes, the track features syncopated beats, harmonica and screaming lyrics reminiscent of Steven Tyler. The chorus is anthem-like, and if The CosmoSonics ever hit big, this will be one of their great live songs that has every person singing along.

If you’re into songs that feature key changes, then “Punchdrunk, Baby” is for you. The track is short and energetic and features a nice guitar line and great backing vocals. The lyrics are simple and easy to discern. Sometimes great music isn’t about reinventing the wheel, but reproducing what works. “Punchdrunk, Baby” works.

The final track “I Luv Hollywood” begins with more canned sounds, this time of crickets. Is this a nod to the seemingly dying Sunset Strip scene or some other political message? The muted vocals are a little hard to understand and that’s clearly the point. The themes here are The Rainbow Bar and Grill, fights, and rock n’ roll heaven all set to an acoustic campfire song. Kumbaya people: The CosmoSonics are bringing back glam!

The CosmoSonics are:

Gary D’Grave – Vocals and Guitar
Chaz Zalapski – Guitar and Vocals
Harrison Dray – Bass and Vocals
Angel O -- Drums

www.myspace.com/TheCosmosonics
www.thecosmosonics.com

Gypsy Pistoleros Enter the Studio

Kids, an update on my favorite glam-flamenco-sleaze band, the Gypsy Pistoleros. Here's an official press release from Evil Boy Records:

"Gypsy Pistoleros, the fastest rising U.K rock group, were stunned by the amazing reaction from the American people to their U.S debut at Rocklahoma! The band would like to say a huge thank-you to everyone that took them to heart, the feeling is mutual!

The group have been invited back to play the bigger & better Rocklahoma 2008 next year, and cant wait to see you all again.

Gypsy Pistoleros enter Mighty Atom studios ( Wales ) in September with their legendary producer Joe Gibb ( Catatonia, Funeral for a friend, Jane's Addiction, The Cure, Travis, Madonna ) to record their crazed rockin' version of the Ricky Martin classic Living la vida Loca.

The double A side single Livin la vida Loca/Pistolero will be released on Evil Boy Records November 5th."

Rock Revolution

Philadelphia glam boys Britny Fox are the focus of my final Backstage at Rocklahoma interview series. All the current members of Britny Fox crammed into a tiny, air conditioned trailer less than an hour after their Sunday performance. Singer Tommy Paris and bassist Billy Childs did most of the talking, while the others laughed. During the interview, Britny Fox spoke about a glam resurgence, a new project and Olde English. Transcription follows.

Bring Back Glam!: You literally just got off the Rocklahoma stage. How was it?

Billy Childs: Fantastic. It was kind of early in the day, so it wasn’t as crowded like a night, but I think we (Britny Fox) and the audience all woke up and got drunk at the same time, so it all worked out. The crowd really seemed to love it and we really appreciate it.

BBG: You played first, before the heat set it. Just how hot was it on stage?

Billy: 126 Celsius. Or is that Fahrenheit? We didn’t leave on our fancy jackets very long. (Laughs).

BBG: Tell me about your upcoming projects.

Billy: We’ve been on a tour since May. It goes until the end of July, and we have some European stuff planned, too. Tommy and I have been writing, so we’re waiting on a window where we can record some stuff again. We just recorded a couple old songs for a new compilation with Gilby Clarke for Cleopatra Records.

BBG: What’s the name of the compilation?

Billy: We don’t know yet.

Tommy Paris: We remade “Girlschool” and “Long Way to Love.”

BBG: What’s the new version of “Girlschool” like. Please tell me it’s not industrial.

Tommy: Laughs. No, it’s not industrial. You’ve got to hear it. Gilby put his feel in to it and basically we just recorded the song with this line-up. Gilby is great to work with and the song sounds killer. Maybe we can do a record with him this year. It was great working with him.

BBG: Why do people always spell your band’s name incorrectly?

Billy: Because we have an incorrect, bastardized spelling.

Tommy: The Olde English version isn’t spelled our way!

Billy: We’re kind of dumb. We’re from Philly. We don’t know big words. We didn’t realize, or even think about it. There’s such a long tradition of rock n’ roll misspellings, like Def Leppard or Led Zeppelin…

Tommy: Anytime we sign an autograph for a girl name Britney, there’s always an “E” or an “I.”

Billy: Phonetically, our name is spelled correctly.

BBG: Ok, well why did a bunch of guys decide to name their band Britny Fox?

Billy: Oh, it was just an idea we all had way back in the beginning. If you remember what we looked like on the first album (Editor’s note: at this point, Billy Childs produces a laminate from the Britny Fox 1988 tour.) It was just a point in time in the music industry. Just remember, that if you don’t play ball along a certain image, you were not going to get looked at. A band like us, the only choice we had, was to take it to the next level. After we took it to the level we did – Pirates of Penzance! – there really wasn’t that much farther to go at that point.

BBG: What does a festival of this magnitude say to you?

Billy: I think it’s amazing the music has endured to the level it has, and I think that’s a feeling shared by all the bands playing. We’re all very happy to still be around in 2007. There’s a surreal quality to it.

Tommy: For whatever reason, it seems like there’s been a real spike in the interest in this kind of music. Which is cool for us.