. a T S H R T PI magazine
issue 2
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Bowling Bowling For For Soup Soup
. Crash Crash Kelly Kelly Interviews Interviews
The Wildhearts, Alice Cooper, The Wannadies, One Found Day, Anet Bon Jovi, The Thorns, Fountains of Wayne, Matchbox 2O, Def Leppard
CD & Live Reviews
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issue 2
I can't believe how fast this year has gone! I guess it comes with getting older but, shit, it doesn't seem like five minutes since last Christmas and already it's here again! One thing's for sure is that 2003 was a great year for rock music in my opinion. Whether or not you agree with guitar rock becoming fashionable again, it's certainly cool to hear rock bands on the radio and dominating the charts. I don't want to get into the manufactured pop argument because I couldn't care less, I can't blame the 'artists' who get into that side of the business, for most of them it's all they know, and given half the chance I know most of us would give it a shot if it was offered, sell your soul and all that! At the end of the day it's pop music, throwaway stuff that's always been popular no matter how it's packaged. You may say it stops good
bands getting the success they deserve but the cream always rises to the top and if a band is good enough they always attain a certain amount of success, whether its top forty or multi platinum albums. Take this issues cover stars AntiProduct, they may not be in the top ten yet but they've toured the world, released great albums and put on a fantastic live show. They've made a big impact and mean a lot to hordes of people, myself included, and that's success in my book. I'm sure their next chapter will be even bigger and better. Anyway, tangent aside, I was going to say how cool 2004 was set to be. Maybe it'll be on par with 1984 when rock music went through the roof. I can't wait to see what's in store over the next year. Hope you can stick around with us for the ride...
• TRASHPIT Issue 2 - Winter 2003 • Editor - ROB LANE • All Articles, Reviews & Photographs by ROB LANE unless otherwise stated. © 2003 For What It’s Worth Promotions AntiProduct Cover Montage by Daz Lawson / Photos by Rob Lane • Bowling For Soup Promo Photos courtesy Music For Nations AntiProduct Promo - Mark Weiss • Crash Kelly Photo - Jeff Beardall • Def Leppard Photo - Roy Goodall
Kevin Doyle & Recoil
by C. Davis
Adverts full pagE £25 half page £15 quarter £1O
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w e v i D Re s Anet Talented Girl
The Cherrykicks Radio Tokyo
TB Records
SixFeetDeep Records
TALENTED GIRL
Early reports of this new Canadian songstress hinted at comparisons to Avril Lavigne and Alanis Morrisette which fall slightly off the mark. Morrisette maybe, but other than the catchy 'Fake' and the fast paced 'Liar', the Lavigne reference is a little lazy. Anet's music is a much darker and edgy affair, building upon often gothic, industrial soundscapes overlayed with floating melodies and hooks in a similar vein to that adopted by Evanessance but without the over seriousness. 'Talented Girl' is at times a brooding, emotional mix of tunes like 'Nicotine' and the epic 'Electric Chair', balanced out with sparks of great pop sensibility such as the No Doubt inflicted 'Toilet Trained' and the 80's sheen of 'Chill Out'. It's a strong mix of songs which could easily cross over into the teen angst market but also serve up some real potential hit singles. Certainly a name to look out for over the coming months. 7/10
Bon Jovi This Left Feels Right Mercury / Island Records Top marks to Jon and company for attempting something different with their latest greatest hits collection (who can believe it's almost ten years since the release of 'Crossroads'!?). This new batch of songs features acoustic re-workings of their best known tracks and the big question seems to be, does it work? Well I'm gonna sit on the fence and say both Yes and No. Some tracks work better than others, 'It's My Life', and 'I'll Be There For You' scrub up well, but the big 80's rock anthems such as 'Bad Name' and 'Lay Your Hands on Me' with their tongue in cheek lyrics, push big buttons in the cringe stakes. The only exception seems to be 'Bad Medicine', which strums along with a sly wink and smile. Perhaps the strongest part of the CD is the two bonus live tracks of 'The Distance' and 'Joey' from their last album, which just display strong tunes in their rawest format without trying to be clever or different. Worth checking out and certainly something a little unexpected, but how essential it proves to be, only time will tell. 6/10
The debut from new UK power pop band The Cherrykicks is a bright and energetic introduction to a band that are being touted as one of our most promising talents. From the outset comparisons to The Wildhearts are immediate with their trashy guitar work and gravelly delivered, chant style choruses, whilst the second track ‘Shiny Little Gun’ reminds of the awesome and criminally unheard of US band Gingersol and is perhaps the strongest track on the CD. What trips up The Cherrykicks is they continually seem to avoid the chance to quit whilst on top and don’t keep things simple. At the end of the day they’re writing radio rock pop songs so why over complicate things with overlong intros and arrangements, hit them with the chorus and get out of there! On the whole though, Radio Tokyo shows the signs of a band with a healthy future ahead of them once they refine their songwriting and maybe break away from the obvious influences which hang heavily over their current sound. 5/10
Alice Cooper The Eyes of Alice Cooper Spitfire After releasing albums for the last thirty or so years, it's very unlikely for an artist to be able to deliver a record that will stand up against the classic albums that made them legends in the first place. Record companies go with the bankability that the band or singer will put out reasonable releases that will keep the name alive and shift a few more Greatest Hits collections. The same could be said for Alice Cooper whose last few studio albums, whilst being decent slices of hard rock, have failed somewhat to be essential and capture that magic - until now! Out of nowhere, Cooper has unleashed his freshest, most brutal, and exciting album to kick the ass of any twenty something 'rock god'. Returning to his garage rock roots without being nostalgic, the album delivers on all levels with its teenage angst lyrics and hooklines, sleazy riffs and haunting melodies. Entirely co-
written with perhaps his strongest band line up in recent history, the songs challenge and go head to head with some of his best material. 'What Do You Want from Me?', 'Man of The Year', 'Novocaine', I could list just about all the album as highlights because it really does stand up as one of this years most essential rock records. 9/10
Fountains of Wayne Welcome Interstate Managers S-Curve Records / Virgin Things are always good when you put on a FOW album no matter how crappy it might be elsewhere, so the release of another collection of sixteen (yep, count 'em!) new slices of big, brash geek rock makes us grab hold of what might be left of the summer and squeeze it for all it's worth. The band immediately deliver big time on the double power pop assault of 'Bright Future in Sales' and 'Stacy's Mom', both songs featuring some of the coolest hooklines to ever take root in your brain, and they also serve up some great Ash style garage trash on the thumping 'Little Red Light'. As usual though FOW can switch things around and hit you with their acoustic flipside on 'Valley Winter Song' with it's Beach Boys wall of sound or the great singalong of 'Hey Julie' where vocalist Chris Collingwood gets to bitch about 'a mean little guy, with a bad toupee and a soup stained tie'. It's characters like these and the ordinary real life situations which the band effortlessly transform into infectious and funny three minute pop classics which makes them so special. A great third album from one of today's finest and overlooked bands. 8/10 the kramdens
The Kramdens Quiet Collision TB Records
During the mid nineties following the explosion and subsequent demise of grunge a whole crop of bands arrived QUIET COLLISION adopting traditional methods of songwriting, focusing on just good guitar based songs with catchy choruses. Some succeeded more than others such as Hootie and the sadly missed Gin Blossoms, others grew massive like the untouchable Counting Crows whilst others came and went without a trace. The Kramdens aim to cash in on the former route with Quiet Collision, a collection of country rock tunes that whilst pleasant and touching it's unfortunately nothing really new. There's some really strong material on offer with the upbeat opener 'Sometimes I Feel' and the emotional 'And Then I Was' but it all breezes past you without grabbing hold.
'Down to the Palace' steps things up a gear with it's punchy vocal in a Dog's Eye View style and 'I Am the Factory' dirties things up a little but the album would benefit of more of the same to light that essential spark. Enjoyable but a little too safe. 6/10
One Found Day Fun Unit Fabulousity Records Having writing credits alongside Jon Bon Jovi and co-writing the Tyketto hit 'Forever Young', songwriter Jimmy DiLella has now channelled his talents into new band One Found Day with explosive results. 'Fun Unit' is a smooth collection of top class power pop songs which deserve to cause a feeding frenzy on American rock radio. The sound falls comfortably into the Matchbox 20, Nine Days, Vertical Horizon bracket yet offers a much more mature and longer lasting appeal alongside it's sugary pop coating. The tunes latch in immediately but don't become tired or over familiar which is often the case with pop records, great for the first week then never heard again! Each track stands on it's own merits whilst complementing each other, from the Dweezil Zappa tinged 'Not My Girlfriend', the Del Amitri fuelled 'King' and the soaring chorus line of 'Woke up in Oz' you get an album that hits you hard straight away and doesn't let go. 'Fun Unit' could easily become one of the most slick and rewarding pop records in some time, make sure you don't miss it. 8/10
Steelheart Wait Z Records Having already been released in Asia and selling by the bucket load, the third album from Steelheart finally gets it's European release. Vocalist Mike Matijevic has one of the most powerful rock voices of all time that could make Justin from The Darkness hang up the spandex and hold his head in shame. It's this voice that allowed him to handle the vocals on the film 'Rock Star' which the lead track 'We All Die Young' is taken. It's an awesome, opening number and one of Steelheart’s strongest songs to date but also sums up the feel of this latest record as it's a song taken from a movie about 80's Hard Rock and this album falls comfortably in that arena. Steelheart though to their credit, whilst delivering a great rock sound have always tended to stray away from the instant radio rock format that most bands took. This is still evident today with deeper, more thoughtful numbers such as 'Electric Chair'
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and Zeppelin feel of 'Say No More', and they even move into GnR territory with the kicking 'Take a Little Time'. A welcome return for a great band, not ground breaking, but a solid rock release all the same. 6/10
The Thorns The Thorns Columbia This was certainly one mouth watering prospect. Pick three of America's finest pop rock writers and put them in the same band. Back in the mid nineties, Matthew Sweet and Pete Droge was just about all I listened to, so the pair of them writing together with the equally talented Shawn Mullins was too good to be true and perhaps on the first few listens it was. Instead of Sweet's power pop or the bluesy rock of Droge, The Thorns opt for an acoustic direction in the Tom Petty, Jayhawks or Crosby, Stills and Nash mould which kind of washes over you at first. Give it time though because returning to the album you are immediately greeted by the affectionate warmth of openers 'Runaway Feeling' and 'I Can't Remember' like long lost friends. This is an album that has real staying power whose rewards sneak up on you from different tracks at different times. The cover of the album sets the scene perfectly with it's countryside sunset where you could kick back and let the charms of 'No Blue Sky' or 'I Told You' soak you up. A charming, moving and warm collection of songs that you'll go back to time and time again. 8/10
Toilet Boys Live in London Masterplan / Cargo Real sleazy glam rock often walks a very fine between being damn awful and damn exciting. The Toilet Boys are evidence enough with this new live album recorded at The Garage in London back in January 2002. This is as warts and all as you can get with a live album without it being a bootleg with songs dropping in and out of tune, feedback becoming an integral part of the set and the songs themselves digging their heels firmly in the Faster Pussycat, early Motley format with no signs of budging. But as much as I wanted to cringe at the top shelf cliche of 'Rock n Roll Whore' or the wincing off key 'Hollywood' I couldn't help but enjoy it at the same time for holding its head high and for just being a dirty and gritty live document. As grimy as the show is it's presented excellently with a few bonus tracks. ‘Live in London' is an album essentially for fans of the band and glam rock purists only, but one that really couldn't give a damn anyway! 5/10
Vertigo Angels Eradicate Apathy Livewire / Cargo Mixing current music trends but still working within a quality pop rock format has allowed Vertigo Angels to deliver an album that is powerful and full of eager conviction. The opening audio assault of the excellent 'Firefly' twists between subtle vocal melodies before soaring into an epic chorus followed by the Placebo feel of 'Push Push' and 'Angel Vertigo' launches from a great opening riff into yet another massive hookline. From here the sound levels out a little and you wonder if the band have delivered too much too soon as the songs loose a little momentum with 'Still on my own' and 'Out of my mind' but they bring it back on track with 'Bones and Pictures' and 'Terminally You'. 'Eradicate Apathy' deserves a lot of attention to allow it's full potential to shine but it has the advantage of mixing great edgy pop songs with more darker alternative tracks which give it a much longer lifespan. 6/10
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www.trashpit.co.uk Donnie Vie Just Enough! Livewire / Cargo
Acoustic guitars - check, Bitter sweet lyrics - check, Beatlesesque harmonies - check, everything's certainly present and correct as expected on the debut solo album from Donnie Vie. 'Just Enough' is a collection of songs that will capture the hearts of Enuff Z Nuff fans and music purists alike with it's timeless hooklines and pure old fashioned songwriting. There's no immediate surprises on show but Vie occasionally throws several neat curveballs into the mix with the trippy keyboard hook of 'I'll Go On' and the ever changing grit of 'Jesus in Drag'. Add to this some of his best material being served up with the radio friendly 'Better Days' and the heart wrenching strains of 'Wasting Time', although I feel would have perhaps been more poignant totally acoustic instead of it's big arrangement. Overall 'Just Enough' is a solid collection of great tunes from one of modern rocks great songwriters and a justified addition to any pop and rock record collection. 6/10
The Wannadies Before & After
The Wildhearts ..Must Be Destroyed
Cooking Vinyl
Gut Records
After what seems like ages, The Wannadies return with a brand new two part album that sees them on a slightly more laid back trip than before. The distorted guitars and euro pop feel which made earlier albums such as 'Be A Girl' and 'Bagsy Me' so essential, are still there but much more emphasis is added on the cheery, smiley harmonies to great effect on a real slow burner of a record that creeps up on you after several listens. Try and imagine a real ear friendly, more up beat Pulp with louder guitars and you'll get a feel of what The Wannadies have created on 'Before & After'. What makes the songs special are their ability to gel their ear candy melodies and quirky vocals of Par Wiksten and Christina Bergmark with clever arrangements and performances which gives the album a real quality and lastability. You get the big pop bounce of 'Little By Little' and 'Singalong Son' combined with the lounge vibe of 'Disko' and summer glow of 'Uri Geller' proving once again The Wannadies have delivered an album that captures their ever present magic but delivers on yet another new and creative level. 7/10
The Wireless Stores Historic Site of Scenic Beauty #1 In At The Deep End Records Finally, a British band with some real energy, emotion and power emerges in the form of The Wireless Stores, the new project from former Bivouac singer/guitarist/songwriter Paul Yeadon. Early advances of the bands material last year showed the exciting promise this new outfit were possible of and the first thing we notice on this new six track EP is the absence of the awesome 'Super8veneer' which was the pick of those early promos. Thankfully though it's replaced with an equally powerful opening number in the form of 'Sweet Serendipity' which kicks things into high gear from the outset. 'Not Going Gone' shows how Yeadon can easily switch from powerful guitar based rock tunes to subtle acoustic mini-epics, and I defy you to find a more touching atmospheric number than 'Fabric' on any other release around! Very much in a harder edged REM style, The Wireless Stores could easily capture the crown from overly predictable bands such as ColdPlay and The Stereophonics and replace them with a band truly worth getting excited about if the quality packed into this EP can be translated into a full album. 7/10
The long overdue return of The Wildhearts is a no nonsense stomp through everything that made the band great in the first place. The hard edged crunch of 'Nexus Icon' sets the scene for an album that rarely takes it's foot from the accelerator and unleashes track after track of full on guitar heavy madness. Already having notched up a string of hits before its release with 'Vanilla Radio' and 'So Into You', the album is a hot bed of Top Forty potential in the burgeoning new rock climate, particularly the infectious 'There's Only One Hell' and the unnervingly catchy 'One Love, One Life, One Girl'. It's an album whose eleven tracks clock in at just over the half hour mark which makes it easy to hit the repeat button and whilst it could be criticised as being ‘Wildhearts by Numbers' and nothing really new, at least you can be guaranteed of an uncompromising, good time rock album, so what's wrong with that? 7/10
Wild Horses Dead Ahead Z Records Bringing together members of Warrant, Shout and Dokken, the Wild Horses second album is well crafted melodic rock that whilst predictable and a little pompous in a Whitesnake way, it has that infectious good time feel that grows the more you hear it. 'Ride On' and 'What's this Thing' have a real cool Tyketto edge and 'Vancouver Mover' struts with a nice retro Bad Company vibe. The album as a whole has some good, solid rock moments which is only let down by an overkill of dated lyrics and chorus lines which have been done far too many times before. It's a mix of songs that contain a vast array of quality influences that unfortunately tend to get swamped too much by the traditional hard rock format. The Wild Horses should certainly be checked out by the hard rock fraternity as they deliver the goods without pushing barriers which they have the potential to so easily do. Hopefully album number three will take this route. 6/10
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If you would like to write a review for inclusion in future issues of TrashPit, please feel free to do so and send them to rob@trashpit.co.uk or to the postal address at the front of the magazine.
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An Interview with Crash Kelly
Kelly's Heroes Retro rock is back in fashion big time! Bands such as The Strokes, Jet and Kings of Leon are currently tearing up the charts with their revamped sounds of the Seventies. Going side by side this new revival is the ever present, and over important sense of style over content which sees a different band on the cover of NME each week being declared as the future of music as long as they've got the right haircuts and wear the correct retro styling. So it's refreshing to find a band like Canada's Crash Kelly, who pay homage to the great guitar rock sounds of the past few decades but also give it a real shot in the arm with soaring choruses and quality songwriting. After spending years as a session musician, frontman / guitarist, Sean Kelly decided it was time to put together a band that paid tribute to the great bands that made him want to pick up a guitar in the first place and bring their sound kicking and screaming into the new millennium. TrashPit caught up with Crash Kelly on their first trip to the UK supporting The Quireboys, and spoke to frontman Sean about his bands debut on English soil. What has been the response to Crash Kelly been like on this tour? It's been very good. In a lot of ways it's the perfect tour to introduce the band to England because you already have a built in rock and roll fanbase and we're touching on a lot of the same influences The Quireboys have. So it's been outstanding, I've been really surprised. Had your bass player Ky given you any indication of what to expect after touring here already with Robin Black? Ky has been bigging up England and particularly Nottingham for a long time. Every time he came back from a Robin tour he'd be telling me how great it was, how receptive the crowds were and how friendly everyone was. And to be honest I always take things with a grain of salt until I see it for myself, but it's been a dream come true! It's always been a dream to play in a small club in England and so far things have far exceeded anything I ever thought. What made you decide to take the step from session musician to frontman? I was doing a lot of those gigs to pay the rent, but whatever musical situation I get put into I always try and give 100% and I can honestly say I've loved everything I've done. But what happens, and especially with the last project I was in, when you have five people in a band your ideas and initial grains of songs have to be filtered through those five other people. Now this is my own thing I'm able to fully form it myself and I've been fortunate to find other musicians who are sympathetic to it. Usually what happens is Ky and I get together and I'll play him the song, he'll programme the drums and we'll go right into the studio and cut it. The feel of the album and the band in general seems to have a real jam band edge to it. Was this an intention of yours or does it just come from your love of 70's music which always had that vibe? As loose and ragged as the album is, it's all by design. We sort of modelled it after early KISS, Alice Cooper and Thin Lizzy records and really went for that vintage feel, which was really diametrically opposed to what was happening around us in the current new breed rock scene. What was the first album that turned you on to rock and roll? My older sister had a great Glam Rock record collection and especially a lot of 45's so I was picking up on Slade, The Sweet, KISS and all those bands. It was probably hearing T-Rex 'Electric Warrior' though and then rediscovering it years later because at the time I was getting into music through bands like early Motley Crue and Hanoi Rocks that had really sparked me when I was like ten years old. I then realised there was a direct connection to all those records my sister had and you kind of follow the chain. Today I get a lot of flack back in Canada, but to me the first Ratt record
'Out of the Cellar' is a classic and so is 'Too Fast For Love', I don't have to defend that, but a lot of people feel they do by saying stuff like 'Look at me, I like Motley Crue but my tongue’s in my cheek, and it's a big joke!' For me it's what I grew up on and from there you trace music backwards and find out what influenced them. You took the name 'Crash' from a relation of yours, were does that come from exactly? That was my uncle, Orville 'Crash' Kelly, a professional hockey player in the 50's and I'm inspired by him in the same way I am my father who was also a hockey player because they lived it like they saw it. They had hearts of gold but they also lived life a bit on the edge. My uncle played hockey like a demon, he would be the sweetest guy on one sense and then he would be an absolute wild man! To me that's a very human thing, you get the good and the bad, and in the end you hope the good out ways the bad! It's like playing live in a band, go for the jugular but make sure you shake everybody's hand afterwards! What direction do you see the next Crash Kelly album taking? We've been discussing this with the other guys and we're gonna build it around the great grooves of the Seventies. For example, take a Foreigner or Sweet record and listen to the great grooves they had. We're gonna base it around things like that as I think it's the next logical extension. I'm really hoping I can produce something that would have been considered high fidelity in 1976, that's my ideal! Is this touring line up going to be the permanent band? Without sounding too 'flip' I liken Crash Kelly as being kind of like Whitesnake, because I'm always gonna be there and whoever can come along for the ride then you're in my band. It's a band when we're on the road and we split everything evenly but if you can't make it because of other commitments then someone else can come along - another soldier will get in line and we'll move forward! But I tell you, the line up on this tour has just been sensational. My guitar player Alistair was the best man at my wedding, Neil (Leyton - guitar) was my room mate and Ky, I met through Neil, and we've been together forever so he'll always be involved with Crash Kelly at least on a production level and hopefully always as a bass player or guitarist. There seems to have been an increase in Canadian bands breaking through into the mainstream recently since rock music has once again become 'fashionable'. That's kind of a different thing as those artists are signing direct to a major label whereas we've had the pleasure of signing to a smaller label with people who are as passionate about music as we are so we've still got direct contact but also the major label distribution channels. I don't want to wait around until someone tells me I can make a record - I want to do it when I want to do it! The debut album from Crash Kelly 'Penny Pills' is out now. Catch them on tour in the UK this autumn with Enuff Z Nuff or visit www.crashkelly.ca
TrashPit takes a look at the Crash Kelly family tree and finds some albums worth checking out........
Crash Kelly Penny Pills TB Records Oozing bags of attitude and charm from the opening strains of 'She Gets Away', through the Alice Cooper tribute 'Love Me Electric' and the country swing of '11 Cigarettes', Penny Pills should come with custom low slung Les Paul and leather jacket as standard, all that's missing is the vinyl crackling. An awesome debut that bridges a perfect gap between seventies rock, eighties glam and the power pop of today, proving that good songwriting and loud guitars will never be out of fashion.
Ky Anto Doodling on Jazz Fading Ways Music A left field and surprising, yet somehow obvious debut from the multi talented guitarist. There are no searing guitar solos or glam rock choruses on show here, just an acoustic guitar, harmonica and Ky's husky vocals. 'So Cool' and 'Still Waiting' are like Gomez without the unnecessary bleeps and farts, 'Us' shines with a Jayhawks charm whilst 'The Sun & The Moon' tips its hat to a trippy Beatles era. A stunning album that doesn't need all the amplifiers and electric guitars to make a big noise!
Neil Leyton From the Brighter Side.... Changes One / Fading Ways Music A massive collection of songs from the Canadian singer songwriter. 'From the Brighter Side...' struts in with a real swagger part Rolling Stones, part Zeppelin but at all times cleverly mixing strong pop hooks with a thoughtful and slightly dark overhead. For an album with so many tracks, seventeen in total, it skips along at a fast pace thanks to several punchy radio ready tracks like 'Whispers', 'Once Upon a Yesterday' and 'Nine'. At times a thinking mans rock record and at others just a dirty bar rock and roll album.
o duc t t n r i A P No One Better Than This!
The world has never seen a band quite like AntiProduct! Sure, there's been bands that wear face paint, bands that have had a mixture and guys and girls and there'll always be bands that give it a 'rock all, never say die' attitude, but I don't think a single band has ever given the full package in the same way that AntiProduct do. It's a stunning combination of powerful rock songs played as loud and heavy as any metal band but layered with such sugar sweet harmonies and hook lines you just can't help but find yourself hooked instantly. Couple this with a jaw dropping image and the most energetic live show you're likely to ever see and you have a band that encompass everything that is real about rock and roll and everything we want it to be. Even after numerous set backs and management rip offs the band have managed to bounce back stronger than ever! TrashPit caught up with main man Alex Kane and guitarist Clare pproduct to talk about all things AntiProduct. After all the problems that went down with the band and the recording of the album, was it a big relief to finally get the album out or did it feel like the hard work was only just starting? A: It's a different kind of hard work cause it seemed that for a while, maybe eight months, everybody in the UK music industry was determined to fuck us, rip us off or kill us! But I'm like they gotta try harder, I've tried to kill myself and it hasn't worked! Now this is just the fun part, getting out there and meeting people and turning them on to Rock and Roll. Kids of about eighteen or nineteen years old have never experienced the liberation of being in a room full of people and the band saying 'Let me hear you scream Rock and Roll!' You just see people’s faces light up and it's awesome, man! And the journey's only just started, we've got so much planned and it's gonna be so entertaining that they're gonna have to carry people out on stretchers! A guy saw us in Bristol for the first time the other day and I got an email from him saying 'That was the best gig I've ever been to in my life, I love you guys, I'm addicted to you! You're like crack but cheaper!' Which I'm not sure if that's a compliment! 'You know what you should do, you should say - AntiProduct, we will give you whiplash or your money back!'
You've spoke before about building the band by working on the road and gaining your fanbase that way. Why do you think this is missing from the music industry these days? Is it all now down to hype and money? A: I think today too many people are looking for a quick fix, but the bands that stick around and have any longevity are the ones that went out there and earnt it and built their fanbase. You look at bands like Metallica and Janes Addiction who are still around fifteen to twenty years after they came out, they're the ones that went out there, slugged it out and built a family that believed in the band. I'm sure it would be easier for us if a big label came along and said 'Okay, we're just going to exploit you all and you're all hookers now!' but it's so funny the amount of bands that have been hyped to hell in the three years we've been around and maybe sixty or seventy percent of them have broken up! It's like 'Didn't you like playing together before you got signed? Were you just doing it for the dough?' The fact that the five of us can stick together and go through the amount of shit that we've been through and just keep getting bigger and better shows that working at it and earning people’s respect and love is a hundred times cooler than just being the hottest band at 8.15 on Thursday!
C: It's like building a house and getting that solid foundation, or it's just gonna be a house of cards that's gonna fall down! Is there any moment that sticks out in your mind as your proudest AntiProduct memory or achievement? A: All of them, just being in the band and becoming friends! C: Playing with Marky Ramone, that was very cool! A: I smoked fuckin' weed with Marky Ramone! We met him in New York when we were recording the album because the Misfits were recording in the same studio and he was a little bit aloof you know like 'Hey new guys, whatever, good luck to ya!' So I didn't think he liked us, particularly me because I'm a cocky fucking asshole and people sense that vibe. But we did this show with him and he was so kind and so gracious! When we did the gig there was stage diving and mosh pits and Marky was just back there grinning from ear to ear. We also played the songs with total respect to the extent that we learnt all of the harmonies that you never heard The Ramones do live! So after the gig Marky takes me back to the dressing room and we're smoking weed together and he goes (adopts New York accent) 'You know you guys are really great, and your guitar player, she's probably the only guitar player Johnny Ramone would ever like! And those songs have never been played live with those harmonies before and it was great to hear them up there 'cause we spent a lot of time making sure they were right in the stoodio' What has been the most fun tour you've been on? C: I guess since May 2000 when we first started out has been the most fun tour we've been on! A: I really liked The Murderdolls tour, especially with me playing with them because it made a super tight bond which is still intact today, and whilst I've got nothing against people my age, except me, it was the first time we'd really had the chance to play exclusively to crowds who were almost all under twenty years old, and they just go apeshit! Starting a riot in Milan at The Gods of Metal was fucking awesome too. It was us and a bunch of old school eighties, Belgian, Scorpion wannabes and before we'd even played there were watermelons being hurled onstage, I mean they didn't even know if they fuckin' hated us yet and they're already throwing stuff! So we hear they'd just lost some World Cup game and I go out there and go 'No wonder you guys lost, your aim fucking sucks!'. The following month we heard that the label
that puts out our records totally sold out of all our albums! But I think this shows surface over substance because that was one of the shitiest gigs we've done. I know we're a pretty awesome band with songs that will be cool twenty years from now but a lot of people don't care about that. They got into us and bought the album because we did something cheap and sensationalistic, which is a shame but at least the music is there to back it up, so fair enough, you're on board. This was a similar thing to what happened at Ozzfest because the UK show for us was a fucking nightmare but the amount of people we've met since who thought we were awesome has been incredible, yet it can't be statistically right, unless it was one guy with ninety five thousand arms throwing stuff at us! As a frontman and guitarist who have you both drawn your influences from? A: Ignorance and Panic, because I have no fucking idea what I'm doing! I'm really just a guitar player and that's why it makes it interesting because it's like 'Lets just see what happens!' C: That kind of goes for me too but I love great guitar players like Captain Sensible, and even though he wasn't a guitar player there's people like Sid Vicious because however big a fuck up he was, he still looked really, really cool! A: There you go, surface over substance again!! Being an American, what is it that makes the UK special compared to the USA? A: I definitely in no uncertain terms have ambivalent feelings about this country, but I will always respect the fact that it was the birthplace of the band and the kids here who are into heavy music are way more awesome than those in the States because there's more of a detached apathy of coolness in America. I also think the things that I hate about this country, the people who are into AntiProduct may also hate and that's why we connect and I feel a kindred sprit to them. The amount of shit people including myself have to put up with to live here is very unfortunate and counter productive, so that's why I think that when people get into AntiProduct they get into AntiProduct all the way! Looking back on some of your earlier bands even back to when you first started out, what would you have thought if someone had shown you a photograph of AntiProduct and maybe played you an album?
TRaSH.PIT
A: I'd be horribly jealous and do anything I possibly could to make sure they didn't make it! C: I think I'd have loved us... A: You'd go 'She looks just like me!! C: At the end of the day we've got great songs with cool harmonies and that's what I've always liked. I also love a great show and leaving a gig with a grin on my face that doesn't leave for three days! A: I've got this saying that I can't get enough of lately which is 'Stupidity is the new Black', this doesn't mean you're dumb but it means you can still find some part of you that has an innocence rather than being jaded, and this is something that I try to establish to people who we play for - you can do anything you want just don't fuck with anybody and make them feel bad. This is why we go as crazy as we do so it allows people to come out of their safety zone and think 'Fuck it, why shouldn't I be yelling Rock and Roll!? It's a great feeling!'
"...it's gonna be so entertaining that they're gonna have to carry people out on stretchers!" Alex Kane on the future of AntiProduct
What's next for AntiProduct? A: We don't want to do anything else but play music, and we're willing to do whatever it takes to get there. It's really stupid but the amount of shit I've dreamed about, it never happens when you want it to or otherwise we'd all be rich and famous! But that's part of the road - do you want it forever or do you just want it now? And that's what kind of keeps me sane. Looking back to when I was just a little kid playing Ramones records and air guitar in my bedroom, then getting the chance to play live with Marky Ramone and work on an album of my songs with Rick Neilson from Cheap Trick who was like my 'dad' when I was a kid! Okay, so there's no Ferrari and maybe my face isn't on every t-shirt, but I fuckin' worked with on a professional level my all time fuckin' hero, the man who made me pick up a guitar! That's the fucked up thing about doing all this, you don't ever, ever loose sight of that kid who first decided he loved rock and roll because the minute you do and start feeling like a grown up, you might as well call it a day. That kid's got to stay alive. The album 'Made in USA' is out now on Cargo / Livewire. For more information visit www.antiproduct.com
Better Than This - Maxi Box Set Single (Cargo / Livewire) AntiProduct release their latest assault on the record industry with this massive 16 track single. Clocking in at a marathon 55 minutes, 'Better Than This' is taken from their latest album and is currently being submitted to the Guinness Book of Records as the longest single release in recording history! The track listing features a whole host of live, unreleased, demo and rehearsal tapes as well as classic AntiProduct hits and other surprises.
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Matchbox Twenty
Apollo Theatre, Manchester
You'd be surprised how many people actually really like Matchbox Twenty. Most people I know have never heard of them but judging by the capacity crowd at Manchester's Apollo theatre there's certainly a large scale audience out there buying their records. It's with good reason too, as they can certainly write some damn fine, catchy rock tunes that have cemented their status as one of America's most popular bands. Live, the band are as polished as you'd expect, hammering out songs such as 'Real World' and '3am' from their debut CD through to newer and equally solid tracks like 'Unwell' and 'Disease' from their latest album 'More than you think you are', each one being met with the enthusiasm of a UK top ten hit and a last minute rendition of Bowie's 'Changes' even makes it into the set. The only problem with Matchbox Twenty is that they occupy that grey area somewhere between Counting Crows and Bon Jovi. Lacking the really true passion and emotion of the former and not quite being able to convey the excitement and energy that Jovi have so easily mastered. So whilst the musicianship is second to none and the material on show some of the best American Radio Rock in recent years, an acoustic rendition of 'If You're Gone' proves what awesome songwriters the band are, you're left a little cold from a performance that whilst enjoyable often seems like a band going through the motions. Overall, an impressive gig song wise but if they'd let their guard down and add some grit and caution to the wind then things could be really interesting!
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Miles Hunt
Rescue Rooms, Nottingham
It's always a pleasure to see Miles Hunt performing live, wether it's the nostalgic trip down 'memory motorway' with The Wonderstuff or the pure guitar pop of his solo band, you're always guaranteed of a top class performance. But it's his solo acoustic shows that are the chance to see the 'real' Miles Hunt. Just one man, a guitar and a microphone (oh, and a few cigarettes and bottles of wine!) you are always treated to an evening that takes you on a journey through the singer songwriters career. Tonight see's Miles in top form even though there seems to be a little more talking than actual singing, due to him overindulging on the booze the previous night! No one is complaining though (other than a few good natured but slightly irritating hecklers at the back) because it's the stories between songs that are as entertaining as the music itself. The songs themselves are sheer class, 'Mana from Heaven' and 'Let's Hope I Get It Right This Time' from his debut solo record through to the awesome Vent 414 tune 'Fixer' and several well chosen Wonderstuff tunes, 'Piece of Sky' and 'Room 512', before ending with the superb and lilting 'Flapping on the Pier' are just a few of the gems aired. Whether Miles is in a good or bad mood, you can always be assured of an entertaining evening and tonight he was looking totally in his element and kept the audience hooked for almost two hours. Why he hasn't gained the acclaim as one of this countries most accomplished songwriters and performers will forever be a mystery, but that's England for you!
TRaSH.
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Def Leppard
Royal Concert Hall, Nottingham
bumps from start to finish but for some reason I didn't. Whilst it was a pleasure to see the band on stage delivering a note perfect performance I felt the spark had gone. Leppard have written some of the greatest rock songs of the past few decades such as 'Animal', 'Pour Some Sugar on Me' and 'Photograph', even 'Make Love Like a Man' as cheesy as it is gets the head nodding, but if they are performed without the energy and passion of which they were intended the magic is lost. Joe Elliot is still a great frontman, particularly in his friendly and teasing between song banter but tonight his vocals were lost in the mix to be replaced with what sounded like an over saturated, polished backing track and the guitars of Collen and Campbell had little effect. It would be great to see Leppard perform live as the great rock and roll band they are, save the polish for the studio, turn up the guitars and just see how things fly, maybe then the spark would return.
KISS Expo
Rock City, Nottingham
After years in the rock and roll wilderness it's great to see former Almighty frontman Ricky Warwick back on stage. Sheading the power rock of his previous bands, Warwick simply chooses to open for one of the worlds biggest bands with just an acoustic guitar. Playing songs from his new solo album 'Tattoos and Alibis', which takes on an almost Springsteen mood reminiscent of Nebraska or Atlantic City, Warwick appears totally comfortable in this new skin and the crowd responds accordingly. A guest appearance from Leppard guitarist Vivian Campbell on the track 'Three Sides to Every Story', cements the approval from the Nottingham audience and Warwick leaves to begin an exciting new chapter in his career. The evenings second band, Must take a little while to kick into gear but after several songs I found myself warming to them immensely. Not what I would consider an instant choice of band to be supporting someone as radio friendly as Def Leppard they serve up a sound very similar to alternative mood rockers Live with undertones of Alice in Chains with a gothic coating. Combining their sound with an eclectic image it's a powerful performance that unfortunately seems a little lost on the hard rock audience. Frontman Dave Ireland comes over like a new incarnation of Ian Astbury or a more animated Robert Smith with a powerful voice which comes into full force on the track 'Underrated' which really hits home as a potential hit single. Must delivered a strong uncompromising set, but perhaps to the wrong crowd. Over the past few years I've felt bands like Def Leppard should come with an 'Approach with Caution' label. You're never sure how a band with such a successful and legendary past will continue to fare in the current music climate. Tonight they play it safe and deliver a greatest hits package which is just what the Nottingham audience expected and wanted. With a such an awesome set list of hit after hit I should have been pinned to the back wall, I should have had goose
Every band brags about how cool their fans are and that their fanbase is the greatest in the world. Whilst they can all think that, very few have the passion and die hard attitude that the KISS Army attain. It's always been a strange thing that four grown (and now quite old) men in face paint and high heeled boots playing party rock and roll have achieved and maintained the status that KISS have. But that's always been the magic of the band, they manage to do the most ridiculous and unimaginable yet millions of people around the world, myself included, just seem to succumb and love it! Now as we cruise through the new millennium, the hottest band in the world are back in the spotlight with their new Alive IV Symphony opus and Nottingham's Rock City gets the opportunity to host it's own KISS Expo. As well as the usual CD stalls, videos and t-shirt stands, today's Expo features a guest appearance by Mark St. John who performed lead guitar on the KISS Animalize album back in 1984. Other than signing numerous autographs he
also took the time to do an informal and informative question and answer session, which shed light on how things weren't that great in the KISS camp back in the 80's. You could see that from the reactions from several fans in the audience this didn't go down too well but a big up to St. John for being honest without bad mouthing anyone. So come on everyone, at the end of the day KISS is a business and it's not all gonna be the perfect Rock and Roll story, our heroes do have some flaws! The day is ended with a performance by one of the worlds premier KISS Tribute bands, Dressed To Kill, and this is the only chance you'll ever get to see the KISS spectacle on a small scale. The band replicate everything in great detail with accurate vocals and the costumes worn are second to none. What is cool is we get to hear KISS songs rarely performed by the real band in make up. Tracks from The Elder and Unmasked are aired and we even get a stomping version of 'Heaven's on Fire' with Mark St. John on backing vocals! As pointed out by my friend, Scott, you could go to the bar and from a distance it could actually be Paul, Gene, Ace and Peter up there on a club stage back in Detroit in the early Seventies. You wanted the best, you got the next best thing! A top afternoon so here's to next year.
London shows, but 'Who cares, they're only full of business types anyway, and not real people!' The loyal crowd who have packed out the venue lap this up and respond loudly, particularly to the touching 'My Hometown' and the massive sounding 'Hit' - the mixture of sugar sweet harmonies and a powerhouse rhythm section making for a stunning combination. It's a set from a band who have always stuck to their roots of providing quirky, smiling pop songs that can't fail to light up anywhere they play.
Bowling For Soup Octagon, Sheffield
The Wannadies
The Charlotte, Leicester
Look up the definition of the term 'pop band' and it should say 'See The Wannadies'. The band are simply one of the finest examples of pure pop magic you're likely to find and midway through their current UK tour they are practically untouchable! Supporting their new album 'Before & After' the set is a mixture of old and new songs giving the crowd a whole feast of quality tunes from their massive back catalogue. 'Singalong Son' from the new album sets the pace for the evening and the band hardly let up, delivering track after track with breathless ease. Vocalist Par Wiksten is a laid back, friendly and charismatic frontman who easily bonds with the crowd and admit's that his voice is on the blink after numerous gigs which might blow it for their upcoming
Bowling For Soup should become prescription for anyone feeling crappy on a Sunday night having to get up for work the following day, because at the moment I can't think of a better band to make you forget about everything else and just have a damn good time! Remember when all great, feel good rock bands like Van Halen and Poison used to say their gigs were more like parties, they were the hosts and everyone was a guest, well that's just what a Bowling For Soup gig is like and tonight is no exception. There is a great feeling in the atmosphere given off by the bands hordes of fans and this is reflected in their immediate warm welcome to support bands Never Heard Of It and Farce who get great receptions, and once the larger than life Texan's hit the stage the place erupts. Most of the crowd have probably seen this band several times in the last twelve months but this is a band it's hard to get bored of with such awesome sounding songs such as 'Surf Colorado', 'Life After Lisa' and 'Punk Rock 101' which really comes into it's own in a live setting. Mix this with lashings of personality and genuine unpredictability between tracks which makes each gig unique, Bowling For Soup easily prove they are at the top of the game in the power pop field. They might not be considered cool or cutting edge but I defy anyone to see this band and not enjoy themselves, and at the end of the day that's what going to a rock n roll show is all about!
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A TALK WITH BOWLING FOR SOUP
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BiGPOP!
When the single 'Girl All The Bad Guys Want' stormed the UK charts last year, Texan band Bowling For Soup were instantly dropped into the high flying punk pop bracket alongside all the Sum 41's and Blink 182's. Several spins of the bands current album 'Drunk Enough To Dance' will prove that this group of larger than life characters are much more than your average radio friendly punk band and simply just a great rock band (by their own admission they're more Cheap Trick than punk). They combine elements of great rock bands with a cool modern day feel that brings together some of the most infectious power pop tunes of recent years, and several sold out tours later has proved that this band are here to stay. TrashPit met up with the band, singer/guitarist Jaret Von Erich, bassist Erik Rodham Clinton, drummer Gary Wiseass and lead guitarist Chris Van Malmsteen, mid afternoon in Sheffield on their recent UK tour. What was your first UK tour like and how has the UK changed since you began touring over here? Jaret: The first thing that happened for us over here was through Steve Homer who used to work for Mean Fiddler who’s now our promoter with Clear Channel. Steve saw us at a festival in Austin, Texas called South by South West and said he wanted us to come play Reading and Leeds, and we're 'Okay whatever' and didn't have a clue what he was talking about. Then one of the guys called me up and said 'I just went to the Reading and Leeds website and this is some really big shit!' So I go on there and it's like 'Holy Crap, 100,000 people!' So we fly in and play the smallest stage there and it's absolutely packed and the kids knew the words to the songs already. It took us a year to come back over again when we did our own tour with Uncle Brian, just little 200 seater clubs and all the shows were great. Erik: Eleven people packed into a transit van! J: The drummers dad took two weeks off from work and borrowed the school transport van and drove us all over. It was just so much fun, like real old school. Gary: Singalongs every night on the way back to their house
to stay up all night long with the singers dad drinking his beer and the next morning he'd wake up and already have the fridge stocked with more beer! Other than playing live what's your favourite thing you like about the UK? J: Drinking, we like drinking. G: I went to Jilly's Rockworld last night and thought it stayed open till seven, so I'm ringing everyone up going 'Get over here man, they just finished playing 'Hot For Teacher' it's fucking rocking, we're having a blast!' And as soon as I hang up the phone, Boom, the lights come on! J: The thing is I'd gone outside and I'm like telling this cab guy 'I need five cabs here like soon cos we've got to make it to this bar!' Then Gary rings me back to say the club’s closed so I'm like lets get the fuck out of here, there's five cabs on the way! So we haul ass back to the bus! E: I went to Jillys and I was told we were getting in free, so I get up to the front and look like a dip shit! J: Imagine that!
How did you become associated with Butch Walker? J: One of our A&R guys flew down to see him at a show and played him some of the early demos from 'Drunk Enough To Dance' which was 'Emily', 'Out the Window' and a couple of others. And Butch was like 'Man, I'll do this in a second, I'm all over it!' I went out and brought 'Ready, Sex Go' because I didn't know that much Marvellous 3 stuff other than the 'Freak of the Week' song. So I go into the practice place and go 'You guys are not gonna fuckin' believe what I'm about to play you, this is the guy who wants to produce our next record' and I didn't say another word, just pressed play and everyone just went 'Holy crap, this is gonna be awesome!' So it was cool how we got together and we became friends really fast. I don't know if he's gonna work on the next album though because he's such a busy guy and that's question number one right now. He's working with people like Avril Lavigne and Pink and all these huge artists so whether he'll have time for little old us I don't know. When TrashPit spoke to Robin Black earlier this year he mentioned you might be working together sometime in the future. How did you guys hook up? J: He's a genius, if this guy had come out in like 1987 he would have been the biggest thing ever! But I don't see why he still can't be now, with everything that's happening over here with bands like The Darkness and stuff. This guy can drink......more than me! He's the best guy ever! I met him through our manager who is also my business partner and we manage another Canadian band who they opened up for at a showcase one time. My partner calls me up and goes you're not gonna fuckin believe what I'm hearing right now, there's this guy up there like wailing and shit and meaning it! And he brought the album back, and that 'Some of you Boys' song, I couldn't believe it, it's such a
smash! He's gonna come down to Dallas and we're gonna write some stuff together. E: He was hanging out on our bus and I was sitting there talking to him for like forever and these guys just didn't tell me who he fuckin' was. Then he left and I was like 'Who was that guy?!' and they go 'That was Robin Black, man' and I'm like 'Oh Fuck!' J: No, I said it was 'Robin Fuckin' Black', that's his name! You're one of the few bands who find it important to build up your fanbase on touring alone. You've been back to the UK several times without a single to promote. Why is this important to the band? J: Everybody tells us not to come when we don't have a single but the tours are always awesome. What people fail to remember is that the kids over here have a real loyalty aspect, and they want you to make that commitment to be the band that's gonna come over to the UK. So every kid that comes up to us after the shows keeps saying 'Please come back!' So we decided we're gonna come over three times a year and for the last three years we've done it. With almost twenty tracks on the current album and numerous B-sides and soundtracks, just how many songs do you have? J: We have more songs than we even know. I'll just be sitting around singing a song without knowing what it is and Erik will tell me it's some song we did like eight years ago! We wrote forty songs for the last album. E: There was a lot of good ones that didn't make it. J: It got to a point were we had to stop because it was getting confusing. But hopefully we'll have that many again. You've become a regular on the festival circuit but what would your ideal festival line up be? J: There was some combination at Reading and Leeds one year when Green Day and the Foo Fighters played on the same day, and I couldn't fucking believe we weren't there. But you know the Warped Tour this year was pretty cool, simply because of the hang out factor. The cool thing that people probably don't realise is that there is no ego on that tour at all. I thought people would give us the cold shoulder because we're the new guys and not from California but it was so amazing that people would want to come up and
What people fail to remember is that the kids over here have a real loyalty aspect
TRaSH.PIT
meet you just because they'd heard your song. We'd get people like The Used coming up and sitting at the side of the stage watching our set. It's not that they're the biggest band ever but it's cool that they took the time to come and watch our show, and it was like that the whole tour. E: Then at night when everything starts shutting down and people start leaving, all the buses empty out and everybody's in the bus parking lot standing out in the greatest and hugest parking lot party you've ever seen in your life! J: Every night! So that was a dream come true, as much work as it was it was a good time and I hope we get to do it next year. What's cool though is the Warped Tour used to be predominantly punk but there were so many more rock bands on it this year so the audience was way more diverse. It was such a good experience for us and opened up a lot of doors. If asked, would you ever consider doing the Monsters of Rock at Donington, should it return in the future? J: Absolutely, I think it would be great. We'd be that band that gets fuckin' pelted with bottles though. E: It'd be worth it Chris: Fuck off, Bad News!! J: That'd be exactly what would happen. Do any of you remember the first album you brought? E: Run DMC 'Raising Hell' J: Donald Duck 'Disco Duck' G: Poison 'Look What the Cat Dragged in' C: Willie Nelson & Family First album you stole? E: I stole the first Beastie Boys album for my cousin. J: I stole the first Queensryche EP from Gibson's in Wichita Falls, Texas. It was back in the day when the CDs came in those big boxes and I had a friend distracting the guy whilst I tried to get it open. I felt really, really guilty but I stole a couple more after that! C: I've stole a bunch from out of cars but the first one I stole from a store was U2's 'Under a Blood Red Sky' J: Good one, Bono would be fuckin' pissed! G: I think mine was Bon Jovi 'New Jersey', I remember stealing that one. J: It's funny you ask that and we really all did steal a bunch of stuff and we're trying to distinguish 'Did I steal this one first or was it this one!?' What the fuck are we saying about ourselves here!?
Most embarrassing album? J: I own the soundtrack to Grease and I still listen to it too! E: One year for Christmas my aunt thought it would be a good idea to buy me the Milli Vanilli album because that's what all the kids were listening to. J: I also own the entire Dixie Chicks collection! C: I was gonna say the Dixie Chicks 'cause I've got their first album. And I've got fuckin' Bananarama's Greatest Hits! E: Is Pure Moods embarrassing? J: No, that's sex music! First album that made you want to play in a band? J: Easy, 'Blizzard of Oz' by Ozzy. This kid came into school with his walkman, with just fast forward no rewind, and played me 'Crazy Train' and I couldn't believe what I was hearing, it was the greatest thing I'd heard in my life! I went out and brought a pair of drumsticks that day and asked my Dad for a drum set at Christmas but he laughed at me. I got one in the end though! G: Mine's actually kind of gay, it was Billy Joel 'Uptown Girl' E: What the fuck is gay about Billy Joel man, you stand up and be proud! G: I wish I could say it was 'Appetite for Destruction' but I'd be liar. J: It was weird how pop culture influenced me as a kid. I would go watch a Rocky movie and all of a sudden I was gonna be a boxer, I'd stand in front of a mirror and practice my punching. E: When you saw Footloose did it make you want to be a dancer? J: I swear that was the next statement out of my mouth! I went and saw Footloose, came home and I swear to god, I had a Sound Designs stereo from Sears, turned that fucker up as loud as it would go without shutting itself off....and I started dancing! G: Whenever I saw Top Gun it made me want to make out with Kelly McGillis. J: Everyone danced to Footloose!
The album 'Drunk Enough To Dance' is out now on Music For Nations Visit www.bowlingforsoup.com