Looking back, I spent a lot of time listening to Rocket from the Crypt in the 1990s.
Though he retired that band in 2005, John Reis has stayed plenty busy since.
He came back into my radar in 2015 when he teamed up with Minneapolis punks The Blind Shake for the appropriately named Modern Surf Classics. Even as Reis has been busy with multiple bands, I have been most impressed with his solo career which kicked off with 2022s Ride the Wild Night. A mix of Nuggets garage rock meeting Classic Ramones style punk, it’s as good as anything RFTC had done.
2023s All of this Awaits You follows most of the same piece with some jarring topics- Harbor Freight tools, bananas and sandwich condiments.
It shouldn’t be surprising that 2025s Time to Let You Down is more of the same.
While new listeners may rank these three newest Reis albums in any order, I do find the third the weakest of the three. That said, it also rocks harder than the previous discs.
Modern listeners will probably make a playlist of their favorite songs anyway which is fine when their are catchy number here like Boomer Rang.
Released eight months after his last album, it was preceded by single Fed to The Dogs which has Iggyish raw power. If you like classic punk with more goofiness than politics like the Dickies or the Didjits, it’s right here.
If you were of a certain age in the 90s, you might have been a fan of EBM or Industrial or industrial dance or any variation on the term.
It once felt like the future of music and yet still seems like an underappreciated genre.
With the benefit of hindsight, it seems overlooked with the glaring exception of Nine Inch Nails, one of the most loved rock bands of the time and maybe Ministry who for a time hit mainstream.
There are of course bands that flirted with big time success- KMFDM, My Life with the Thrill Kill Kult and Skinny Puppy to name a few.
It’s not that Industrial went away, it’s influence on Metal is apparent in the next generation of bands like Marilyn Manson, Rammstein and Fear Factory.
But here’s the thing, while Industrial and EBM may feel fringe. Turn on the radio for 20 minutes and its influence is there - in sound, in iconography, and in fashion. Industrial, like Punk, seems like it is somehow stuck in time. I find myself online talking to industrial music fans and though it even slips my mind from time to time, I really do enjoy the genre.
What I have learned is that industrial fans seem to be the nicest people in the world. Yes, ironically, they may dress like nihilists out of a Philip K Dick story, but they seem so much less toxic than many fandoms.
Which takes me back 30 years. EBM has always been on the margins. Maybe not so if you lived in a large city, but finding likewise folks was a real hunt. I always joked my hometown wasn’t big enough to be able to differentiate between punks, goths, rivetheads, hippies, drama club kids and ravers because it was so so small that it only had enough room for “us vs them”. Even the metal heads and the punks hung out together in my small town.
And I am glad that I did find someone who was into the culture heavily. That could tell me about something deeper than the Wax Trax bands. I think you could only find a real scene in large towns like Chicago. Now, likely I would have done well myself. I did see a lot of industrial and EBM bands in the 90s - a truly enviable amount.
Still nothing beats connecting with a human being over music and hearing things for the first time .
It was the first time I had heard Ryuchi Sakamoto and Yellow Magic Orchestra. It was also the first time I heard Danish musician Klaus Larson who was making music as Laether Strip and also as Klute. He was but one musician that were on the Cleopatra and Metropolis record labels- labels that focused on electro industrial music at the time.
I have since lost contact with him but in that “small world coincidence” ran into him ten years after we had lost touch.
I really haven’t thought of Laether Strip either until I started frequenting Industrial music websites again. He has been incredibly prolific.
It’s challenging for artists to get listens, so I am not surprised that he has went tribute heavy.
There are seven albums of all covers titled "An Appreciation"- hitting New Wave, Goth, Punk and NDW influences. Then there's his seemingly infinite tribute albums- Skinny Puppy, Soft Cell, Godflesh, Ministry, Curve, Depeche Mode and countless others. Besides those cover albums, remix albums and more EPs than I can count, I put him at roughly 26 (and again, I may have this number too low) studio albums of original material as Laether Strip since he started 1990.
An incredibly neverending catalog of songs.
In 2025, he has two new albums- one of new material ( Fucking Perfect) and one a song by song cover of the Cure’s Pornography (A Tribute to the Cure). Both have been fairly well received in genre circles.
Klute (now renamed Klutae because of a similar named band) went on a slight hiatus but their next album - their 6th has been announced. I have heard good things about those records as well.
Like gangster rap, a lot of industrial EBM is stuck in some of the 90s tropes, in this case, there’s a lot of in-your-face hyper sexuality and blasphemous shock. The last Klutae album for example, being called Queer for Satan.
Still, par for the course for genre listeners. Fucking Perfect isn’t an album that will garner a big audience or be held more regarded than the 90s albums. But it’s still quite good for a record in its genre.
One of the good things about the internet is the ability to talk music with absolute strangers and I do that and I find where I do that most is with groups that talk about the alt country and Americana genres.
You always get in trouble trying to classify and categorize but I will do my best by saying there’s definitely two threads that run through these seemingly interchangeable names.
One thread stems from the late 1980s and is country infused with rock influences and popularized by Steve Earle and Lucinda Williams. The other main thread is probably best known for a 90s heyday of bands like Wilco and Whiskeytown who fused traditional Country and Beatlesque pop.
If you look at the state of affairs for Americana these days, there are so many streams flowing into the big River. I don’t know that most artists under the umbrella could be just pinned down to one specific influence- most are a combination of two or more
Jason Isbell and Sturgill Simpson may be the biggest faces of the genre, and they definitely pull from many places, and Americana groups draw a multitude of fans from across musical history that is pretty cross pollinated in the way “Alternative” became a catch all term in the 90s.
Prior to Steve and Lucinda, there were Cowpunk bands in the 80s that sound like the name describes like Jason and the Scorchers. There’s Outlaw Country which derives from Waylon and Willie and the 1976 Wanted! the Outlaws compilation albums. There’s Cosmic Country which is based off the 70s sounds of Gram Parsons, Buffalo Springfield and Crosby Stills and Nash, which is something that is still a bit different than the jam bands that root off from the Grateful Dead.
A lot of these bands have bluegrass influences. Then you have neotraditional country acts like Charlie Crockett who make music like the last 50 years never existed.
More modern flavors are Red Dirt music- the type of music that you hear on any given episode of Yellowstone and is crossing over into more mainstream country.
Then there’s the newly dubbed Stomp and Holler stuff that comes out of folk, that brings the college rock sounds into Americana and has brought some big radio hits in recent years via bands like The Hand and the Heart, Nathaniel Ratliff and the Night Sweats and the Lumineers.
In short, if you throw out an idea like Americana, you get this huge group of people who when you compare two listeners may not have a ton in common but are drawn to similar sounds. I didn’t even find a place for artists like the Flatlanders and Ray Wylie Hubbard who represent a genre of storytellers or old time music revivalists like Carolina Chocolate Drops and Old Crow Medicine Show.
Which is a long way around to say that one of my favorite recent finds is Caleb Caudle. Caudle is definitely under that Americana umbrella but I can’t quite pin him down.
He wouldn’t be out of place playing with Isbell or Earle, but there’s definitely that Gram Parson influence and some John Prine thrown in too.
There’s some gentle moments which tends to me have an impression of him as a peaceful folkie, but the edge in songs like the single “Knee Deep Blues” shows he’s much more layered than that- almost touching on goth country.
Songs like “Where we left off” are gentle ballads. “Hollywood Ending” feels like a Prine song.
Sweet Critters is something like somewhere between his sixth and ninth album (there’s some self released material that is reflected in the discrepancy) and in this case, produced by frequent collaborator John Paul White formerly of the Civil Wars.
Paste magazine had it on their long list of best Americana albums of 2024.
While I was just introduced to Caudle’s music, it seems like he’s an artist that has a lot of good material ahead of him. He invokes thoughts of Isbell times, Earle others, and even crossover successes like the aforementioned Civil Wars. There are really no bad songs with “River of Fire” “The Brim” and “The Garage” some of the best songs of the year.
The last remaining New York Doll, David Johansen has passed.
It’s possible that I bought my first Dolls album on the buzz around them as punk godfathers, though it’s also possible that I had seen snippets of them on punk documentaries.
By the 1990s, their biggest fan, Morrissey ruled over alternative rock. Half a world away and an entire sound away, Guns N Roses copied their style, sound and appetite for destruction. How could one band influence two such different artists.
I remember vividly buying 1985s Night of the Living Dolls. Though the band only released two albums. I suppose a “greatest hits” is still a starting point for the novice listener.
I would soon go on a mission to buy anything with the band’s name on it. Years later and unexpectedly, I would run into friends who shared my obsession.
The roots of the New York Dolls seem pretty clear. A charismatic singer paired with an equally charismatic lead guitarist. It was Jagger and Richards to the next level.
You could argue if they were punk, but they undeniably planted the roots of punk, and as far as rock, they were the template for every glam rock band in the 80s who got it from either directly or through middle-men like Hanoi Rocks.
The other element was that they ironically or unironically drew from early 1960s Girl Groups- adding harmony and humor to the subway train guitars.
In his posthumously released autobiography, Killer Kane lays out the influence and legacy often stolen by bands like KISS, Aerosmith, and Motley Crue. In an unfortunate story, Blackie Lawless would build off his relationship with Kane in the mid-1970s to go on to his own success later in the band WASP, though not carrying Kane along to the fame.
I doubt there are many bands that I have listened to more than the Dolls and I am not sure why that is. The songs that cement their legacy were largely written before Johnny Thunders turned 20. Yet there was something magic that no one else has quite captured.
I recently watched 2011s doc Looking Good On Television which doesn’t add a ton in the way of content (there’s footage of an early interview with the band) but worth it for all the footage of the band performing.
By the time I got into the Dolls, Johansen had surprisingly become a big star with his Buster Poindexter persona (appearing in one of my favorite movies, Scrooged)
I picked up his second record, 1979s Mick Ronson produced “In Style”. It is a product of its time but holds pretty well. It reminds me a bit of Ian Hunter’s solo albums of the same era (and Ian guests on one track).
Those first two solo records are largely cowritten with former Dolls guitarist Sylvain Sylvain. Sandwiched between those albums is 1978s David Johansen Group Live - a rarity that got wide release in the 90s. It’s an interesting mix of his new direction with some interesting covers (Build Me Up Buttercup, The Supremes’ “Love Child) and a few Dolls songs (with Sylvain guesting on guitar throughout and Thunders dropping in at the end for “Babylon”)
It’s an amazingly fun record that seems to capture a hometown crowd in love with David. He namedrops Elvis Costello, Blondie and The Ramones in his between song banter.
Johansen would end up with four solo records but his most successful album is the 1982 live record Live It Up. There may not have been much interest in his solo career, but his live performances were where things were at. Recorded live over two nights in Boston in 1982, it’s much the same recipe as the 1978 album. In fact, side by side, it pales in comparison to David Johansen Group Live (which again wasn’t really available at the time) but it stands up well on its own.
It also probably is a foreshadowing of Buster Poindexter. Poindexter seems like a character that could only come out of 1980s America and born out of New York City and Saturday Night Live. It would make Johansen simultaneously a cult hero who helped create punk and a one hit pop wonder. Wiki says if only made it to 45 on the pop charts but it feels like it made a more distinct impression on culture.
The 2004 New York Dolls reunion was so improbable but sure enough they would make three more records. A list of stars flowed through the new line up- Steve Conte, Gary Powell of the Libertines, Sami Yaffa of Hanoi Rocks, Aaron Lee Tasjan, Frank Infante of Blondie, Kenny Aaronson and Earl Slick.
I was never impressed with the second iteration of the Dolls, nor with Johansen’s early 2000 band the Harry Smiths. But perhaps there’s not a scenario where I can elevate anything to the reputation of those two Dolls records. I cannot fault someone who elevated the blues legend Hubert Sumlin back into the spotlight or gave Kane his final hurrah in the reunited Dolls.
Book Review: Too Much Too Young: The 2 Tone Records Story: Rude Boys, Racism and the Soundtrack of a Generation by Daniel Rachel
This book does what it says on the cover, which is tell the 2 Tone Records story. In many ways, the story of the Specials is entwined with that. Related bands like Madness and the (English) Beat were involved and tangentially important.
I think by staying true to the concept, the book is better for it. The book won a lot of awards for music writing and deservedly so.
Author Daniel Rachel seems to have interviewed everyone involved and when conflicting stories pop up, he will tell all of those involved's versions.
Which makes this a great music book regardless if you are a diehard fan or a novice. What amazes me is how short the heyday of 2 Tone was. May 1979 was the release of Gangsters and June 1981 was the release of Ghost Town (with Terry Hall, Lynval Golding and Neville Staple leaving subsequently to form Fun Boy Three).
Even as an American music fan, I see these are wildly different eras. The Specials formed in 1977 amidst punk, unemployment, National Front tensions, Rock Against Racism and heavy unemployment. At the end, New Wave has taken over and the Falklands War is on the horizon.
The rise of the band is lightning fast and the idea of 2 Tone surely seems ahead of its time. Sure I can think of many artists who had record labels- Beatles, Stones, Zappa but the idea of a boutique label launching new artists (with major label backing) and a similar sound and vision is the kind of thing that didn’t really take off until the 90s.
That said, it’s a blessing and a curse. The Beat and Madness saw the allure of more money and publicity and went elsewhere. The Bodysnatchers and The Selecter made great singles but would not survive band infighting. UB40 would do something similar but end up charting a non-2 Tone path altogether as agreed upon by all parties involved. Meanwhile, complicating things was the fact that it was part of a bigger label Chrysalis who had their own motivation and profit goals.
Rachel makes sure Jerry Dammers is able to tell his point of view. An oversimplified characterization might otherwise fall into place. Dammers was a task manager who perhaps worked the band too hard. His principles put art over money and sought to avoid the hypocrisy he felt affected Joe Strummer and the punks.
On the other hand, one should remember this was a nine person group with Dammers, Hall, Staple, Golding and Roddy Byers all would be more than capable of fronting a band on their own.
Also the slim construct of what “the 2Tone sound” is becomes both a blessing and a curse. Decades later, it means the label is still much venerated. However, it also was so slim of a description, that the label was unable to expand its catalog and grow that much.
It’s probably not surprising that Dammers wanted to change his sound for the second Specials album. What is surprising is that the new influence on him was something he heard in America- and that was Muzak.
While it was not a huge commercial success and was part of a rollercoaster ride to the band breaking up, I do think More Specials holds up. Even more so, as the band fell apart, the band recorded “Ghost Town”. As much as it’s a low point in the story, the song is truly timeless.
Similarly the “third” album In the Studio by the band now dubbed The Special AKA was a boondoggle. Of course, in retrospect, Jerry had to essentially restart the band in an incredibly short time frame, and his new band members much less experienced than the previous group. Yet again, he succeeded by creating one single “Free Nelson Mandela” that is truly transcendent.
Another major chapter of the band’s life that goes horribly wrong is the 1981 documentary Dance Craze. In this case, a missed opportunity maybe to tell more of the story and a document that faded quickly into obscurity (like so much of the 2 Tone Story- time has rewarded that narrow focus- but it was also a barrier to sales and growth) but has recently been rediscovered, re-released in 2023 and instantly caused a huge buzz.
This is a great book at telling the story of a special moment in time. How a bunch of extremely talented artists worked together to create something unique while having to deal with the issues of the day and issues of the industry - sexism, racism, music label problems and infighting.
I remember the first time I heard Marianne Faithful. To be fair, I am not sure she was obscure but unfortunately her role as Mick Jagger’s girlfriend and muse have overshadowed her music career.
Teenage me was obsessed with U2 and the ubiquitous Columbia House music club. That I bought the 1987 compilation The Island Records Story 1962-1987 should be no surprise. That it was a bit “pearls before swine” also isn’t too surprising.
Nearly 40 years later, it makes absolute sense to me but at the time it seemed rather odd. Not that it didn’t have enough to satisfy- I always loved Frankie’s “Relax” and Buggles “Video Killed the Radio Star” - new wave essentials. Sparks were weird but accesssible. Bob Marley of course, and two classic rockers- “All Right Now” by Free and “Do Anything You Want to Do” by Eddie and the Hot Rods- with some added Robert Palmer.
It seems like such a random grab bag if you have no context.
It was the first place I heard Julian Cope and “World Shut Your Mouth” had surprisingly ensconced Cope in the pantheon of artists the cool high school kids adored like The Cure, the Psychedelic Furs and Depeche Mode.
This may have been the first place I heard Tom Waits and probably the first I heard those earworms of Millie Small’s “My Boy Lollipop” and Desmond Dekker’s “Israelites”. I was less impressed with Steve Winwood’s contributions which weren’t as Radio friendly as his then contemporary hits- as he was represented by Spencer Davis Group, Traffic and 1981s “Night Train”
What’s funny is I thought this large group of quite diverse artists were quite obscure. Fairport Convention, Jimmy Cliff, Grace Jones, Sly and Robbie, Black Uhuru and Jim Capaldi are much more recognizable to me now decades later. Similarly, Amazulu, Third World, and British pop soul stars the Christians make more sense with knowledge that they are included here.
The standout discovery here though may have been Broken English by Marianne Faithfull. It wasn’t punk as I knew it (angry and fast bands like the Sex Pistols and the Ramones) or new wave (keyboard heavy in a way you would want to dance to it like bands like Depeche Mode and New Order)
Still it was (and remains) undeniable. I was too old for 1980 but it a perfect example of that time frame where poetry met experimentalism. That it did not chart on the US Top 100 is both surprising and not surprising to me. It is of course both punk and new wave, just not recognizable to me as a MTV watching teenager of the later 80s.
Faithfull is more prolific than I remember. As younger artists showed appreciation- her albums became star studded affairs. 2002s Kissin Time features Beck, Billy Corgan, Blur and Pulp. 2005s Before the Posion was an even bigger splash. Released on the Anti-label, PJ Harvey and Nick Cave produced and wrote most of the songs. 2008s Easy Come Easy Go and 2011s Horses and High Heels were produced by Hal Willner and brought back most of her recent collaborators and more like Lou Reed, Keith Richards and Cat Power. Her last three studio albums in 2014, 2018 and 2021 were produced and collaborated with British musician Rob Ellis (PJ Harvey) and Nick Cave collaborator Warren Ellis.
There are again a multitude of famous names on these last three albums- Cave, Roger Waters, Brian Eno, Steve Earle, Ed Harcourt, Anna Calvi and the Clash’s Mick Jones.
If Faithful had died in the 1980s or early 90s, her reputation would probably be built on her 60s singles and Broken English - at least in the US.
Instead she became known to a whole new notice. In 1997, she shared vocals on Metallica’s “The Memory Remains”. It reached 28 on the US Billboard chart- to date, the band’s third highest placing on the charts. It was in constant rotation on MTV.
It is to my mind, a perfect song too- matching latter era Metallica’s more concise and traditional song structure with Faithfull’s charismatic and hypnotic presence.
Her 21st Century albums starting with Before the Poison were well received critically and artistically were as vital as anything that was being released in same spaces. That she started as a pop star who like Nico and Francoise Hardy, became a cool cult icon with great influence is a great postscript.
On March 6, 2025, legendary punk guitarist Brian James passed away.
The original four piece of the Damned are truly one of those iconic groups. One of the few where every member stands out and would dominate the personality of any other band. Dave Vanian, the vampiric former gravedigger out front, the goofy beret and sunglasses wearing bassist Captain Sensible, the bonzo drummer Rat Scabies and Brian James driving it along at a million miles an hour on guitar.
The video for “New Rose” may be rock’s most epic moment.
James is well loved so much that every time he would reunite with the band it was a big deal as if it was the Fan Four, but he only really played on the first two albums.
But what records they are. Damned Damned Damned may be perfect- somehow catching lightning in the bottle by the efforts (or lack of efforts, possibly) of producer Nick Lowe. It’s pretty much all killer, no filler- the band sounding like they are falling out of your speakers.
Everyone knows New Rose and Neat Neat Neat but there are songs too like See Her Tonite and So Messed Up that are among punks finest.
Pink Floyd drummer Nick Mason famously produced the disappointing second album Music for Pleasure which was largely written by James (Syd Barrett was the band’s first choice of producer). That said, Stretcher Case Baby, Sick of Being Sick, and Problem Child are songs from those sessions that could have fit on the debut.
The band broke up though it was short lived. They never stopped for long and were an amazing live band when I saw them a couple of time in the 90s. But Sensible moved to guitar and numerous lineup changes would occur.
James would form a bit of a supergroup with Dead Boys vocalist Stiv Bators.
Lords of the New Church would have some success on the mid 1980s though in retrospect their goth rock sound was perhaps too early to truly have the success they could have. Though they didn’t write their biggest hit “Russian Roulette” (written by Tony James of Generation X and Terry Chimes of the Clash), most everything else was credited to James and Bators.
In the 90s, I searched the bins for Damned cutouts which were numerable. 1989s Final Damnation was seventeen live songs - the first half with James as part of a reunion. It shows how great the live band sounded. 1994s The Sessions of the Damned is a compilation of BBC and Peel songs and is a good overview of the bands material with James on the early stuff. I would recommend both albums heavily to fans of the Damned.
On February 17, 2025 Rick Buckler drummer for the Jam past away. Without a doubt, one of my favorite bands of all time.
When I was in high school, I was introduced to what was then new wave or post punk or alternative (or called “art rock” on occasion). My friends and I scrolled our favorite band’s names on our notebooks. That fandom reflected the big names of the day- The Cure, U2, Depeche Mode, OMD and so on along with bands that had a long influence- Sex Pistols, Clash, Violent Femmes.
I was curious that a certain friend always had The Jam on his list.
Now granted that iconic logo with the trailing line under the M is epic. Still, at the time, there couldn’t be a more possibly obscure idea to me than the Jam. In these days of video blogs and RYM, I am shocked at how there is a culture of Teens who go online and post things to places like Reddit such as “I like —-, what should I listen to”
As a seriously old dude, this feels so passive. Yet, with a sharper eye, were things that much different then?
I was shocked to find Snap! In a local record store. (I found many inexpensive albums here that surely made and still makes little sense to me, except I am sure they probably came through local radio stations that dumped them and returning college students)
Snap! Is the two disc greatest hits album from 1983 that would later be released (albeit culled) on compact disc to more fanfare in the US as Compact Snap and later replaced by a not terribly different 1991 greatest hits.
Although there’s not room for everything, Snap with some B-sides and album cuts and the rawer demo version of That’s Entertainment is near perfect. Nah, forget I said “near”. I am not sure there’s a better start to end listening experience
The Jam recorded six albums in five years. The kind of prolific output that most groups would have only gotten two or three albums out at the same life time.
I never much liked Weller’s post Jam work which is well loved. That may be my failing, but I much prefer the frenetic energy of the Jam. I also don’t like that Weller, like Sting and so many others, don’t seem particularly proud of their early work. Still, maybe if I was an artist and that’s all people wanted to talk about, I would feel the same.
Chumbawamba was one of my favorite bands. I was lucky to have heard them just slightly before they had their big hit. I enjoyed all of their albums even after 2004 when they became a four piece that was more interested in folk music.
I was lucky to see them live when they were still relevant to the charts. I am not sure I would have expected them to be family friendly but there was still some shock that their setlist was heavy with early 90s stuff. Provocative stuff like “Mothful of Shit” and the women dressed like Nuns smoking cigarettes and carrying whiskey bottles.
My friend and I were heavy into them at this time. The irony is that I adored them as if they were 70s arena rockers, a fact that they would surely have found ridiculous. But sure enough, the part of the rock circus saw them in the crowd signing a handful of autographs. Though I didn’t get one, my friend who had bought the rare American version of 1994s Showbusiness (sold here by AK Press as For A Free a Humanity: For Anarchy which was also paired with a Noam Chomsky disc) did get his CD signed by the band.
Not for the first time, my dear friend did a selfless thing and gave it to me afterwards, and I am eternally grateful.
(I don’t begrudge the band for not being fan friendly in that environment which surely must have felt weird for them. I was and am one of their biggest fans. If not the biggest, then certainly if they had a bus of biggest fans, I’d have a ticket, but they would not have known that or even believed that).
I have kept some eye on the post- Chumbawamba careers since the band dissolved in 2010 but they don’t get a ton of coverage. My interest was renewed last year when I watched 2021s I Got Knocked Down- a documentary about Chumbawamba written and featuring Dunstan Bruce.
Bruce makes music with the band Interrobang?! Alice Nutter has a successful career as playwright and TV writer.
Things unsurprisingly were credited to the collective (and I don't have reason to doubt that) but I suspect that Nutter and Danbert Nobacon were the most creative voices, and I am not surprised that Nobacon is carrying the torch.
Relocated in Washington state, Nobacon is doing what he has always done- made satirical albums that make fun of the establishment. Occasionally working with people like The Pine Valley Cosmonauts (Jon Langford of the Mekons, a similarly minded outfit), Neil Ferguson and Harry Hamer (aka Chumbawamba’s rhythm section) and Miranda Zickler of Seattle folk band Kunika.
If anyone, Nobacon feels like the spirit of the band. He was a founder. He famously dumped water on then British Deputy Prime Minister John Prescott.
In the iconic Tubthumper video, he looks like the agitator (to Dunstan’s front man and Alice’s artist)
One suspects if Tubthumper had never happened, Danbert would be making albums with crude covers and satirical titles. And guess what he is, as he did even during some of the time he was in the band.
2024s Kochupus Garden is of course a reference to the powerful right wing billionaire donors the Koch Brothers.
In true Chumbawamba fashion, it’s a musical, a mix of styles, not just punk faster louder. It’s got a wacky satirical plot. “Dark Money USA” runs the country and two of their songwriting Bots have escaped and are on the run. The subtitle of the album is "Now that's what I call Capitalism: A Musical"
I can’t think of really too many artists that are similar to this. Jello Biafra is about the only one who comes to mind.
Also from a content standpoint and style point of view, there is a bit of Billy Bragg here too. But like Chumbawamba, Nobacon is a genre chameleon - folk-punk, pop, reggae, piano ballad and so on
Danbert does have a website and it does contain the kind of repository of writing that the old Chumba.com website used to have. He doesn't tour much outside the Pacific Northwest but I am happy to see him still going at it.
I wrote this in November 2024, just now getting to post it
Like a lot of outstanding artist, I remember the first time I heard Jason D Williams.
It was on the Sirius XM Outlaw Country channel probably circa 2015 or 2016. I was interested right away.
There really is no way of discussing Williams without bringing up the fact that he claims to be the illegitimate son of Jerry Lee Lewis and his career is in the style of the Killer. It's hard to be sure how serious this claim is. I found a 2014 article that calls him the son outright. The most likely story from Williams (if it is not a complete fabrication) anyway is that he had DNA tests with Lewis in the 90s but the results were inclusive and taken before technology could say more certainly.
It's a nice nod that this opens the door both to the possibility of that truth or that Williams is telling tales. (He would have been conceived around the time of “High School Confidential” if you are taking notes)
More easy to verify, Williams got his start as a teen playing for Sleepy LaBeef- a Sun Records recording artist whose career seems a bit of blueprint for Williams- a “human jukebox” known for his energetic live performances.
Info on Williams isn't very convenient on the internet. He has no Wikipedia, for example. His first record was on MCA- 1990s Tore Up- seems to not be on streaming services but generally available through second hand resources and looks to be in line with what one would expect for a Nashville industry packaging of Lewis, largely produced by Roy Dea ( Tom T Hall, Gary Stewart).
It is also near this time where Williams (or at least his hands) star in the Lewis biopic Great Balls of Fire.
1993s Wild album was recorded in Sun Studios and put out by Sun Records. Produced by Dea and Classic country producer Shelby Singleton (“Harper Valley PTA”, LeRoy Dykes, Ray Stevens, Jerry Lee Lewis's Country Songs for City Folks). The cover looks more in line with finding a college rockabilly audience and looks like we are starting to anticipate Outlaw Country. Check out a rocking cover of “Tubular Bells”.
The next release is 2004's Don't Get None on Ya. It barely registers anywhere online but this Rockabilly Records release leads to another album for the label- 2010s Killer Instinct produced by roots rocker Todd Snider.
This is likely the high point of his career to date - followed by 2014s Hillbillies and Holy Rollers produced by Dale Watson - these are hidden gems for fans of anything that resembles “Outlaw Country”.
His last album Lucky Ol Son was released in 2023 but media attention seems scant.
In 2024, he is opening for Reverend Horton Heat and releasing a single with Heat and Texas Country legend Dale Watson.
It's hard to describe Williams but Allmusic's James Allen may do it best in his review for Killer Instinct. You can't call Williams an “outsider” musician (and I know “outsider” music fans clutch their pearls the tightest) but he seems to embody the uniqueness of the original Sun Records legends in a way that cannot be overstated.
It probably doesn't hurt that age helps the legend-Williams now 65 looks like he stepped out of a Hollywood movie about himself. Accolades that follow him like “the world's best piano player” are plausible. He's an amazing entertainer. Of course, there's the Lewis homages of playing piano from all types of directions- on top, behind and so on.
But that is only half of the story. There's a bit of Tom Waits to him too.
He does “Whole Lot of Shakln'” of course but he also throws in Hava Nagila, Blister in the Sun and the Waterboys' “Has Anyone Around Here Seen Hank” (which in a certain tall tale claims to have cowrote) among the mix of the usual boogie woogie, old school country and 50s rock.
I doubt most of what he says on stage- so while he says his band is his son and grandson- it seems to be these players credited on his website- drummer Popcorn Irving and guitarist Max Kaplan who rock with the fury of X or Social Distortion .
I doubt I am doing a decent job of selling Jason. “Jerry Lee Lewis” show which almost sounds like a lame Vegas act and I am not sure his recorded work reflects the energy he has when he is in front of a crowd. But he ranks alongside other Wild Men of Rock like Mojo Nixon and is one of those characters that are impossible to pin down to a traditional genre.
Think of hard to categorize artists like Webb Wilder, Junior Brown, Chuck Mead, and Big Sandy. Bill Kirchen of Commander Cody is one of the comparisons that pops up a lot in reviews too. But he's a fun time and if he comes by, go see him
