Category Archives: 80’s

Interview: Kira Roessler (Black Flag, DC3, dos)

For well over half my life, I have appreciated all things punk rock. This blogsite here really has stuck around because of that notion. I love listening to the genre, I love talking about it, and specifically I love being part of the community.

I find myself fascinated with 80s and 90s punk mostly perhaps as it was what I was solely focused on as a teen and just is a comforting reminder where I came from. I love learning of side-acts and projects from many of the members of these bands that have helped fuel my life.

A couple months back I was given an opportunity to chat with someone who I have always been a fan of since my early days of becoming obsessed with punk rock. It is no lie, she’s played in one of my favorite bands that I never was able to see back in their heyday.

Thanks to her releasing a debut solo album, Kira Roessler was available for an interview and I made sure I jumped on this opportunity.

If you have no idea who Kira is, then I will give you the high-level recap. She once was the bassist for Black Flag, but that isn’t the only think you should know. Her punk roots go pretty far back to the point Pat Smear and her were in a band called Twisted Roots.

She actually was asked to join Black Flag while she played with DC3 – Mind you, DC3 was fronted by Dez Cadena, formerly of Black Flag,.. – Anyways, she later formed a dual bass band called dos with Mike Watt soon after and dropped a few albums before moving on to other avenues in the film industry. Where not completely removing herself from music, her priorities shifted.

Throughout her musical career, she matured into a more prolific bassist which in turn just continued to impress me. Her solo album is no exception and where it has been years in the making, it is everything I would have expected to come from her.

I had a million questions I wanted to ask Kira, but also did not want to be a nuisance so toned it down some which in turn became quite a great conversation.

Check it out:


BHP: Hey Kira, not going to lie, slightly freaking out over here given your musical history and the the impact your music had on me growing up.  I must say I am so stoked to have a moment of your time and promise I am not going to just ask about Black Flag from the get go.

Instead, I’ll start off asking about MinuteFlag.  I love that EP so much although hate that the music essentially was released because of Boon’s untimely passing.  I am just curious though, how did this collaboration come together in the first place?

Kira: Wow – not many dig this deep. Well Minutemen and Black Flag were obviously label-mates on SST.  For a while Mike worked at the office at SST. I am not sure what the deciding factors were, I know the Minutemen often felt a little competitive with the other bands – they did a double album because Husker Du did one. But Black Flag was jamming pretty regularly in practice, and playing instrumental material regularly. But I do not know who suggested the joint recording. Mike and I hadn’t done the two-bass thing yet and I felt like it was hard to find space during the jams with another bass wailing away. It didn’t really come out as well as he hoped and I think that was part of why they agreed to wait until one of the bands no longer existed to release it. But I like it, it’s pretty weird.

Photo credit Rachel Roessler

BHP: Ok, now that I got that out of the way, what took you this long do something on your own terms?  Given people you have surrounded yourself with throughout your life, many who have done solo projects themselves, I’d have thought you would have done something decades ago.

K: Well I have been recording my own music in my room for many years. Building songs virtually by sending ideas to other people who then would add their parts just became a good way to operate. Since I work a lot of hours sometimes, most of my bass work happens early in the morning which is not necessarily when others want to play. So I have had a body of work (so to speak) for a while. The intention was never really to release any of it. But Kitten Robot had a label and my brother Paul approached me and said they wanted to release a record. I turned 60 this year and it was somehow the right time. It doesn’t hurt to have someone ask. I will always be making music, though, whether it is released or not. That is where the joy comes, in the creation.

BHP: In a day and age of global pandemics, I assume a lot of what was recently recorded came from constant solitude.  What was differed this time for you about recording music?  

K: Actually much of the music was recorded before the pandemic.  Working alone in my room made sense to me long before 2020. The actual final phase of polishing and mastering happened in 2021, so very little of this record had it roots in the pandemic. I did write some songs during that time… and I actually mixed and mastered a record for my favorite guitar player Glenn Brown of his songs, that I had written bass lines. This material was created virtually as well. I just tried my hand at mixing and mastering since I needed an extra project during the pandemic. 

BHP: Your debut is very intimate and carries experimental vibes throughout.  When you started recording this did you have an idea of where you were headed, or was this more of a “let’s see where this takes me?”

K: My music always tends to be very personal. I am moved to write from a feeling or idea that comes from inside, and I try to capture it with my bass and then my voice. This particular group of songs tells a story – it is chronological – so I did not know exactly where I was heading because it was written across time as things were happening.

BHP: Who was “The Ghosts” about?  I really enjoyed that one and figured I would at least ask.

K: “The Ghosts” captures the story of the record the best in a way. It is a story about love and loss. “The Ghosts” was written at a time when I was facing a loss and all the losses that had come before in my life came into my head and heart like ghosts… appearing to torment me just as I was facing this new pain … 

BHP: Your brother helped with producing this release and dropped it on his label, Kitten Robot Studios.  It absolutely kills me by the way that he more or less hung out with Darby Crash and Pat Smear in high school by the way.  Anyways, what was it like to work so closely with him when putting things together?  

K: Paul and I have a very close relationship. We have been in bands together and gone through this long journey together. But working on my songs at Kitten Robot Studio I feel that our collaboration has grown a great deal. Paul’s music tends to be very lush and layered and it doesn’t necessarily come naturally to him to leave the spaces. I am quite the opposite. So he will help me with ideas of layers to add, and I will strip away things I feel are using up too much space. It’s a dance. On my songs, he gives me ultimate decision making so in a way – he just works hard to facilitate what I am trying to do. He is an excellent producer in that way. His goal is to help people achieve their vision.

BHP: Do you think you’ll do a small tour to support this release?  

K: I do not have any plans to tour. I do not have any plans to play live. I will say that I am trying to find a way to share something, some kind of event, but I have not but a vague concept so far. 

Photo Credit: Jack Grisham

BHP: One thing I really have admired about you is once you parted ways from the L.A. punk scene, you started experimenting with sound in dos first from a far and then in person, contributed to some of the most essential releases in various ways.  and then managed to become a dialogue editor and sound editor.  How were you able to accomplish off of this?  Did you make any sacrifices to take leaps towards any goals you may have had?

K: Of course it can feel, at times, like it is a sacrifice having to put my musical life to the side in order to make a living… but the truth is that I have been nothing but lucky.

When Mike and I thought about having a two bass band – we were very clear that for us to have the space we needed, there needed to be no other instruments. I learned a lot during dos about leaving holes and spaces and also how to find the spaces in order to add something. It became my preferred sound or style, not to have everything on top of each other. My tastes became stripped down, because I could hear the emotion better. And after all, I love music when the people playing are felling something and then I get to feel it too. That became the goal. 

In terms of work, I studied computers at UCLA and then became a computer programmer to support myself after college. But working in the corporate world was kind of miserable for me. I am a non-conformist and the corporate world insists on conformity. I felt like an oddball the whole time. Then I met a guy by chance through Paul who was doing sound for a USC student film. Paul was composing for it and I played some bass. I became enamored with the idea of using my musical background and my computer background to work in sound editing for television or film. I twisted the guy’s arm to hire me and answered phones and did admin work until I could learn the skills I needed to contribute in sound. Just lucky – because it is work that suits me very well.

BHP: Luck or not, I am sure it was not easy, can you tell me about some challenges you overcame?

K: Well of course the biggest challenge is to achieve some kind of balance. To make a lot of music, work on a lot of great projects – but there are only so many hours in the day. I go through times when it is very hard to find time to create music because work is challenging. And I am not a prolific song writer. I go through very dry periods when the ideas just don’t come, or the ability to translate the ideas feels stuck. But I try very hard to just appreciate what I have – recognize how lucky I am, and not focus on what isn’t happening at any given time.

BHP: Clearly you have so many stories about your life from the mid-80s onward.  Have you ever thought about maybe writing an auto-biography?

K: I find writing to be a pretty challenging type of work. It does not feel natural, especially to blather on about myself. Then there is the problem of having to remember all those fascinating details that I should remember. And actually my life before the 80s had some pretty cool stuff too!!

BHP: If you could regroup with one band you played with in the past, which would be be and why?

K: Interesting question. Like go back in time? Or like the re-hash thing where groups re-form after years off and do a record or tour? The truth is that for me, the idea of re-creating something years after the fact is less appealing than doing new music and moving forward.  I do not regret any of the time I spent in any band … but that doesn’t mean I want to revisit them. For me there is always the journey forward, with new things to say, and potentially new people to say them with. So … I got nothing.

BHP: You know, I wanted to follow-up here and just say regroup with any band you ever played with and for the sake of nostalgic purposes, but I get what you are saying and understand sometimes dripping back isn’t as purposeful as looking ahead.

Finally, probably one of the more important questions.  You said in your bio you are a dog mom.  Tell me about your pups.

K: I currently have 3 rescued dogs … all seniors 14, 12, and 10 years old. They are 20 pounds and under, as I live in a 2 bedroom condo. For them, there is room to run if the mood strikes them. The oldest, Jim is in some ways the most active. But he has gone almost completely deaf … which is hard for him.

Hank, the middle child, is the problem child. He has bitten my husband and I on more than one occasion. Generally speaking he feels that he is under attack at times and those are dangerous times indeed. He is 15 pounds of fury in those moments. Luckily they are relatively rare.

Our youngest is our female, nicknamed Stinky … the reason is probably self-evident. She is a sweetheart, very calm and loving… she just prefers to wear a layer of yuck if she is able to find one. But we (my husband and I) love them all dearly.  I never had kids – so my dogs give me that opportunity to nurture and care for a being who loves me unconditionally (most of the time).

BHP: Thanks for your time.  I enjoyed the release a lot!

K: Thank you, and I am glad you enjoyed the listen.


Kira, the debut solo album by Kira was released on 19-OCT-2021 on Kitten Robot Records. Check out the video below for the song “The Ghosts”:

Album Review: UB40 – Signing Off [40th Anniversary Edition]

I will preface this review with I never initially appreciated UB40 for all they were worth.

Growing up in the 80s/90s, certain hit songs played over and over on the local airwaves to the point I mistook them for a UK pop band. I basically wrote them off until the day I played Signing Off in the record store I managed years back.

At first, the album was tossed in the mix just to ensure everyone shopping in the store that day was not stuck listening to hip hop, metalcore, or punk rock music. Little did I know, I would soon appreciate and adore the entire album a mere hours later as it shuffled throughout the morning.

It was more post-punk than reggae at times, with strong political lyrics as well as just telling it how it is without holding back. As someone who loves ska and 2 Tone, I was just amazed of the music throughout. I started hearing other bands in them realizing how big of an influence they must have been for bands to mimic their style. I remember calling myself a fool for not getting into them earlier.

UB40’s debut release, Signing Off, was released 4 decades ago in the summer of 1980. To celebrate, the band has released a 40th anniversary edition double LP for fans old and new to adore. Featuring the singles “I Think It’s Going To Rain Today,” “Food For Thought,” and “King”, the release also includes three bonus tracks.

With the pandemic of 2020 causing a world of pain to so many, the politically-concerned lyrics throughout the album are more relevant today than ever. Case and point, “Tyler” easily could have been a modern day release based on the current events that seemingly remain unchanged.

“King” is as powerful as it was the first time I heard it. With this listen, I was reminded how poignant this track pertaining to Martin Luther King Jr. was. Last year’s actions by so many hateful people really proved nothing has changed as “they’re not ready to accept that dream situation, yet.”

Randy Newman’s “I Think It’s Going To Rain Today” remained an incredible cover. This was one of the tracks that helped UB40 get noticed as it hit number 6 in the UK.

I still adore “Food For Thought.” This hypocritical song about Christmas carried a chipper sound but the lyrics of suffering and poverty called out so many who fake their way towards the end of the year.

Title track “Signing Off”, still gets stuck in my head hours after I listen to it. That saxophone playing just is so likable that I find myself humming it randomly. There are plenty of ska moments in this track. I think the best part is how the lyrics pertain to today probably more so than they did 40 years ago when so of us just have reached our limits and need to log out of social media.

The translucent red 2LP release is just stunning to look at. The original album artwork remains the same. My only hope was that perhaps the band could have included more than three unreleased songs that honestly have already been released. I would be interested hearing some demos and alternative takes on some of these classic songs, plus a unused side of a record is always a sad thing to see.

Regardless, this is a great release that I feel more people need to give a chance and include in their collection.

Get past your feelings about their hit songs you may not agree with and dig deep into the UB40 catalog for their debut is monumental when it comes to music in more ways than one.

TRACKLIST

A1. Tyler 
A2. King 
A3. 12 Bar 
A4. Burden of Shame 
B1. Adella 
B2. I Think It’s Going To Rain Today 
B3. 25% 
B4. Food For Thought 
B5. Little By Little 
B6. Signing Off 
C1. Madam Medusa 
D1. Strange Fruit 
D2. Reefer Madness

You can purchase your own copy by clicking on the following link:

Album Review: Subhumans – Crisis Point

I have to hand it to the legendary Subhumans for dropping an absolutely amazing release this year titled Crisis Point.

It’s been over 10 years since the band even dropped a studio release and since the mid-eighties before that.

Was I concerned about this?  Not really, but I would be lying if I told you I thought I would be enjoying it nearly as much as I do.

Honestly, had one of these new songs dropped on a playlist somewhere, I might have took it in and moved on thinking it was just something from their past, but luckily I was made privy to the album thanks to Pirates Press Records and have been listening to it on repeat for months now.

Dick Lucas sounds the same when “Terrorist In Waiting” started, which is a good thing in my book, as honestly did the band.  Sometimes things are best left unchanged and the Subhumans proved this to me just one song in.  It was fast, angry, and exactly what I needed.

Tracks like “Follow The Leader” kept on with the band’s ethos I’ve appreciated for easily 30 years now and seemingly fit so well with today’s clamored current events.

“Strange Land” wasn’t anything I haven’t heard before by the band and was a nice reminder why I even became a fan in the first place.  It reminded me of something that should have been on the Repo Man soundtrack.  This track was just great as was the following track “99%”.

“Poison” wasn’t catchy, calling for attention, or anything of that nature.  It was an anthem of sorts for those who want to listen and take the ideology and make their own judgements.  This is what I have always loved the most about this band.

“Thought Is Free” closed out the album and is honestly about as classic sounding as something that came off of their debut release.  I was amazed listening to this track knowing it’s 2019 and this band that has been around almost all of my life sounds almost exactly same and carries that same energy.  This song alone blew me away.  I loved everything about it.

It’s not a rubber stamped statement toward a seasoned band. There really are not many acts out there that I can say have been able to do this.  What is “this” you ask?  Keep their roots, stick to their sound, and haven’t a care about results.

My hope is that the younger generation will pick up this album and it opens up doors musically enticing them to sit back and get lost in this band’s impressive catalog.

This isn’t meant to say you hanging punkers out there won’t appreciate this.

If you once listened to The Day Country Died and have the slightest hesitation to hear new music by them, don’t be a fool.  Get on it now.  Thank me later.

EP Review: Charger – Charger

Not trying to prove my age here folks, but I have been a fan of Operation Ivy and Rancid for a good 25 years now.

Needless to say when I heard that Matt Freeman had a new project on Pirates Press Records, I had to stop what I was doing to check it out.

Freeman has been in so many punk rock bands since the late 80s aside from Rancid including MDC, Dancehall Crashers, Auntie Christ, and of course Devil’s Brigade.  He even filled in for Social D for a bit. His bass playing is undeniably amazing and his deep, raspy singing style is unforgettable.

Having known his history, I figured Charger would follow suit, but I was so wrong and beyond blown away at what I heard.  Sure, there was a Hellcat feel, but smashed up against pure hard rock a la Mötorhead and Black Sabbath.

I shouldn’t just speak of Freeman as two other talented-ass musicians put their heart and sound into the self-titled Charger EP.  Andrew McGee plays guitar and then there’s Jason Willer on drums and vocals.  He’s from Jello Biafra’s Guantanamo School of Medicine and some other band called U.K. Subs.

“Crackdown” started with the bass playing I have grown so fond of along side some serious guitar playing.  The moment Freeman took the mic, I knew this album was gold.

The breakdown in “Victim” is tough and ever so authoritative.  The band clearly tossed massive nods to metal bands of the 80s/90s without losing grip of their punk roots.  You know the band had all the fun playing this one.

“Damage” ripped.  Riffs, slapping bass, insane drumming, and Freeman bellowing into the microphone.  There was a huge Hawkwind and Iron Maiden nod on this one.  This track right here is proof that this band has a ton to offer.

“All Kings Must Die” pretty much was what would happen if Rancid and Mötorhead had a baby.  There’s really no other way to put it, and it works just so well.  Beyond entertaining to listen to as it covers metal, thrash, and punk rock without skipping a beat.

“Dragged Down” again pushed back to 70s/80s metal giants like Maiden and Metallica.  The chorus on this one was perfect and evoked serious headbanging opportunities.

The EP might have flown by, but it was flawless and left me wanting far more.  Here’s hoping for a full-length soon.  Freeman, McGee, and Willer easily have proved their talent in this release will surpass the expectations of many.  I foresee a lot of music lovers getting into this one.  It’s topped my best of 2019 list easily and I have listened to the EP daily for a few weeks now and not grown tired at all of it.

Side note, if Charger was the music that Fraser, Buscemi, and Sander would have played in Airheads, it would have been the greatest movie of all time.  I am not sure why I kept thinking of that movie while listening, but I couldn’t help but share.  Plus if you recall, Lemmy was in that movie…

 

Album Review: Me First and the Gimme Gimmes – Rake It In: The Greatestest Hits

A few weeks back, I found a photo of myself from when I was working in shipping and receiving at some internet company.

I was about 21 years old at the time and looked ever so thrilled in the picture.  The photo showed me working hard while I rocked a backwards hat as well as a Me First and the Gimme Gimmes shirt, a shirt that I basically wore in the late 90s until it fell apart.  That was almost 20 years ago.

Where am I going with this you ask?

Well, clearly I was a fan back then, and I still am today.  Ever since I heard the Gimmes play “Country Roads” on a Fat Wreck comp, I fell in love.  There was just something so appealing about hearing a song my parents listened to in the 70s altered to my standards.

For those of you who live under a rock, Me First and the Gimme Gimmes consist of Joey Cape, Chris Shiflett, Dave Raun, some guy who calls himself Fat Mike, and good ol’ Spike Slawson.  They have been taking overplayed and classic tunes and covering them the only way they know how to.  The result is catchy, likable, and just downright fun.  i should probably add that they have been doing this since 1995.

Over the years, they have tackled adult contemporary, Motown, show tunes, country, and even Japanese pop songs just to name off a few genres.  I guess you could say they are not the gimmicky type.  Hell, they have 7 studio albums under their belts released on Fat Wreck Chords.  Clearly they are pretty damn important in the punk cover band scene.

To showcase their accomplishments (and squeeze you out of your hard earned cheddar), they are about to drop a greatest hits album on April 7th full of renditions of songs cleverly titled Rake It In: The Greatestest Hits.

Featuring 17 memorable covers, the Gimmes threw together the best of the best for all to hear in one collective listen.  I am sure it was tough for the Gimmes to pick the right songs for this “greatestest” hits album, but I think they did a pretty good job.

Starting with Bob Dylan’s “The Times They Are A-Changin'”, the album spans the Gimme’s eclectic taste in covers.  It was great to hear “Straight Up” and “Jolene” and of course “I Believe I Can Fly”.

I’d be lying if I said I wasn’t stoked to hear “Desperado” as well as “End of the Road”.  I adore the Gimme’s take on these two originally over-played-as-hell songs.

As an added bonus, a few non-album tracks that I have not heard in a long time appeared.  “City of New Orleans” off of Willie, a Fat Mail Order limited edition EP, was an excellent surprise to hear.  The Del Shannon classic “Hats Off to Larry”, originally on the Live Fat, Die Young: Fat Music Vol. V, was the other.

The one track missing that I felt should have been on this greatest hits was the Gimme’s version of “Rocket Man” by Sir Elton John.  Luckily, I have Have A Ball in my collection and can listen to it whenever I please, but for those out there that are just discovering this punk rock cover band, that is one song I know they would enjoy.

To be honest, I was really hoping for the band to have a new album full of covers, but I will take this “greatestest” hits release over nothing.  I hope one day they decide to cover 90s hip hop songs in the key of punk rock, I seriously think that would be amazing and I know they could pull it off.

What I’m trying to say is simple:  Long live the Gimmes.  They are the best cover band of my time.

In support of this release, Me First are touring and have been since February.  I can not even tell you the last time I have seen these guys tour, so make sure you go see them live.  It is going to be an all out blast.  Give them your money.  All of it.  Being in a cover band can’t pay that much, can it?

Tour Dates:

04/11/17 Pittsburgh, PA at The Rex *
04/12/17 Cleveland, OH at House of Blues *
04/13/17 Chicago, IL at Concord *
04/14/17 Detroit, MI at Majestic *
04/15/17 Toronto, ON Canada at Phoenix Theatre *
04/16/17 Montreal, QC Canada at Club Soda *
04/19/17 Boston, MA at Royale *
04/20/17 Philadelphia, PA at Union Transfer *
04/21/17 Baltimore, MD at Baltimore Soundstage *
04/22/17 Asbury Park, NJ at Stone Pony *
04/23/17 New York City, NY at Webster Hall *
05/02/17 Portland, OR at Wonder Ballroom ^
05/03/17 Vancouver, BC Canada at Commodore ^
05/04/17 Seattle, WA at Showbox ^
05/05/17 Boise, ID at The Olympic ^
05/06/17 Salt Lake City, UT at The Depot ^
05/07/17 Denver, CO at Summit Music Hall ^
05/10/17 Scottsdale, AZ at Pub Rock ^
05/11/17 San Diego, CA at House of Blues ^
05/12/17 Santa Ana, CA at The Observatory ^
05/13/17 Los Angeles, CA at The Fonda ^
05/14/17 Berkeley, CA at The UC Theatre ^
05/27/17 Las Vegas, NV at Punk Rock Bowling
06/09/17 Interlaken, Switzerland at Greenfield Festival
06/11/17 Milano, Italy at Carroponte w/ Descendents *
06/14/17 Attnang-Puchheim, Austria at EQUALITY Festival
06/15/17 Nickelsdorf , Austria at Nova Rock Festival
06/16/17 Bischofsmais, Germany at Rock The Hill
06/17/17 Bischofsmais, Germany at Rock The Hill
06/23/17 Neuhausen ob Eck, Germany at Southside Festival
06/23/17 Scheessel, Germany at Hurricane Festival
06/24/17 Neuhausen ob Eck, Germany at Southside Festival
06/24/17 Scheessel, Germany at Hurricane Festival
06/25/17 Scheessel, Germany at Hurricane Festival
06/25/17 Neuhausen ob Eck, Germany at Southside Festival
07/01/17 Würzburg/Giebelstadt , Germany at Flugplatz Mission Ready Festival

* = w/ PEARS & MASKED INTRUDER
^ = w/ Together Pangea