#classic #guinness #pints #publife #stout #ale #savetheales #craftbeer #draft #ihateeverything #pvd #draft #newengland #trivia (at McBride’s Pub)
Photos by Cindy Hicks
Just look at the faces. Mosh faces are the best
Im quite certain that ive made all of these faces wow
#classic #ale #smithwicks #malts #savetheales #publife #irish #pvd #craftbeer #newengland (at McBride’s Pub)
#highseasbrewery #black #ale #malts #craftbeer #publife puckered like apple and wine to a #coffee finish #pvd #thebucket #dohertys (at Doherty’s Irish Pub)
#pints #craftbeer #publife #founders #pale #ale #savetheales #nitro #classic #empty #pvd #thebucket #dohertys (at Doherty’s Irish Pub)
77 One More Time Volume I
I spend time around a lot of younger kids. No, not “lurking in playgrounds” style around kids. And when I say “kids”, I mean early twenties. One place is work. Plus, the scene and pubs. Another is my hobby of film making, littered with embellished kids dreaming of being famous (not good at acting and respected for their craft; but being famous). These young people sensationalize and idealize the 19080’s, saying how ‘awesome’ it must have been. I am often reminded the line in Dazed and Confused, “The seventies obviously sucked so the eighties are gonna rule!”. Well, I hated the friggin 80’s. Despite all the great music produced, much of my favorite sub-cultures suffer from piss poor production and over aiming for a big sound of the arena bands. Both styles acted as detriments to bands recording in the eighties.
Special Duties kicked onto the scene in 1980, with the distilled spirit of punk. Two years later, they personified this ethos in their album title, 77 in 82. They had had a few 45’s, in 1980, 1981. But their first full length was released and spat with a simplistic rage. Fast and harsh was Special Duties’ formula and it worked well. These founding songs are being remastered with the grit and low end punch which they deserve in 77 One More Time (Volume I).
These songs capture the urgency of the UK scene in 1982. There is no catchiness here, no pop hooks; just anger and riffs. Even the “ohhh’s” in “Delayed Reaction” are undercut with the blistering tempo and chainsaw guitars. The remastering filters out the null space of ‘80s sound and fill in the gaps with charge and spite.
While more raucous and chaotic, Special Duties’ riffs certainly have some songs that sound like The Business. Judge and Jury sound like Suburban Rebels on steroids. Which is fine with me. Funny enough, even with the Business reference, the thing that Mickey and the boys bug me is when they get too slow. Special Duties rarely invoke the reduced tempo. “Britain in ‘81” slows it down for the first time at track eight. But the mastering, as would have been common at the time, does not overdo the drums to render the song mired in obnoxious production. It is slow, but still snarls like Anti Nowhere League would even at a slower pace. And well, that is the only slower song of the seventeen included here.
Notorious alchemists of hubris and rigid liberalism, Maximum Rock and Roll wanted to love this album for its encompassing “everything: ripping guitars, amphetamine speed, sandpaper vocals, catchy choruses”. Alas, they could only recommend it if the “imbecility quotient wasn’t so high”; pointing to Special Duties’ “asserting with jingoistic passion that they don’t want to die for a weak England!” *(Maximum Rocknroll #3, November/December 1982 – killfromtheheart.com) You certainly may heed that word. But, maybe 1982 British politics do not necessarily impact your current life that frequently.
The lyrics, however chagrinned by Max RnR, still resonate with me in a general application of working class struggles. As the drudgery of my soulless job bothers me, and its disconnected owners, I certainly can blast “They Don’t Care About Me”:
“And still they don’t care about me/ Yet I’m not earning no free money
And I don’t get no press sympathy/ But I won’t take no charity
I go to bed late every night/ I have to get up early it just ain’t right
I’ve gotta be at work by 8am/ For another eight hours of us and them”
Certainly these are lyrics that anyone can relate who would be listening to punk, regardless of era.
And to contrast the negativity of MRNR, KFTH.com also lists this review: “Ah yeah, I think this is probably one of the best records to come out of Britain in a long time. Special Duties put their hearts into their music.” (from Paranoia #6, Spring 1983) Hearts are certainly there. And when you put that much honesty out for others to hear – you are going to piss someone off. Especially when they troll records looking to be offended.
Song titles like “Government Policies”, “Violent Youth”, “Rise and Fight”, “Depression” and “Violent Society” “Police State” should indicate what you are getting into if you are unfamiliar. Special Duties’ boots kick in doors of the system with a disgusted perspective of the working class as they look up to the aristocracy trapping them. The palpable hate and the rebellion are wrenched into each spewed cynical syllable.
77 One More Time has been remastered to capture the fury. This release strengthens the lost bits without compromising the integrity or the heart of Special Duties. Every drop of enraged sweat and spewed disdain is left intact. This should whet your tongue for 77 One More Time Volume II and an LP of new material in 2015.
Jailhouse Records are releasing these:
RIYL: Red Alert, Discharge, Partisans, Abrassive Wheels, Blitz, The Ejected, Cockney Rejects
No Mercy for Mayhem
I guessed Satanic Royalty was last year, maybe 2012. But damn, the beast of n album that slapped the world to look at Cleveland metal was released in 2011. Crafted in the vile pits of sewers and cauldrons, Satanic Royalty grabbed the metal world by giving it balls again. Althenar drew on torture and paranoia and evil and spastic hate as inspiration for these new underworld anthems. And the world listened.
A lesser band might feel the shadow of intimidation lurking with pressure and expectations placed heavily upon them. The guiding aspect of Satanic Royalty was that it had been culminated over a decade. But these songs are the bestial product of only a year. With song titles like “”Aggressive Crucifixion”, “Try Suicide”, “Final Rape of the Night”, Midnight have obviously ratcheted up the horror. The music supports the attitude.
Midnight’s talent and allure are not due to their challenging the most extreme forms of metal, but expertly taking fierce metal and boisterous punk. “Prowling Leather” is a creeping song that holds a dark feeling throughout. The main riff is pounding, but there is a slight groove – or swing – embracing a hint of rock and roll; while ugly vocals describe savage imagery (“Give me your flesh, cut straight from the bone”). The song has a few levels, the songwriting is thought out and not resting on the power of this killer riff.
Maiden, Metallica, Mayhem and Misfits all meander through the music as obvious influences. Celtic Frost, Venom, and Judas Priest can be heard as well. One influence that is apparent is the characteristics of the depravity, nihilism, and grit of a burdened, fledgling Cleveland. Boasting the unpolished and vengeful spite and discomfort of Ringworm and Harvey Pekar, Midnight filter their unique blend of punk metal through their homeland.
“The Final Rape of the Night” is a vicious bruiser. The production, applied perfectly throughout the LP, keeps the galloping bass and the pounding drums in balance with a ripping riff and lead guitar lines. Songs like this define Midnight and the disdainful charge that they command a track and a stage with. The vocals are precise in their seething anger while still being listenable. “Degradation” has a blaring solo wrap up a dark, frenzied push of two and a half minutes. Again, the Rock and Roll is heavy in this one, like an Orange Goblin/Motley Crue off spring. But this is far more sinister.
“Woman of Flame” slows the tempo slightly, but keeps the intimidating fright high in front of the speaker. The treachery swirls as mid-tempo rocker continues to illicit a swirling, smoggy atmosphere. Like Dirk Diggler, they can go fast or slow and still stimulate their audience into spastic ecstasy.
Midnight is the demon seed of Athenar. He plays all recorded instruments. Photos and live shows (with other musicians) are cloaked in black hoods and ritual secrecy. I have interviewed him. Curt, blunt responses reiterate his agoraphobia and technical ineptitude, by choice. The subjects explored – hell, indulged and celebrated- on No Mercy for Mayhem reflect a disturbed individual mired in solitude. Gigs are random and rare. But if we get a masterpiece like this every few year, I will accept the God’s decision to keep this beast relatively chained.
RIYL: Bat, Venom, Metallica, Toxic Holocaust, Bathory, Acid Witch, Black Breath
Electric Wizard will be releasing their eighth album, Time to Die, on September 30th. You’ve already gotten a chance to listen to “I am Nothing,” an epic 11:30 long doomy jam that’s in no hurry to hook you, which is why it did almost immediately. The next song to be released from the album, “SadioWitch,” is a lot more immediate, but no less brutal. The song’s almost two-thirds shorter than “I am…
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This@monster is about to hatch. Cannot wait to see friends and fam from around the world. Even Canada. If for some reason you don’t have tickets get (and a hotel!) get them now at @brasscitybosssounds - this #Fest grows every year. No static all fun. #BCBSArmy show up for Thursday #djnight. #hardcore #punk #oi #skinhead #nofusspureimpact