photo & text by nacrowe
in the summer of 2001 i visited a childhood friend of mine in SOUTHERN CALIFORNIA my hometown in ORANGE COUNTY. it was like a month before 9/11 and at that point i had spent my junior year of high school in KUWAIT. i didnt know at the time that within 2 months id be living with a relative in SACRAMENTO. anyway, this friend of mine was big into PUNK ROCK, specifically 80s HARDCORE. he basically opened my eyes to a whole scene of local ORANGE COUNTY and LOS ANGELES COUNTY bands id hitherto been unfamiliar with, bands like THE ADOLESCENTS (FULLERTON), T.S.O.L. (LONG BEACH), THE MIDDLE CLASS (SANTA ANA), FEAR (LOS ANGELES), THE DESCENDENTS (MANHATTAN BEACH), D.I. (FULLERTON), THE VANDALS (HUNTINGTON BEACH), CHANNEL 3 (CERRITOS), AGENT ORANGE (PLACENTIA) and, of course, SOCIAL DISTORTION (FULLERTON) among many others. it was a great trip, i got to see T.S.O.L. headline a show in POMONA with the NERVE AGENTS and saw a reunion show in SANTA ANA with THE ADOLESCENTS celebrating their iconic ADOLESCENTS (FRONTIER, 1981) with CHANNEL 3 opening. cant complain.
but i remember my friend really looked down on SOCIAL DISTORTION because they weren't a straight-up HARDCORE band, they wore their ROCKABILLY, BLUES and COUNTRY influences pretty prominently on their sleeve.
so obviously i gravitated towards them. to me they stood out because of those influences, because they werent a straight up HARDCORE band. they had depth.
maybe its because i spent a lot of time in NEW JERSEY, but when i listen to songs by MIKE NESS of SOCIAL DISTORTION i feel there is more than a passing resemblance to another songwriting icon: BRUCE SPRINGSTEEN. both are ROCK N ROLL lifers who are very much in the business of contextualizing the traditions of the genre through prism of their experiences and the ambtions of their respective communities. for SPRINGSTEEN that was the unfulfilled hopes and dreams of the working class greasers he grew up with in FREEHOLD and mingled with along the JERSEY SHORE. his music has an aspirational quality that is a through line with his lyrics, which often focuses on characters searching and seeking a better life for themselves and their loved ones. with NESS he may be speaking within the lexicon and iconography of FILM NOIR and the SOUTHERN CALIFORNIA CAR CULTURE he witnessed in FULLERTON, but its very much the same thing: his songs tend to be about establishing an identity within a new community. one he initiated. both have differing aesthetics, but harbor a belief in the gospel of glory, sanctity and regenerative nature of ROCK N ROLL.
some who find fault in NESS argue that his lyrics come off a bit confessional or transparent, especially in songs like "STORY OF MY LIFE" or "BALL AND CHAIN" off of their SOCIAL DISTORTION (EPIC, 1990) album that leave little to interpretation, but for me that is the sign of someone straddling the edge. to me there is a danger in that vulnerability which is something i dont associate with 80s HARDCORE, i associate it more with classic COUNTRY ballads and DELTA BLUES dirges. i think my friend in a sense was absolutely correct in not deeming SOCIAL DISTORTION a "real" PUNK ROCK band, since to me they transcend that genre. to me they are just a great ROCK N ROLL band with all that comes with it.
paradies by nacrowe
join us TONIGHT at 8PM EST for an all new episode of DEER GOD RADIO on MAKERPARKRADIO.NYC with a playlist that explores more than 40 years of LOS ANGELES PUNK ROCK!
past episodes of DEER GOD RADIO as well as other MAKERPARKRADIO.NYC shows like MAKE HER SPACE, NOWHERE FAST, THE SYNTHESIZER SHOW and CLASSICAL-ISH WITH NUTMEG are available here at the DEER GOD website.
and if you haven't done so already get the FREE PHONE APP for IOS/ANDROID and enjoy listening to MAKERPARKRADIO.NYC 24/7 at your convenience!
photo by nacrowe
with the impending second bankruptcy of GUITAR CENTER likely to be finalized at the close of this month, it seemed as good a time as ever to look back at the live performance series GUITAR CENTER SESSIONS that they co-produced with DIRECT TV that took advantage of their iconic flagship HOLLYWOOD location.
it feels like the end of an era with their impending doom, but sadly they never took advantage of the internet and basically ceded that ground to competitors like SWEETWATER. it is mind-bogging that COVID knocked them out give that this lockdown period we've been living through has sold more guitars and instruments then any other period in history. just think about that.
oh well, at least we have these performances until they inevitably get taken down.
photo manupulation by nacrowe
before the creation of its current STRING THEORY series of YOUTUBE videos showcasing modern guitarists and guitar-based songwriters speak about their influences and love of all things amplified, ERNIE BALL had briefly created a longer-format series of videos called THE PURSUIT OF TONE that treaded the same territory except much more in depth.
my assumption is that they realized that these long-form videos could generate more traffic and viewership on YOUTUBE if chopped up into smaller chunks a la STRING THEORY. its also why these longer form videos are no longer on the main channel, instead reposted by numerous unauthorized third parties on YOUTUBE. oh well.
the four i could locate following the inspirations, techniques and gear behind MIKE NESS of SOCIAL DISTORTION, CHICAGO BLUES icon BUDDY GUY, BILL DUFFY of THE CULT, TOM DELONGE of BLINK 182 and producer BUTCH WALKER. quite the diverse roster of guitarists and you really get a feel for their approach and individual aesthetic regarding the instrument.
i understand why they didn't pursue it further but i'm glad these exist. enjoy!
photo manipulation by nacrowe
i discovered this ongoing series on the PREMIER GUITAR youtube channel a few years ago and have long been obsessed with it. as a failed guitar player myself, it is fun to hear from the players and their techs about all sorts of details regarding their sound and setup. the format is basically a run through of their guitars and amps as well as pedal configurations and individual opinions/philosophy regarding reliability/fidelity tradeoff between analog vs digital, cords vs wireless, in-ear vs speaker monitors, etc.
its really cool to to witness the minutiae of their sound, even diving into things like string gauges, pick thickness, pickup configurations, bridges, tuners and the list goes on. it is definitely a niche audience that gets off on this sort of thing, but i am squarely in that demographic.
for me their is never enough times to witness people talk about their prized LES PAUL JR, JAZZMASTER, D-28, COUNTRY GENTLEMAN, P-BASS, 370 12-string, JAZZ BASS, DOBRO TRICONE, 4003 BASS, WHITE FALCON or TELECASTER. or for that matter any variety of high-gain amplifier models like the DUAL RECTIFIER (BLINK 182, PENNYWISE), JCM 800 (SLAYER, JUDAS PRIEST), ROCKERVERB 100 (MASTODON), HIWATT CP103 (THE WHO), 5150 (VAN HALEN), JMP 2204 (AC/DC), SHIVA (ALICE IN CHAINS, TOOL), BE100 (ALICE IN CHAINS), VH4 (TOOL), CENTURY 200 (PANTERA, WHITE ZOMBIE), UBERSCHALL (TOOL) or a MARK IIC+ (early METALLICA)
whats also interesting over time is witnessing firsthand the trend towards digital amp profilers and modelers like the HELIX, KEMPER and especially the AXE FX which allows their setup to be easily transportable (like hand carry-on in a plane easy) as well as more consistent given that traditional tube amplifiers require maintenance from time to time depending on weather, humidity conditions.
you really get a sense of how and why guitar and bass musicians and those that support them utilize the gear they do on tour. you also get a clear "inside baseball" perspective on how they view these numerous tradeoff decisions every musician has to make, and they all have differing opinions. its basically required viewing for anyone interested in gear used by rock bands.
anyway, if you're interested definitely check out the examples i embedded below (these don't even scratch the surface of the total playlist linked HERE).
last christmas was the perfect time to take stock and celebrate the omnipresent hellscape that is the current TRUMPOCALPYSE we are all living through by playing nothing but 1980s HARDCORE.
at the time i was revisiting the subject by reading two books on the subject: Lexicon Devil (2002, Feral House) by Brendan Muller and American Hardcore: A Tribal History (2001, Feral House) by Stephen Blush. both are oral histories of the scene. the second publication was the impetus for an excellent 2006 documentary on the subject also titled American Hardcore (Sony Pictures). while we are on the subject, i would also recommend the 2014 documentary Salad Days (New Rose Films) on the 1980s D.C. punk scene as well as the SOCIAL DISTORTION documentary Another State of Mind (Time Bomb, 1984) and, of course, PENELOPE SPHEERIS' classic The Decline of Western Civilization (Spheeris Films, 1981). and now i'm just gonna push my luck by also recommending two books by JOHN DOE of X, Under the Big Black Sun: A Personal History of L.A. Punk (Da Capo Press, 2016) and the recently published sequel More Fun in the New World: The Unmaking and Legacy of L.A. Punk (Da Capo Press, 2019).
the immediacy of the music is the draw for me. there is a no-bullshit, take-it-or-leave-it aesthetic to 80s hardcore. it is what it is. if you want musicianship, go listen to RUSH or your parent's stuff. if you want a soundtrack to brutality, you are in the right place. politically i don't understand how this music or something in the spirit of it doesn't exist today. as bad as RONALD REAGAN was, he's nothing compared to our current RAPIST-IN-CHIEF.