Saturday, December 24, 2011


Iggy and The Stooges live at the Hollywood Palladium, 12.1.11.
Above, fierce, enduring, and still transgressive front man Iggy Pop.
Above and below, the mighty James Williamson.
They ARE the best classic band (original or reunited) out there. The Rolling Stones perform as superbly as they always did, but these Stooges play even better than they did back in the day (when they already were one helluva strong ensemble) by Olympian tenets even: "faster, tighter, stronger, longer," (fortunately not subscribing to remainder Olympian tenet "higher." That's why they're even better nowadays.)
And with no props, no light show, no dancers (ptoooie!) nor backup singers, just great original hardest rock material from their legendary three releases in the 1970s, their innate mega-intensity plus 1,000 mph speed and precision to fortify Iggy's forays into the maw of his audience, both figuratively and literally. Stage dives into audience surfing galore. The Ig still uber-fit and buff. (That gets rather harder at our age, you know.) Band playing at speeds that would tangle other musicians' fingers into spaghetti. Able replacement for recovering Scott Asheton Toby Dammit (Larry Mullins,) dynamic bassist beyond belief Mike Watt, perfect fit saxophonist Steve MacKay, and, with his "Raw Power" riffs and techniques that launched a hundred thousand punks, guitarist James Williamson, all of 'em on fire!

Above two photos, Iggy's P.O.V. during post stage-dive foray into the Palladium audience of his adoring public (always a trip to photograph,) and below...
...having to be carried aloft bodily from same.

Below, Iggy invoking his primal powers with audience...

Above, Derek See (guitar tech for Williamson, eclectic DJ, and musician in The Bang with wife Angeline King) provides the celeste part for "Penetration," one of the "Raw Power" uber-favorites in the set. Below, Steve MacKay, band saxophonist extraordinaire.

West Coast quotations culled from both the Hollywood and San Francisco gigs:

Harvey Kubernik: "Heather, your avid cheerleading and yelling for the truth for Stooges and reality on display at the Hollywood Palladium... Henry Rollins in L.A. Weekly... actually every single review come to think of it. Now everyone loves what was once your own pornography."

Amy D'Allesandro: (upon first seeing/hearing the band hit the stage live): "Where's the second guitarist?" (inadvertently echoing verbatim my exact response to first hearing Jimi Hendrix in 1967. Answer: it's all Straight James Williamson live, no overdubbing.)

Zaz Harris, my niece to whom I gave Stooges tickets for Xmas, via her real time Tweets: "Occupy the Stooges! (for "Shake Appeal" stage invasion by audience.) Aaaaa he stuck the mic down his ass crack. They just don't make front men like this anymore!"Kristi Kremes: "I kept looking for (Watt) to play more notes...but he just molds that bass to his body and becomes one with it....a solid partnership up there...and that gave Iggy room go wild."

PHOTO OPS DELUXE at Iggy and The Stooges' after party
Above, my three favorite guys in music together in one shot, James Williamson, Mr. Twister and Loren Molinare of The Dogs at Iggy and The Stooges' after party at the Hollywood Palladium.

Above, a candid by Stooges' own photographer Robert Matheu immortalizing rock and roll couturier Evita Corby, my better half Mr. Twister (who photographed 3 magazine covers of The Stooges back in the day) and yours truly (2 Stooge magazine covers.)
He's still ahead.

and Evita.

Below, the joint still lousy with pro photographers (although we all remained commendably well behaved, even Johnny Depp must concur,) photographer Richard Meade, photographer Amy D'Allesandro (who assisted my session with James and his spiffy new custom Trussart Guitar, see LINK,) drummer of The Dogs Tony Matteucci and Dire McCain, co-editor of Paraphilia magazine and comely frequent subject of Meade.

Below, Dire, the genial Frank Infante of Blondie, Joel Turrisi (of late '70s band 20/20, still works in music and film) and Evita mingling in the VIP sector.

Above left,
Mr. Twister photographs Joel and Dire, not Depp.
Above right, guitar luthier
James Trussart with James Williamson.

Below, Corel Shields, Loren and Evita.
Below, Corel, Dire and Evita, then Corel and Evita. For Corel and Evita, it was a poignant but joyous reunion with this band, as both were Stooges' inner circle when they all lived in Hollywood circa the mid-1970s, Corel with Iggy and Evita with James. Ms. Corby attended James and Linda Williamson's wedding some 30 years ago, proclaiming of the intervening decades, "I'm happy for our friendship and his success in life."

Below, Evita, Robert Matheu and Allie Shields, daughter of rock scenester Sabel Starr, Corel's beloved sister who passed away in 2009 and was commemorated with her next innamorato in Iggy Pop's ballad "Look Away." Allie obviously inherited her mother's vivacious great looks.
There's fun footage galore of Ms. Starr to be viewed in Bob Gruen's documentary of The New York Dolls "All Dolled Up" for the curious.

Left, Amy, Dire
and Tony
Ghidorah (my
as Dire admitted.
Above right, more photographers! Robert and Bob Gruen himself.

Below, another ridiculously attractive trio: Joel, Leanna Asheton, daughter of and representing for Stooge Scott "Rock Action" Asheton, and Evita.

Left, Robert and Leanna's brother
Aaron Wallis;
right, Mr. Twister,
David Arnson and
Andrew Scott of
Stooge tribute band The Raw Power
Rangers who portray Iggy and James, respectively.
Above, Robert, Jimmy Ashhurst (Buckcherry, Izzy Stradlin's Juju Hounds) and Frank.

Below, Robert, Dire, Evita and Mr. Twister. I somehow missed getting shots of James' charming wife Linda or Steve MacKay who appeared inordinately engrossed in a assorted conversations nullifying any inclination of mine to dare interrupt. Nonetheless, a terrific time was had by all!

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Friday, December 23, 2011

Detroit/L.A. legends THE DOGS release new "HYPERSENSITIVE" cd/downloads in JAN. 2012

Part of CD booklet slick (proof) for new "THE DOGS - Hypersensitive"
release, photos by your humble photojournalist

(Full frontal disclosure: yeah it's a press release but since I wrote it, consider it a soupcon of deathless prose on yet another topic which keeps the faith via a full spectrum of my belief systems. Also, for those concerned with press protocols, a far, far shorter variant was concocted for those with the shorter attention spans.)

Xmas marked the spot. Dec. 25th unleashed THE DOGS' now notorious video "Her Name Was Jane," a cover of The Pagans song with its author Mike Hudson appearing in the production alongside beauteous rock and roll couturier Evita Corby (whose garter belt-clad derriere was kissed by Iggy Pop and James Williamson on the original back cover of their classic "Kill City" 35 years ago.) The latter proved irresistible to the former in both fiction and real life... but you'll just have to watch the video yourself (see link below) or delve into the tabloids at another time.

Today we've come to praise "HYPERSENSITIVE," the long-awaited new release by THE DOGS that coincides with selfsame video release as of January 2012. To note its repertoire includes strong Dogs' classics old and new understates feloniously. Next to be shot by their stalwart video genius Salvatore Sebergandio comes "What Goes In Quiet Comes Out Loud," a spankin' fresh newie. One of them however, "Beatin' The Floor" was the very first song ever written by Dogs' singer/songwriter/guitarist LOREN MOLINARE, although its driving rock sounds as fully formed as the adult Venus rising on the halfshell in Botticelli's masterpiece painting of her birth.
"Beatin' " would date from...1967. As do THE DOGS, add a year for name and personnel changes. In the Detroit/Ann Arbor/Lansing nexus THE DOGS rocked hard, fast and precise (energy-maniacs onstage they may have been, their proficiency as teens cast them practically as rock prodigies) with their own original songs from the get-go. They opened for the likes of MC5, Stooges, Amboy Dukes with Ted Nugent, SRC etc. etc. etc. throughout the late '60s/early '70s as commemorated in "HYPERSENSITIVE's" "Motor City Fever" a real knock-out dating from the same era as the bands it name-checks in one of this band's most powerfully riffed songs ever.

In the later '70s THE DOGS moved to NYC opening for Kiss, The Stilettos (proto-Blondie,) Television and all manner of punks watchful of THE DOGS' pared-down but hardcore Detroit rock performed in their own torn jeans and leather jackets ("Our normal street clothes because," laughs bassist MARY KAY, "we couldn't afford stage clothes.")

Relocation to Hollywood mid-decade would find them opening for AC/DC, the Scorpions, and well, everybody, even Guns N 'Roses a decade beyond. Don't you think you might liked to have seen this genuine triple bill --The Ramones, The Dogs, Van Halen-- at the Golden West Ballroom, bands headline-tiered in that actual order? Where's a time machine or TARDIS when you really need one? The mighty "Slash Your Face 2012" bonus track on the cd dates from this golden age of punks, with the original finding distribution by their self-inaugurated Detroit Records circa 1978.

The '80s and then newly-recruited and present drummer TONY MATTEUCCI found THE DOGS fomenting songs like "Nothing Lasts 4 Ever" as included on "HYPERSENSITIVE." The '90s remained the chill out decade with LOREN splitting for Geffen artists Little Caesar (fronted by the astonishing-voiced Ron Young,) MARY off to assorted Metal bands like SHE ROK and TONY heard drumming in huge Metal Festivals in South America and the like.

The 2000s ushered in conviction to do what they've always done best and reunite (amidst ongoing other musical projects. Again, the 2000s, people.) "You Can't Catch Me" and "Punk Rock Holiday emanate from this era.

But then the amazing occurred. The classic Detroit sound was vindicated though hundreds of thousands of hard rock fans and bands, continuing to this very second. Iggy and The Stooges even made the Rock and Roll Hall of Fame after seven consecutive tries. And THE DOGS' reputation via the emerging internet had accelerated their doggy tale into its present, deserved status of bona fide, singular, committed, hardest rock/power trio/punk rock legends. Europeans paid outlandish sums for long ago 45 rpm singles on Detroit Records. The Midwest reclaimed THE DOGS as native sons (and daughter) of Relevance, bookings and live dvd "Purity Not Perfection" of same ensuing.
In the Far East of the globe, an aggregate of 29 assorted Japanese alt-punkbands styled an entire tribute cd to THE DOGS entitled "Doggy Style," mid-wifed by Detroit Jack's Future Now. Then came THE DOGS' tour of Japan in 2007 to capacity-filled venues of rabid Dogs' fans ("Loren, you're my Chuck Berry," gushed Aruha.) Vintage Dogs' classics were re-released on modern young labels like Dionysus. Brand new songs like "Good Time Girls," "What Goes In Quiet.." and "Hypersensitive" were written for this very release.

"HYPERSENSITIVE," albeit powerhouse, remains a labor of love...of their own sense of making music as long as they're breathing. Which to THE DOGS music is as important as. You will hear same instantly herein. They've even resurrected their own Detroit Records label beloved of the punk era for its release.

But yet another labor of love has been issued simultaneously with "HYPERSENSITIVE," Detroit Jack's Dogs live performance double-disc dvd entitled "Doggy Days." Not only are some of the Japan performances to be found, but astonishing, historic audio like Sid Vicious and Tony Sales jamming with THE DOGS at the Whisky A Gogo, 1978 and other rare treasures sound-tracked against montages of THE DOGS' entire band history with flyers, headlines (yes, they were arrested. Repeatedly) and many, many stunning photographs such as those by yours truly!
In the "Doggy Days" dvd booklet, MC5 legend, provocateur, humanitarian and still performer of his own supercharged guitar riffs, Brother WAYNE KRAMER wrote an extended essay on The Dogs' four-decade continuity as a group. Within it (summarized to the max) he states, "...The Dogs: brutal, hard-charging, ferocious, uncompromising, committed, raw, etc. et al. But that all seems to miss the point. The point is really... That their work continues to be important to the band themselves and a community of friends and fans around the world fortifies and validates their accomplishment..."

"Is this important? I think it is. Why? Because it tells me I'm not alone. I'm not the only nutcase out there who cares... That The Dogs have existed in a corner of the world of music on their own, under their own power means more to me than hit records and mass marketing... They made it happen in the face of a world that said, 'Just who in the hell do you think you are?' 'We're The Dogs' is the only answer that matters."

(Do check out Retrokimmer's interview with Detroit Jack and his own labor of love releasing the Doggy Days dvd at LINK.)

Once upon a time in mid-'70s Los Angeles, THE DOGS surreptitiously were lumped into the Do It Yourself ethos of the nascent punk scene, ironic since they had zoomed past all that before they even relocated there and started their High Times rehearsal/recording commune and Detroit Records label on Gower Street in Hollywood. They'd already fashioned same as teenagers in the late '60s without industry connections, blowing the locals and visitors alike offstage in all the important venues of the Detroit/Ann Arbor/Lansing radius, later accomplishing same in Greenwich Village, New York City in...1974. Their immediate apartment-neighbor Patti Smith and pals in the punk community sure noticed what THE DOGS were doing, even if the rest of the entertainment world remained deaf, blind and moronically obstructionist.

D.I.Y.? Old hat much? For THE DOGS their enduring credo was Do It Anyway, come hell, high water, or the foremost enemy of rock and roll, the passage of time. Just... Do It Anyway. My all time favorite trangression. -Heather Harris, 12.24.11

Above,1978 photo appearing in Doggy Days dvd of Sid Vicious and Tony Sales jamming with The Dogs. Audio of same appears too! Below, 2010 photo of The Dogs in recording studio, appearing in Hypersensitive CD.

THE DOGS: Contact info: ; Website: LINK ; Video channel: LINK ; "Hypersensitive" cd/downloads: LINK ;Doggy Days dvd: LINK ; Facebook pages: LINK and LINK ; Myspace: LINK ; Booking: Requiemme LINK

Last but definitely not least, the only occasionally transgressive
Evita Corby in THE DOGS "Her Name Was Jane" video, above and below.

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Tuesday, December 20, 2011


"Now that's a rock star!" wrote Stooges-archiving author Natalie Schlossman of my above portrait of James Williamson of Iggy and The Stooges, taken 11.28.11 at Swing House rehearsal/recording digs in Hollywood, Calif. To me it harkened referential in his enduring cool to the one of him below in London circa 1972 by Byron Newman, photo below by kind permission of the photographer (who wrote that he has many more...)
What was the occasion? Check out that equally cool guitar! James sports his new custom, snakeskin-patterned James Trussart electric steel guitar (that is, one made out of steel) with complementing Violet Moon crocodile-patterned strap.
Playfully augmenting the "snake killer" hat were other props like a replica Broomhandle Mauser pistol and assorted whips.
Note the unusual slide guitar accessory below.

More info on James Williamson here LINK
See more Trussart guitars plus info here
Violet Moon custom straps her
Photo session ably assisted by Amy D'Allesandro (her site LINK.)

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Attn: drummers and musician pals, do you want to hear the clearest recording ever of what Keith Moon actually DID on drums within his sonic maelstrom in his absolute prime? Listen to "Tommy and The Bijoux" (Pete Townshend, Ronnie Lane, Duncan Browne and yes, Moon) backing closet rocker Mike Heron in 1971 whilst the latter was still in the considered by some twee International String Band. The resultant LP Smiling Men with Bad Reputations also roared with contributions by John Cale, Richard Thompson, Elton John and Steve Winwood, albeit quirkily. Moon maelstrom commemorated in video below.

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Thursday, December 8, 2011


All these pleased folks were at BookMarc in West Hollywood (the literary annex of Marc Jacobs) the last week in November to meet and greet famed rock and roll photographer Bob Gruen, there to sign his newest offering "Rock Seen." Above, Bob Gruen, Evita Corby and Leanna Asheton.

Above, Frank Infante of Blondie poses with rock couturier Evita, she of the Stooges' Hollywood '70s-era inner circle. This subliminally echoes Gruen's poster to their left of Iggy Pop and Debbie Harry.

More Stoogin' around with Evita and Leanna, daughter of Stooges' drummer Scott Asheton and purveyor of his cool "Rock Action!" merchandise. I purchase some great T-shirts of same from her that evening.

Popular and eclectic DJ, guitarist, stalwart Iggy Pop-protector/wrangler, guitar tech for the mighty James Williamson, both of Iggy and The Stooges, and now synth-celeste musician for that band during their "Raw Power"-era selection "Penetration," the multifariously talented (and blissfully happy newlywed to Ms. Angeline King of their The Bang! band) Derek See departs from tour duties to pose with new mutual friend Evita on this night just before the show in town (blog to come...)

Emblematic of an ultra-successful book signing event, BookMarc sold out all copies of Gruen's new book (cover above) before we even arrived, so my purchase was the one below, the tome itself bound in shiniest hot pink satin!
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