James Hetfield and Kirk Hammett of Metallica. Image from Murder in the Front Row: The San Francisco Bay Area Thrash Metal Story (2019), picture from IMDB.com
If I were writing this review in the San Francisco Bay Area in the early ‘80s, I’d be a dead man. It’s nothing personal; that’s just the way it was. I’m not a poser, but I am a casual, and that’s nearly the same crime. The local thrash metal community was tight-knit, offering fanatical support for metalheads and “death” to posers and outsiders.
Murder in the Front Row is the story of Thrash, the metal music subgenre which grew out of the Bay Area at that time. It’s the story of bands with surprisingly household names like Metallica, Megadeth, and Slayer. More than anything, it’s the story of the community that birthed these bands in a unique primordial soup of suburban angst and malaise.
MitFR is an unorthodox music documentary. Rather than focus on their globetrotting musical subjects, director Adam Dublin chose to focus on a small pocket of diehard fans who had been around since the birth of thrash metal. “From our point of view,” Dublin said, “the fans and the people who made the flyers, took the pictures, went to the shows, and hauled the gear, were as important as what the rock stars were doing.” By the time he recorded his first interview with a musician, he had already talked to dozens of fans from the scene.
Adam Dubin, Dave Ellefson, Mark Menghi, Mike Portnoy, Chuck Billy, Phil Demmel, Alex Skolnick, and Troy Sanders at an event for Murder in the Front Row: The San Francisco Bay Area Thrash Metal Story (2019). Picture from IMDB.com
Part of this unique focus comes from the subject matter. MitFR was inspired by a table book by the same name, published by original mega-fans Harald Oimoen and Brian Lew. The book was a compilation of pictures from the early 1980s, sharing a piece of near-forgotten history that behind-the-music-type histories have glossed over. The book intrigued and inspired Dublin, who fought to convince Oimoen and Lew to let him make a documentary of the story behind those photos.
The story MitFR tells also leaves out most of the drama and scandal, preferring to focus on the camaraderie of the scene and the accomplishments of the bands in their early days. “If you want to see the ‘Behind the Music,” he told a crowd when asked about his selective coverage, “you can already find that online.” He wanted to tell a happier, more heartfelt story.
The result is a love letter to the fans, to a community that supported these now-famous artists, and to the unique connection they shared. “If you go back far enough in time,” says Dublin, “there was a point in time where James Hetfield (Metallica) was just an 18-year-old kid just like the 18-year-old kids who were watching him play. He was no more famous and no more anything. And that’s the moment we wanted to accentuate.”
Art Miami — the leading producer of international contemporary and modern art fairs — will present the third edition of Art New York and the second edition of CONTEXT New York at Pier 94, opening Wednesday, May 3.
The two highly-anticipated fairs will showcase more than 120 international contemporary and modern galleries from 50 countries, representing more than 1,200 artists who have exhibited at Art Miami, Art Basel, Design Miami, The Armory Show, Masterpiece, Expo Chicago and Art Dealers Association Of America’s The Art Show. The sister art fairs will give collectors, curators and art advisors the opportunity to view and acquire the most prestigious works available to the market from the 20th and 21st centuries.
This year, Art New York will display the finest work of the modern, post-war and pop eras, and feature paintings, photography, prints, drawings, design and sculpture from masters including Andy Warhol, Roy Lichtenstein, Willem de Kooning and Ed Ruscha.
“This will be our most exciting year yet,” said Katelijne De Backer, Director of Art New York. “In addition to high quality blue chip works, we will be offering some truly unique immersive experiences, which promise to engage seasoned and new collectors alike. Art New York will be the perfect launch to New York Art Week, showcasing the most important works from the masters to the emerging artists ready to take fairgoers by storm.”
Gary Lichtenstein Editions will show images by famed photographer Bob Gruen and — for the first time — and works by Metallica’s Jason Newsted in the combined exhibition Rockers Rawk. Gruen’s exhibit features images of John Lennon, David Bowie, Debbie Harry and The Rolling Stones. Half of all sales from both artists will be donated to the Perry J. Cohen Foundation. On Saturday, May 6, the duo will be on-hand for a Q&A session.
“The fair will highlight a selection of work by emerging and mid-career artists that are primed to become contemporary masters within the next few years,” said CONTEXT New York Director Julian Navarro. “The artists for this year’s special projects are taking a vested interest in social awareness and are putting forth works that will drive visitors to ask questions and to participate in the ever-changing social conversation.”
Brooklyn Sports & Entertainment is partnering with The Bowery Presents — AEG Presents’ regional partner — to acquire the operating rights and assets to Webster Hall, the legendary music and entertainment venue located in Manhattan’s East Village. The parties will assume the long-term lease to the building, which will continue to be owned by current owner, Unity Gallega.
“We are excited to build on the iconic history of Webster Hall,” said Brett Yormark, CEO of Brooklyn Sports & Entertainment. “Webster Hall provides us with an extraordinary opportunity to connect with artists early in their careers and expands BSE’s venue footprint into Manhattan. We appreciate all that the Ballinger family has done to make Webster Hall an industry leading venue and we are looking forward to working with them, The Bowery Presents and AEG Presents to make it an even greater destination for live music.”
“Partnering with The Bowery Presents and Brooklyn Sports & Entertainment to program and operate this iconic live facility will continue to enhance Webster Hall’s worldwide reputation as one of the industry’s most important venues,” said Jay Marciano, Chairman and CEO, AEG Presents.
Webster Hall has undergone several waves of transformation throughout the past century. In the 1920’s, Webster Hall notoriously held masquerade balls and was nicknamed “the Devil’s Playhouse.” RCA Records purchased Webster Hall in 1954 and renovated the venue to include a state-of-the-art acoustically-treated ballroom. Notable artists who recorded in Webster Hall’s studio during this time included Elvis Presley, Frank Sinatra, Bob Dylan (his recording debut), Harry Belafonte, Tony Bennett, and Julie Andrews.
Beginning in the 1980’s, Webster Hall reemerged as a leading rock venue in the City, hosting artists such as Eric Clapton with Keith Richards, U2 (the band’s first-ever U.S. show), Tina Turner, The Beastie Boys, Prince, Sting, Metallica, Aerosmith, KISS, B.B. King and Guns N’ Roses. The Ballinger family began running the venue in 1989.
Formed in England 40 years ago, Saxon was one of the leaders of the new wave of British heavy metal. In the 1980s alone, Saxon had eight Top 40 albums in the U.K., four of which hitting the Top 10, two of which reaching the Top 5. In turn, Saxon has sold over 15 million albums. Metallica, Mötley Crüe, and Pantera are among the major artists that have called Saxon a major influence. Even Elton John was a fan, having played piano on a few Saxon tracks.
Unlike most of its hard rock peers, Saxon never broke up or went on hiatus. 2015 brought the release of the group’s 21st studio album, Battering Ram, as produced by Andy Sneap. Vocalist Biff Byford and guitarist Paul Quinn — both original members — remain in the Saxon fold, as rounded out by guitarist Doug Scarratt, bassist Timothy “Nibbs” Carter and drummer Nigel Glockler; Doug is “the new guy,” having only joined Saxon 21 years ago in 1996.
On the eve of band’s 2017 studio release, Saxon will be touring the United States with UFO. The two iconic British groups — who last toured together in the 1980s — will be playing at B.B. King’s on Mar. 29 and 30 with support from Jared James Nichols and DJ Alex Kayne. Downtown spoke with Biff in late 2016 about what’s coming up for Saxon and plenty more. Saxon can be visited online at www.saxon747.com. Biff is on Twitter as @Biff_Byford, while the quintet keeps an account as @SaxonOfficial.
Biff Byford: I wish they knew that we’re really good at what we do.
How would you describe your latest album Battering Ram to a long-time Saxon fan that hasn’t yet heard it? Is there also a new album in the works?
BB: It’s a mixture of old and new. We hate to be predictable and I don’t think any of our albums are. Neither is the new album we are recording now.
Saxon songs are generally renowned for having memorable guitar riffs and sing-along choruses. When writing a song, does the music usually come first? Or does the vocal hook?
BB: There aren’t any rules. At the moment, my writing partner is Nibbs so if I have a specific melody we write to that or I may write within an idea.
In your song “Play It Loud,” you mention listening to Deep Purple. Was that the first hard rock band that inspired you?
BB: I think I liked the early Purple stuff, it moved me.
The villain in the first two Back To The Future movies is named Biff and the primary villain in the third Back To The Future movie is named Buford. Is that a coincidence, or do you think there was a Saxon fan involved with the movies?
BB: In the U.S.A., people called Biff are quite preppy, but there could be a connection. Maybe the director was a fan in the 80s?
Was the experience of writing your autobiography Never Surrender enjoyable? What inspired you to write a book?
BB: I liked writing the book. It’s a great way to put things in perspective.
What do you remember about your first-ever gig in New York?
BB: I think it was L’Amours, maybe? I loved New York — a crazy and wild place!
Your voice has held up remarkably well over the years. What do you do to take such great care of your voice?
BB: I don’t really do anything but just try not to strain too much.
Yoshiki Hayashi — better known around the world under the single name Yoshiki — has been a superstar in his native Japan for decades. As the co-founder of the hard rock band X Japan, he has reportedly sold over 30 million albums. He has sold millions more albums as a solo artist and producer, also having crossed over into the classical world as a composer. The journey of Yoshiki and his bandmates was recently chronicled in the documentary We Are X, as shown at Sundance and the 2016 SXSW Film Festival; the producers behind the film also helmed the award-winning Searching For Sugar Man.
On Jan. 12 and 13, Yoshiki will be performing two shows alongside the Tokyo Philharmonic Orchestra at Carnegie Hall’s Stern Auditorium/Perelman Stage. In advance of these Carnegie Hall performances, Yoshiki caught up with Downtown for some Q&A. More on the Los Angeles-based Yoshiki can be found at www.yoshiki.net, while the legendary drummer and pianist can be followed on Twitter via @YoshikiOfficial. X Japan tour dates — which will likely include a return to New York in the near-future — are posted at www.xjapan.com.
You will be performing two shows at Carnegie Hall this week. Have you ever attended a performance there before?
Yoshiki: No I haven’t. This will be my first time, as I have never been even though when I lived in New York I actually lived next to Carnegie Hall.
What do you remember about the first concert you ever played in New York?
Y: The first concert I played was at was at a place called Roseland Ballroom. And then about three years ago, I played at Madison Square Garden. The shows at the Roseland and Madison Square Garden were some of the best shows we ever played. All the shows we play in New York are historical. Hopefully the shows at Carnegie Hall will be some of the best shows as well.
Do you have a favorite restaurant in New York?
Y: Well, I live in Los Angeles, but when I travel to New York, Nobu is one of my favorites.
I had the pleasure of attending the SiriusXM launch party of Yoshiki Radio a few years back. Was doing a radio show an enjoyable experience for you?
Y: That was a lot of fun! When we have our new album come out, I will do something like that again.
After this Carnegie Hall show has wrapped, what is ahead for you?
Have you ever encountered any members of the U.S. band X in your travels?
J: Actually, I ran into the vocalist Exene a few years ago and we talked about touring together — X and X Japan. I love X but I didn’t know about X until I came to America.
When not busy being a global superstar, how do you like to spend your free time?
Y: I don’t think I am a superstar, just a musician. I don’t really have free time, but when I think about it I’ve been playing piano.
Is there something you wish more people knew about you?
Y: I want people to know me for my music. X Japan hasn’t really released an album in over 20 years.
What was your favorite album of 2016?
Y: Probably something that was loud metal. Metallica!
Derek Oliver began his A&R career with Atlantic Records in the late 1980s. He became Vice President of A&R at Atco Records shortly after and then Senior Vice President of A&R at Elektra Records. His next destination was Roadrunner Records’ A&R department. Notable artists that Derek signed and/or worked with include Pantera, Dream Theater, Mötley Crüe, Metallica, AC/DC, Bad Company, The Cult, and Better Than Ezra.
After leaving Roadrunner in 2007, Derek launched his own record label, Rock Candy Records. While most labels aim to discover new talent, Derek takes a different sort of path with Rock Candy, reissuing titles from other record companies that have since gone out of print. In turn, he has released hundreds of albums, including work from Sammy Hagar, Rick Springfield, Survivor, Quiet Riot, Damn Yankees, Ratt, The Babys, and REO Speedwagon. Upcoming releases include music from Mahogany Rush, Alannah Myles, Dokken, and Bad English.
Downtown caught up with Derek to learn about his music industry journey, which included plenty of years in New York. Rock Candy Records can be visited online at www.rockcandyrecords.com and followed via Facebook.
You worked in A&R at Atco Records, a New York-based label. Is there anything you miss about living and working in New York?
DO: All I miss are my friends and colleagues. New York and London share the same manic pace so the difference is minimal.
DO: It would have to be MSG or the Beacon, of course.
Is there a signing from your Atco days that you are most proud of?
DO: All of them were very precious to me. Of the ones that hit big, I’d say Pantera and Dream Theater. Of the ones that got away, they would be the Mother Station and Jamie Kyle.
What led you to decide to move back to England? Did Rock Candy factor into that?
DO: I felt that I’d run out of track in New York City and there were mitigating circumstances personally that assisted the transition. Rock Candy was always in the back of my mind so yes, in all fairness it was a contributing factor.
What was the first album put out by Rock Candy?
DO: That would be Riot Narita — CANDY001. Oddly, nobody had reissued that record previously. It was a top seller for Rock Candy.
How many titles has Rock Candy put out at this point? Seems like there have been hundreds of releases…
DO: We’re up at about 325 with many more in the pipeline. 2017 will be a great year what with the U.S. expansion and some other projects in the pipeline.
As a reissue label, I’m assuming there’s criteria for what you put out to have had some success beyond being great music. Are there still a lot of titles left to reissue?
DO: If I live to be 150, I still won’t have enough years in me to reach the point where there is nothing left to reissue. There are so many great records in my collection that crashed and burnt and remain hidden from the masses. My mission in life is to shine a spotlight on every single one of them.
Rock Candy has released vinyl titles for the band Angel, but I’m not aware of Rock Candy putting out too many other vinyl releases. What is it about the band Angel that drew you to them?
DO: Angel were a unique band with a brilliant catalogue. They should have been massively-popular but they never broke through despite having everything in place, including an amazing look. Truly one of the greatest loses to mankind as far as I’m concerned.
Rock Candy started up a North American operation back in October. Does that mean that there’s an office in New York? Or you just have a distributor here?
DO: No office. I have consultants and the distributor RED handles all the nuts and bolts. Staying lean and mean is very much the way forward in this day and age.
What’s coming up for Rock Candy in the coming months? Any new releases or merchandise you can talk about?
DO: Well, we are scheduling releases from a number of class acts including Mahogany Rush, Warrant, 707, Creed, Valentine, D’Molls, Alannah Myles, Malice, Shaw Blades, Dokken, REX, Bad English, Bang Tango, King Kobra and a host of others.
When not busy with music, how do you like to spend your free time?
DO: I don’t have any free time. Rock Candy is my life. Building the brand is my main concern. I have no other interests.
Rock Candy aside, do you have a favorite new release of 2016?
DO: New music is pretty much a waste of space. The frontline business, as I knew it, is over — anyone can record in their bedroom and release the tracks online. The majesty and mystery of creating and unleashing new music has been drained to the point where anything that is good is hailed by internet trolls as the second coming. I have no interest in joining in with the great unwashed.
Frankly, I grew up listening to some of the greatest rock music of all time — Little Feat, Steely Dan, Kansas…even the hair-metal was incredible. Early Mötley Crüe, Dokken, Scorpions, Iron Maiden, Judas Priest. They were artists to celebrate. It was a time when great music rose to the top by virtue of originality rather than through digital marketing campaigns.
Finally, Derek, any last words for the kids?
DO: Make every day count and listen to every piece of pre-internet age music you can possible find.
