Playing w/Fighting Jamesons at Indy Irish Fest, Notre Dame Pep Rally, the Norva, & more.

at the Notre Dame Pep Rally.

In September we had the pleasure of performing at Indy Irish Fest, a fantastic annual festival that featured the Bastard Bearded Irishmen, Kevin Flynn & the Avondale Ramblers, the Hounds of Finn, along with countless other great acts!

 I was lucky enough to get to catch at least one full set of each (if not more) and each group had something exciting and fresh to bring to the festival: Bastard Bearded Irishmen were incredibly high-energy each night, the Hounds of Finn were wonderfully melodic, and the Kevin Flynn & the Avondale Ramblers sported a great set that boasted some super catchy originals! Perhaps this festival seemed particularly special because of such a great line-up; there was just so much variety throughout the festival-- it was full of both traditional and fusion groups that blended the best of both worlds at every corner.

This trip was also particularly memorable for a lot of extra-curricular activities we were thrilled to be a part of: we were up bright and early to perform on the Smiley's Morning Radio Show-- we arrived at the station, and despite it being so early that didn't stop the drinking game as well as a quick jam on the air of our, "Fresh Prince of Bel-Air" cover before heading back to play more at the festival. 

on Indy WishTV.

We also made an appearance on a local TV morning show, which was really neat-- we set-up in the same room that they did the other portions of the show: the talking bits with the host, the cooking, etc. I also caught a glimpse of this really neat machine, it was basically a giant robot-camera on wheels (wish I had a picture of that!) it was a massively impressive atmosphere.

On October 12th we had the honor of playing at the Notre Dame Pep Rally which was a unique and memorable experience for us as a band. The occassion was a packed, televised event with more green than possibly even the festival somehow. We played a variety of stuff from our latest album, "Every Day Above Ground" with slices from the first album and of course the usual traditional tunes. We belted out a fun rowdy set and then quickly jumped in the van and hurried back for another set that night at the festival.

October 17th was a lovely return to Hard Times cafe in Fredericksburg, followed by Harrisonburg on the 18th. We celebrated the end of October with Halloween night in our home town of Norfolk at the Norva. The Norva was perfect for the Halloween bash: complete with a costume contest (my personal favorite was the dude who was Forrest Gump during his bearded jogging stage- I was rooting for him!), the Framers opened with a killer set, and we got to give it all our and perform almost entirely all of each album as of our special brew of traditional covers too. Congratulations to Tim and Carla, longtime supporters of the group-- who also tied the night right there on stage!

Halloween night at the Norva

As for November, we've been doing fan-appreciation month and have been giving away digital downloads of our albums! So keep your eyes peeled on our website and social media for your chance to download them, and of course if you miss it-- no worries, you can always stream it for free directly from our webpage as well: www.thefightingjamesons.com

As for this coming December, we'll be getting back on the road right after Christmas!

A dimaond in the rough.... from my vinyl vault: Exodus classic thrash-metal w/Bonded By Blood

Cover to Exodus's, "Bonded By Blood".

I'll never forget the day I scooped up this thrash gem up for $3 at Birdland Records! They don't usually carry metal, or almost even at all! I have often wondered if the only reason I got this for such a steal is because none of the staff seem to have interest in metal, and boy am I lucky they don't! Exodus is a band that for some reason is arguably highly underrated and not often credited enough throughout history of thrash metal. If your a thrash fan then you know "the big four" refers to: Metallica, Megadeth, Slayer, and Anthrax. I often think this list/phrase should be extended five and throw in Exodus (but then again while were at it there is also Testament, Vio-Lence, Overkill, Celtic Frost, Death Angel, Pantera, Kreator, Dark Angel, and so many more! I know that's a ton and too many for a quick easy credit, but they're all phenomenal and in their own way just as significant as any. That being said, this album is of highly significant and exciting for being one of the big staples in contribution to a healthy thrash-metal diet.

Back of, "Bonded By Blood".

One thing I've noticed, especially after repeated listens from this original to its re-recorded, "Let There Be Blood" (w/Rob Dukes behind the mic, instead of the now deceased Paul Baloff) is how strikingly different these two frontman are. It's actually quite surprising, Paul Baloff technically should be a terrible idea for a frontman; yet in reality his sheer energy and heart drives the record along. Rob Dukes does a great performance of course, but the difference is: Paul Baloff doesn't even sound like he's performing at all, he's just a guy so in love with heavy metal who is just going off, and doing so long before a thrash-blueprint if you will really existed.
His intensity transcends from the record into the air and takes you along. The vocal production is (of course quite dated) but also really interesting, and despite an obvious effect of that era, it's very interesting and actually much more unique than some of the more modern productions that we hear now. Then again the production as a whole is rather interesting for that same reason, sure you can tell it was recorded in the 80's--- but it doesn't matter, it still has a classic element to it and its so raw in a fun way that is actually more rewarding than the polished re-recorded version (thought the polished version is also a lot of fun to listen, it's amazing how different recording techniques give a different vibe to a band that played everything note per note basically the same).

Inside lyrics/picture sheet.

The riffs on this album are incredibly iconic, it's no wonder that this is a go-to album for so many bands of the genre to follow, these guys along with the other big four really basically built almost from the ground up the entire thrash-metal wheel musically for so many others after them to follow. Every riff feels larger than life, pummeling, and crushing. The leads are more in the Slayer-league of doing things, "Catchy melodic solos? Who has time for that!? We just wanna shred!" The drums are a fierce pounding thunder and so raw, the timing is dead-on, bands using digital recording couldn't be this tight without the help of Pro-Tools; this band is legendary for a reason!

Inside lyric/picture sheet.

Lyrically this album is possibly the best representation of thrash metal in itself because it really sings about heavy metal culture in itself, it embraces the glory of thrashing around in the pit and going wild, and also the area of the record that partially departures from reality a bit with the violence; Exodus never killed anyone, at the same time it's not like bands like this relate to the hippie generation of acoustic guitars, flowers, and throwing up a peace sign-- it's heavy metal, if it were about kittens and rainbows it would throw off the energy of this album--- most importantly, like many many metal bands its more of the atmosphere that is trying to be captured here, it creates an incredible alertness and urgency; above all its mostly to create that mischievous sense of reckless fun that is associated with thrash-metal. The lyrical content reminds me of an Iggy Pop quote in reference to MC5, "everyone would just get all sweaty and gloriously beat up" and that also basically applies to Exodus.

An incredible debut release and an absolute must for thrash metal fans. Exodus's, "Bonded By Blood" is a relentless explosion of thrash metal, the energy within this album is remarkable, it will withstand the test of time even after Exodus themselves are long gone--- along with other classics like Slayer's, "Reign In Blood", Megadeth's first two albums, early Metallica, Anthrax's, "Among the Living", and so forth-- Exodus's first album will also be forever ranked in the thrash hall of fame.

A diamond in the rough, from my vinyl vault: Dischord's Faith/Void split- a DC Hardcore masterpiece!

Cover to Faith side

When I was younger and diving into the treasure chest of punk rock's glorious past, along my way I like many other people of that age interested in that music, inevitably stumbled across Minor Threat. Arguably more interesting, or certainly at least equally interesting-- was when I looked on the back and noticed the small logo reading: Dischord Records.

So naturally, I was curious-- what label put this out!? Do they have more stuff like this!? Why this light-bulb hadn't struck my peers as well and/or more often, I have no clue! Next thing I knew, I was looking into the label and its amazing catalog of material, and at some point while digging around stumbled on this record; not realizing my new favorite album in this realm of hardcore would soon be more appropriately thought of as simply an all time favorite. Recently I made a little trip to Skinnies Records to pick up this classic split.

Faith and Void were two powerhouse D.C. hardcore bands in, and also rather different from each other as well. Part of what makes this record particularly intriguing is that though they might not have been the most groundbreaking bands of their time, within punk or hardcore-- but they were certainly different from most bands of their style. Even more so they were rather different from each other, making this an extremely neat pairing of groups for a split.

Faith side of lyrics sheet

Faith was a high-energy band fronted by a particularly striking front-man-- Alec Mackaye who gave off a rather sincere style of both his lyrics coupled with his aggressive delivery behind the mic. Faith was surprisingly at times rather melodic for a hardcore group, and what made them so unique was how well written their songs are, it's strange to bring up terms like poppy and dare I even say digestible, and yet strangely they also feel rather appropriate when Faith comes to mind.

When the record suddenly rips open with, "It's Time" and its grooving heavy riff, the energy just keeps building and mounting together-- until Alec belts out his grand declaration in the chorus with, "I'm gonna' make society bleed!" Its very interesting that this opening song is actually quite slow for this band; yet the bar for the level of intensity on the whole record has been set in this one moment, and it almost seems unthinkable that it could never once let up or fall below when the bar was set so high from the get-go.

"Trapped", is an amazing song-- a song that often after listening to side A of this record can get stuck in your head for hours-- who knew hardcore could be this catchy!?! Its approach to social situations is the perfect example of how lyrically this band is above and beyond other hardcore groups. "You're X'd!" is another classic song, a propulsive tune bursting with an emotional depth to the lyrics on the subject of straight-edge quite possibly never matched by anyone ever since.

Cover to Void side.

Void is insanely interesting from start to finish. Their style was so explosive and wild, which is no small accomplishment in a form of music where things are already high-speed and blaring full blast at all times.  Although Void is very guilty of something most hardcore bands always try to do: play as fast as possible at all times! However, unlike most other bands-- Void executed this to the max and almost effortlessly!

The guitarist Bubba Dupree played wild licks and solos-- shredding and bordering on heavy metal (which they later would stylistically shift to), yet rhythmically and song structure-wise still within the confines of hardcore. He had amazing control and technique with the whammy bar, and it's definitely a key component in what made Void so much more exciting and drastically different from other hardcore bands.

Void side of lyrics sheet

The ferocity of vocalist John Weiffenbach and his mischievous behavior behind the mic are trademark to the bands sound as well. Lyrically, Void was also very interesting, but for totally different reasons than Faith. They had an eerie spooky vibe to their content full of violence with songs like, "Time to Die" and, "Condensed Flesh; as well as a confrontational in-your-face attitude with their anthems, "Ignorant People" and arguably the highlight of side B, "My Rules".

This reissue edition of the record comes complete with a digital download, and a killer lyric/photo sheet inside. This is definitely a must-own for any punk/hardcore collectors, and if you somehow haven't managed to come across this yet, then you are about to have that same light-bulb mentioned earlier shine your way!

John Weiffenbach

John Weiffenbach

A diamond in the rough..... from my vinyl vault: Sarah Gorby's, "Russian Melodies"....

Front cover of Sarah Gorby's, "Russian Melodies".

Here's an interesting world music album I picked up here in Alexandria, a small trip from my apartment to the closest record store, the Record and Tape Exchange. Although it's a tiny shop with not a lot of choices, I've found a few good picks here and there once in a blue moon. When Stephanie and I first moved here, months later we passed by it on accident and stopped in, and although the world music section was rather small- it was also virtually untouched by any of their other customers or even anyone who worked there. This is another one of these neat records I got  on a whim and I'm glad I did-- as I didn't really know who Sarah Gorby was- but it was only a dollar or two, and certainly appeared up my alley so to speak; world/Russian folk music, the title says it all-- so I decided what the heck, I'll pick this one up.

Although the material itself isn't surprising given the straightforward title, it's still a  great album. The record opens up with a lively number called, "My Sweetheart Lives Up North" featuring a hopping alternating bass line paired with a pulsating thumping folk beat, topped off with a incredibly simple but very effective catchy chorus. Next is the incredibly gorgeous tune, "Autumn Wind" with Gorby's vocals reaching a climatic mournful peak; such a beautifully written piece, one would dare say its possibly the strongest on the album, or at least certainly the strongest on the A-side.

Half-way thru the A-side, we reach the violin led, "Be Sorry For Me"-- a melancholic instrumental soaring that though peaceful and sweet, is the appropriately placed but also only dull moment on the first half of the album. The next two tunes are fun dancey accordion-led Russian numbers, "The Enchanted Circle" and, "Love Of A Gypsy" wrapping up the first portion of the album on a high note.

Back of Sarah Gorby's, "Russian Melodies".

Side B kicks off with, "Black Cat" another foot stomping charming Russian folk tune. Then things calm down a considerable notch, "I Will Not Come Back" another gorgeous tune, similar to, "The Autumn Wind" from the A-side, with bursts of energy and jangling guitars.

Halfway thru the B-Side, we reach, "The Coachman" a beautiful and quite recognizable instrumental piece-- I can't ever place where I first heard it, but it's a very memorable famous Russian song. Next is another highly recognizable song, "On The Road To Her" a beautiful typical Russian song that slows and speeds back up gloriously over and over beautiful bringing us to the closer, "Take Your Guitar"; which wraps up the record on a wonderfully simple rhythmic guitar and Gorby letting her voice take the reigns on this weepingly pretty tune.

I don't know much or own any other material by Sarah Gorby, but after I quickly googled her and based on the wonderfully effortless display of Russian folk on this particular album, I will certainly say it'll be worth keeping both an eye and ear out for more.  

Out on the road again with the Fighting Jamesons....

The Great American Irish Festival in Frankfort, NY.

We headed south for our first stop in July to Corolla, North Carolina for a fun night in a beach town, so we felt right at home. Then we came back up north for the Annapolis Irish Festival in Maryland, it was a nice setup with several stages spread out along multiple closed blocks, it had a similar atmosphere to that of the Rockville street festival a while back. My fiance Stephanie managed to get to come out with a friend and also some folks she knew through work; she doesn't always get to come out, but since we live in Alexandria-- Annapolis isn't more than a hop and a skip away-- and it's always special for me when she can come out. We played a killer set, and had a awesome night before gearing up for the long haul to our next stop in South Kingstown, Rhode Island.

 In South Kingstown, RI.

Now that I stop to think about it, we were lucky to get to be on so many beaches this month! South Kingstown, Rhode Island was a lovely beach vacation town with a really pretty atmosphere and a relaxing vibe. We arrived early with plenty of time to set up, and hung out a bit with the locals. We thrashed out our usual celtic rock mayhem, before packing up and heading home for a few days off before our next stop the surprsingly not so spooky- Amityville, NY!!!!

We arrived in Amityville relatively early with time to spare, so naturally- how could we NOT go see the Amityville Horror House? It was neat to pass by it, but as a heads up to any tourists-- you can't actually go inside, people live there-- so while it was neat, and luckily just a few minutes down the road for us, you wouldn't want to go out of your way to see it- I'm sure it's probably freaky in the historical sense, but from the outside- it's quite honestly just a normal looking house. But hey! It's not every day you get to check out a famous haunted house, right? Unfortunately, Amityville wound up being cancelled- however, on the bright side we will be doing a make-up date for it soon, and the details for the make-up date will be on our site in the near future.

The Great American Irish Festival in Frankfort, NY.

We closed up July with two nights at the Great American Irish Festival in Frankfort, New York. It was a fantastic outdoor setup in perfect weather, completed with enormous white big-top tents. It was our first time being a part of this particular festival, and it was a great experience-- the crowds were really energetic and we enjoyed their enthusiasm to the fullest on that first night with the 8 PM slot--- by the end of the night they were on their feet and dancing all over, and those folks up front were certainly a rowdy bunch!!

The second night we played the 5 PM slot, and were greeted once again by a wonderful audience- some familiar faces from the first day, and some new ones too! Mike's family even managed to come out, and his daughter hopped up to do a bit of Irish dancing on stage. By the end of the night, a ton of folks came up and danced around as we cranked out the Irish Rover to bring the night to a thrilling finish.

We are about to kick back off here in August with a return to New York for the International Celtic Festival at Hunter Mountain! We can't wait to see all of their smiling faces there!! Stay posted to our site for other tour stops. See you soon!!!!!

A diamond in the rough.... From my vinyl vault: Night birds, "Maimed For the masses" EP + "Born To Die In Suburbia" LP

Night Birds, "Born To Die In Subrubia".

Night Birds aren't a generic copycat punk band, they are an original outfit blending elements of hardcore with surf and added just the right sprinkle of pop into the mixture. Recently signing to Fat Wreck Chords, they've rerecorded some material for their debut Fat Wreck Chords seven-inch record, "Maimed For The Masses" (which is named after the song on the A side and will be on the upcoming debut LP for Fat, and was also on the previous Grave Mistake Records LP), and their latest full-length album via Grave Mistakes Records, "Born To Die In Suburbia" is the best breathe of fresh air for this style of music in a while.

I first heard them a while back when browsing what was new at the time on the Grave Mistakes Records site and stumbled on them. I often set up my i-Pod with all albums I've never heard before, so that when I'm in the van with the Fighting Jamesons or on my long 4 hour commute from Alexandria to Norfolk for our practices so I can use that as an ideal time to check out new music. I had downloaded, "Born To Die In Suburbia"-- and I was in the van with the band at the time, and I remember specifically that wonderful light-bulb moment you get when a record really connects with you, and thinking to myself, "man, these guys really hit it out the park with this album". I instantly became obsessed with this album, and it became a must-own from that very moment. Later I picked it up on my down to Norfolk from home at Richmond's, Vinyl Conflict record shop.

 

"Maimed For the Masses" EP cover.

With the, "Maimed For The Masses" EP  sporting its flashy intriguingly blood-drenched cover as  the first recording under Fat Wreck Chords; the band features a nice re-recorded version of the infectious, "Maimed For The Masses" EP on the A-side of the record. The B-side then picks up the intensity with the barbaric, "Barred Out" before its intentionally train-wrecked into the tom-rolling introduction of,"Last Gasp"; a fist pumping rager that then leads into the snare rolling of, "Boat Trash" with the surf guitar-lead instrumental bringing this 45 to a close.

back of, "Maimed For The Masses" EP.

With, "Born To Die In Suburbia"-- Night Birds have pulled off what a lot of bands intend to do, yet fail to actually do. They've taken their influences, some of them even rather obviously, and instead of simply just emulating them- have harnessed them into there own sound, while still coming across as original. The group presents a sound linking them stylistically in some ways to the likes of the Adolescents, Gang Green, the Ramones, A.O.D. (Adrenalin Overdose), the Ventures, and others.

The record starts off with an intriguing tremolo-picked short and sweet surf-rock instrumental number, before exploding into its incredible high energy-packed title-track anthem, "Born To Die In Suburbia". All the right dashes of catchiness happen with choruses like that of, "Modern Morons" and, "Nazi Gold" or the hooks in, "Pretty Poison" or ,"Maimed For the Masses".

"Maimed For The Masses" insert.

Night Birds have cranked the volume all the way and captured their adrenalin fueled spirit, and are so incredibly dialed-in-- the speed and fury is executed with sheer perfection, and more importantly-- isn't overdone either. The melodic elements of the songs take shape without the songs ever losing momentum, ranging from everything from the duel guitar lines to the vocal delivery. Every detail on this record is surprisingly spick and span and yet in a manner not intrusive to their ferocious music (even the reverb level on this album is goldie locks!)  Everything about this record is so precise and well written-- its kind've shocking that for a punk album-- yeah punk, a genre so notorious for being such a so-called "sloppy" area of rock 'n rolls domain-- could be so um perfect.

back of, "Born To Die In Suburbia".

With the excitement of their recent switch to Fat Wreck Chords, it will be really exciting to see what kind of record they will crank out next with that kind of label support behind them. As band that has already made such an impressively balanced record, it will be truly special to see what they manage to come up with next as their story continues to unfold.

They signed to Fat back in July, and it will be worth keeping our eyes peeled to see the full-length arriving fairly soon!

A diamond in the rough.... from my vinyl vault: Burzum

Burzum's 1st album

I was lucky enough to scoop up a good deal on this particular record at Skinnies Records in Norfolk. There were also some really nice re-releases of Mayhem, Darkthrone, and Burzum there as well that hopefully I'll get around to picking up eventually. It wasn't an easy process of elimination that day between those choices-- as each of these groups helped start an entirely new style of heavy metal, but I figured why not start off with this intriguing classic as a very first for the Black Metal section of my collection.  Rather than be redundant of other blog and/or site that has spoken of Varg Vikernes controversial past and points of view (none of which are what interests me in him), I have chosen this record because of its importance to the history of heavy metal. Its significant for its rather large role in supporting the creation of the black metal sub-genre, and especially for the concept of the one-man black-metal band.

To outsider ears of heavy metal-- some will struggle to hear the difference between death metal and black metal. Especially since in the time since the original scenes have moved on, newer bands have embraced both styles and infused them. At the time though, these original groups made every effort to musically state that they were separate and a new breed if you will. This album encompasses practically all of the characteristics of black metal: unlike death metal, where the guitarist often did just power chords or even just drop-tuned and played the top three strings to create the deep chugging-riff style typical of that style-- black metal guitarists were often using full bar chords (particularly as minor chords) with tons of distortion. The vocal styles are both screaming yes, but rather then simply write it off, its notably a different technique: death metal was distinct in its low-guttural approach (such as the Swedish death metal band Entombed for example) whereas black metal vocals tended to be not necessarily high-pitched, but not concentrated on achieving a low growl, more of just the most fierce scream of terror the frontman could deliver. The drumming certainly had the most similarities: lots of double bass and often blast-beats as well.

Inside of album gatefold.

Rather than give you a track-by-track detail (as there are more than enough of those reviews on Metal-archives of all sorts of opinion)-- I'd rather sum up the sides of the record and also make note of its overall atmosphere. It's important to realize that black metal is about atmosphere. Both the first self-titled album, and the included Aske mini-LP included are loaded with tremolo-picked blistering icy distorted guitar, pummeling drums, blood curdling eerie vocals. Surprisingly, there are strange creepy ambient noise moments, a bit of calm before the storm. The entire record is a unique blend of heavy metal, that is both haunting and eerie. There is a unique air to this style and sound, it possesses a strangely addictive quality-- it technically should be considered one of the worst things you've ever heard, since it breaks a lot of rules musically and also for recording production. Yet the fun in this musically speaking is much like Halloween-- it's an entertaining form of heavy metal to be sorta scared of at the same time. This might sound strange at first, but historically speaking this is not dissimilar to anything before with say Screaming Jay Hawkins popping up out of a coffin during his songs, or Alice Cooper "executing" himself on stage-- its now just taken on its own form within the realm of heavy metal.

Some other quite interesting and rare things compared to even other black metal acts at this early point in the movement, was that Burzum never played live, and never has played live (and quite possibly maybe never will). This was very rare at the time, as how was a record supposed to draw any attention at all if you never performed it to help make it known? So naturally this struck people as odd. Also, Burzum was simply just Varg Vikernes--- he played all the instruments and recorded it entirely by himself, so unlike Darkthrone and Mayhem- he was strictly a one-man band. Not only was this very uncommon for black metal, but this is extremely not common for metal in general. Quite possibly the most important thing would be the intentional direction of the production of this record. Varg chose intentionally "bad" sounding things. He made the guitar scratchy with too much overdrive, he only has the drums set up to be just audible enough without trying to a achieve the "big" drum rock'n roll sound that most bands aimed for in the studio, and he allowed the vocals too scream and clip over-top of the recording sometimes (apparently he recorded these by screaming into a headset as he stated in the documentary Until The Light Takes Us). He intentionally used the cheaper equipment, and did things not recommended for the "ideal" sound, and sloppily selected reverb and mix settings. Hahaha, can you imagine how weird this was for the recording engineer? Weirdest day at work ever!

Back of record.

Some have argued that this is an overrated album in the vast amounts of black metal now available since its heyday in the nineties. However, before judging so harshly it should be considered that this album created a template in which most bands of this style after Burzum would follow. It should be kept in mind at the time this album came out, other than Mayhem & Darkthrone-- there was virtually nothing else that sounded like this. Though of course Bathory is a huge influence, and there was also Venom before-- while groups such as these made vital contributions to the very existence of black metal-- it didn't truly become its own style until Burzum, Mayhem, and Darkthrone put out their significant releases marking the turning-point of this new music). Everything about this record was musically rebellious to the current thriving thrash and death metal of the time: the style, the production, the theme, the look, and the atmosphere were all unique. This album in particular was not only significant to the birth of black metal, not only a blueprint for the enormous amount of black metal to follow in its footsteps, but also forever put Norway on the map for heavy metal and has wrote a very interesting chapter in the story of heavy metal.