Too Good to be True

Things are looking good for Swedish boys Vains of Jenna. Bring Back Glam! recently spoke with the band's lead singer Lizzy DeVine. During the chat, Lizzy talks about the current tour with Poison and RATT, the fun of being broke, and recording a follow-up to Lit Up/Let Down. Transcription follows.

Bring Back Glam!: Before we get into your music and tour, I want to talk about your new endorsement deal with Vestal watches. How did the company find you?

Lizzy DeVine: Well, they saw the band and liked what they saw. They contacted us. It’s pretty cool. Pretty much everything we’ve gotten: the label, endorsements, came from people seeing us live. It seems like people like us live, and that’s how we get what we get, that’s how I want it to be. I want us to be a great live band.

BBG: So, are you the only one in the campaign, or will the other band members be featured in future ads?

Lizzy: No, I’m the only one.

BBG: Where can fans see your ads?

Lizzy: They’re going to be in Revolver and those music magazines. It’s going to be awesome publicity for the band, because it’s so hard to get mainstream magazines to write about us, especially when you don’t play the music that’s popular. This is a good way to sneak into those magazines and get people’s attention.

BBG: Vains of Jenna is currently on tour with RATT and Poison. What is that like for you?

Lizzy: It’s like a dream come true. When I was like 14 or 15, I was such a huge RATT and Poison fan. I’ve never even seen them. Seeing them for the first time while on tour with them is the coolest thing ever! They’re all cool guys. You never know what to expect, and it’s good for a younger band like us to be out with two more experienced bands, that have been around for over 20 years.

BBG: What’s it like backstage after the show?

Lizzy: It’s actually pretty calm. This is so organized and professional, and that’s the way I like it because I don’t party too much. Everything’s taken care of. It’s like being on vacation: you arrive at noon, sit around and do whatever. You eat for free, you drink for free, and then you play a show in front of a bunch of people. After we’re done, we go backstage and watch the other bands play. It’s not as crazy people think, but I’m loving it.

BBG: Does each member of Vains of Jenna have his own tour bus?

Lizzy: No, we don’t have a tour bus at all. We have a minivan and a trailer. We have seven people and all our gear. It’s like, we’re totally broke. A tour bus would be great, but I don’t want to get a bus until I really deserve it. I want to struggle. It’s the struggling part that’s so fun, and all the challenges that come with that. If we had a tour bus…I would feel so stupid. Like “Who the fuck do I think I am?” We’re not to that point yet, and when we get there, it’s going to be deserved. Right now, I’m more than happy to do things this way.

BBG: You say you’re broke. Does this mean the band isn’t seeing any financial results from the tour?

Lizzy: We make some money. We get paid every night and we sell merchandise. We have people working for us. We have two roadies and a tour manager, and they’ve got to get paid first. Gas costs money, and hotel rooms cost money. At the end of the day we eat and we sleep and we play music. We don’t get any extra money. I’m not doing this to become rich. As long as I survive and have fun, that’s all that matters. Some day in the future, there might be some extra money roll in. We’ll find out. So far, so good.

BBG: Have you noticed a spike in sales of Lit Up/Let Down since you started this summer tour?

Lizzy: I don’t know. I need to check into that. I bet it’s selling more now than it used to do. I just want a new album out there. With this first one – I’m super proud of it – but we recorded it all on our own, and it was just supposed to be demos. Our label (Filthy Note) liked the songs and the recording so much, they wanted to put that out, so of course we did. The songs were written in the first few months that we were a band, so I can’t wait to show the world what we’ve got going right now. It’s a little different, but a lot better.

BBG: So, you’re actively working on new material?

Lizzy: Yeah, it’s constant. It’s what we do. We don’t have much of a life. We tour and play music and write music. The new songs are going to be …rock n’ roll…but heavier. Maybe more melodic. Just better songs, like it’s been two years since we started the band, so we grow as musicians. We have more experience and everyone changes. It’s going to be interesting to see how people react to the new stuff.

BBG: You’re going on the fall Viva La Bands tour and you’ve got a new song featured on the Viva La Bands II compilation. Tell me about “Enemy in Me.”

Lizzy: We’ve been writing that song over a year. We started it last summer, then put it on the shelf because we toured so much, then we heard about the compilation and we decided we wanted to record the song. It’s more modern sounding without being a sell-out. It’s heavier, and it’s got more melody. It’s a pissed off song. It’s Vains of Jenna, but a million times better. I think a lot more people will like what we do. Of course, there will be a lot of people who don’t like it at all. It’s still kick ass rock n’ roll, but a lot better. Hopefully people will be impressed when it comes out.

BBG: Are you hoping to stay on Bam Margera’s Filthy Note label?

Lizzy: It all depends. We want our next CD to sound as good as it can be. Our contract runs out in October, because we were only signed for one year. If we get a new label that wants to put in a lot of money, and Filthy Note can’t top it, we’re free to go. We’re open to suggestions. It would be awesome to stay on Bam’s label. The whole plan from the beginning with his label was to launch the band and then have someone else pick us up after our contract runs out. I just want the best sounding album out there. I don’t care who I work with, as long as people are like Bam. Someone that believes in the band and what we do, and just not out to make a profit. I’d rather to go to a label that loves the band but pays us less money, than a label that gives us a lot of money, but then doesn’t really give a shit.

BBG: Are you surprised how quickly you landed your record deal?

Lizzy: I really am. I’ll be honest. I don’t have expectations for anything, and then I can’t be disappointed. Like, I had a dream. It was to come to this country (America) and get a record deal, but I didn’t think too much about it. We flew over and in like two months, we got a record deal. Then I thought “Fuck! That was too easy! Now I need a new dream.” The craziest thing I could think of that seemed impossible was playing big shows at amphitheatres and stuff. Now, I’m on tour and doing that. Now, I need new goals and dreams because I get surprised every day. I’m a strong believer in what our album is called: Lit Up/Let Down. When something good happens, something bad will happen someday. I’m still waiting for the bad part to come. So far, everything that’s happened has been too good to be true.

Horns and Halos

Recently, Bring Back Glam! spoke with singer/guitarist Acey Slade about his new project Trashlight Vision. During the interview, Acey talks about his band's new album, the current state of commercial rock radio and a possible Murderdolls reunion. Transcription follows.

Bring Back Glam!: Tell me about your band Trashlight Vision.

Acey Slade:  We’re a dirty, punky rock n’ roll band and I’ve got Steve Haley on guitars, Roger Segal on bass and Jonny Chops is our new drummer.

BBG: What drove you to form Trashlight Vision?

Acey: As Joan Jett says “I love rock n’ roll!” I didn’t feel like there were too many dirty, rock n’ roll bands around anymore. I was playing in the Murderdolls, I knew eventually Joey (Jordison) was going to go back to Slipknot and I was going to have to find something to do afterwards. It’s a funny thing, the Murderdolls. I love – or loved, depending how you look at it, that band. If it were up to me, Joey would not have gone back to Slipknot. It’s a weird thing for a band to end during a successful run, and everyone’s getting along and everything’s cool. What I loved about the band, is because we were very similar…Murderdolls was a dirty rock n’ roll band, but I didn’t just want to repeat what I’ve already done. Everyone used to say the Murderdolls were like the Misfits meet Motley Crue. Now some people are saying that Trashlight Vision is like Guns n’ Roses meet the Ramones.

BBG: Are you telling me the Murderdolls are officially done?

Acey: No. It’s just going to be a timing thing. I’ve got a tour, with Wednesday (Wednesday 13, lead singer of the Murderdolls) it’s not that there’s any weird feelings. We’re all in agreement that anything we would do in the future would have to be a pretty close resemblance to the original line-up.

BBG: So you are hoping for a Murderdolls reunion with all the original members?

Acey: Yes, absolutely.

BBG: Tell me about Trashlight Vision’s new CD Alibis and Ammunition?

Acey: It’s a little strange. The album has a little jet lag to it. It’s been out in Europe and Japan for eight or nine months now. It’s a little weird for us…we’re kind of sick of the record already. I love it though. We did it totally DIY, recording mostly while on tour and I think that kind of reflects a lot of it. It has a live feel. I’m just happy to have it in stores. I don’t give a shit if it spawns a number one hit single or whatever, I’m just happy people can go into a record store and pick the thing up.

BBG: Well, what are some of your favorite tacks on Alibis and Ammunition?

Acey: “Dead Waves on the Air” is probably my favorite, because it’s basically just fucking kick ass. It’s an off the hook track…and I think it’s a statement to how bad radio sucks these days. Here in New York, the one rock station we had – the one rock station we had – went talk! Then, what’s even funnier…they just went back to playing music and they went back to the same play lists they had before. It’s the same old stuff: Staind, System of a Down…but, like, two records back. It’s just fucking ridiculous. Another track on the album I like a lot is Nola. I wrote that about New Orleans, my favorite city. I actually wrote that song before the whole Katrina thing. We worked really hard on that song. From the first inception to what it eventually became. It was funny, we always came back to it. It was one of those songs that no one was really blown away by. We wrote that song, and everyone was like “Meh, it’s not that good.” Well, a few months ago I said “You remember that ‘Nola’ song? I’ve got a new part for it.” Then everyone started thinking it was cool. We did this for like a year. When we nailed it, we all looked at each other and said “Damn! This song is cool!” It has a different feel than the rest of the album.

BBG: You said your album has been out in Japan for several months. It seems like American rock bands are massive in Japan right now. Why?

Acey: We’re taller! I go to Japan a lot. To them…we’re someone they see on TV that they don’t see on the Subway. I think that’s a problem with rock in general today. In America, the guys you see on T.V…do look like the guys on the subway. Where as, in Japan, even if you’re dressed like the guy at the gas station, you’re still taller, your hair color is different, different features…you are just different by default. In America…it’s like, who cares about seeing the bands when it’s like looking at idiots on the subway.

BBG: Drummer Jonny Chops is the newest member of Trashlight Vision. How did you find him?

Acey: Believe it or not, we posted bulletins on our Myspace page. We had people come form England, Sweden and all over…and Jonny is from Philly. I’m from Philly originally, and the other two guys are still down there. It just happened that Jonny was like four miles away.

BBG: Who has Jonny played with in the past?

Acey: No one really.

BBG: No one?

Acey: Nope. He’s never even mentioned any names to me. I guess if they’re not important enough for him to mention, I guess they must not be that important period.

BBG: Art is very important to you. When did that become a hobby?

Acey: I grew up in the suburbs of Pennsylvania. The only – only - sanctuary I had was art class. In my school, I was the “hair farmer.” The poser. There was me, the punk rock kid and the goth-industrial kid. We all kind of looked at each other and went “Alright, none of us have parents that can buy us BMWs and none of us play sports. We better look out for each other.” There were not enough of us…but we all had hairspray and eyeliner in common.  We were all really supportive of each other artistically and musically. A lot of those kids in my art class were not musicians. I just always respected bands that did their own artwork.

(Editor's note: The Ghouls on Parade Tour will be coming to a city near you in the fall. The boys will stop in Cincinnati on October 13, with special guests Drugstore Valentine. For dates, please visit www.myspace.com/trashlightvision).

Alibis and Ammunition

You never know who will end up in your email in-box.

A few weeks ago, sweet Acey Slade of Trashlight Vision and the Murderdolls dropped me a line. We conversed via e-mail a few times, and then set-up a formal interview. The transcription of that interview will post tomorrow on Bring Back Glam! Today, a review of the new Trashlight Vision album Alibis and Ammunition (the album has been available in the U.K. for several months, but was finally released for U.S distribution on July 10, 2007).

Trashlight Vision is much more sleaze-oriented than the Murderdolls. The sound is generally different, mainly because Acey Slade assumes lead vocal duties (don’t worry; he plays guitars for Trashlight Vision as well).

Alibis and Ammunition opens with “Dead Waves on the Air,” featuring punk-fast guitar riffs and vocals that verge on screaming. It’s a good little track, but not the best that Trashlight Vision has to offer. That distinction is reserved for “Allergic to You.”

“Allergic to You” features lyrics you can actually understand under all that angst-fueled musicianship. Yes Acey still screams here, but the rest of the “trashy” bunch prove that they can harmonize. Harmonies matter in punk-sleaze! In some ways, the backing vocals really carrying this song. This isn’t to say that Acey can’t sing – quite the contrary. Rather, he possesses the rare musical ability to spot talent in others, and that means he formed a band to enhance his abilities as a frontman. Someone else must agree, because “Allergic to You” is the first track from Alibis and Ammunition to garner significant radio airplay.

Moving along, “Screw Worm Baby” features an interesting sound with syncopated rhythms and a nice, simple, drum part. Every smart band writes a song with an easy chorus that fans can remember. This is especially important for those pressure-filled moments during concerts when the lead singer demand the audience participate! It doesn’t matter if it’s a dive bar or a stadium, “Screw Worm Baby” will be the song that Acey demands a sing-a-long. I say, bring it on!

“Faceplant Pavement” begins with canned sounds of a news report. It features a traditional anchor toss: “New, exclusive details in the story./He’s live in Voorhees tonight with the details, Harry?” I’m pretty sure I’ve written this toss in my illustrious news career about 9,987 times. Is this a reference to the U.K. thrash band Voorhees? A snub at celebrity infotainment? Almost immediately, Acey screams lyrics dealing with “celebrity skin.” Is this homage to Courtney Love and Hole? Later in the song, Acey recounts the story of woman left for dead – in spoken word. There are lots of thrash elements to this song. So much so, it’s almost metal core, and not sleaze. This isn’t a bad thing, just a different sound.

Trashlight Vision also covers the Ramones on Alibis and Ammunition. It’s pretty cool hearing Acey Slade’s voice on “My Brain Is Hanging Upside Down (Bonzo Goes To Bitburg).” The cover is definitely a new spin on the classic track, but Trashlight Vision does the song much justice. Here, Acey’s voice is clean, and again the backing vocals are strong. It was a good production decision to use this song at the mid-point of Alibis and Ammunition.

Loyal readers to this online magazine know the glam mistress loves strong bass lines and progressive Metal. “Horns and Halo’s” (apostrophe included) features a nice progressive-like intro with a short string arrangement before the sleaze-punk screams begin. The track is short, but here that’s a good thing. “Horns and Halo’s gives listeners the correct amount of Progressive Metal on a punk-inspired release. The effort is smart and doesn’t feel contrived.

Trashlight Vision are:

Acey Slade - Vocals/guitar
Steve Haley - Guitar/vocals
Roger Segal - Bass/vocals
Jonny Chops – Drums

www.myspace.com/trashlightvision

Photo Credit: Steve Prue for Trashlight Vision

Van Halen: Three Choices

The rumors - or truths - continue to fly that a reunited Van Halen are about to embark on a fall stadium tour. The current line-up will be the original, minus Michael Anthony on bass. Instead, Eddie Van Halen's teenage son Wolfgang will fill that role.

In the summer 2007 edition (issue 108) of Classic Rock magazine, the editor's provide a tip sheet on buying Van Halen. Most every album the band has ever released is considered at least "good." The album to avoid - according to the editor's - is Van Halen III.

Here's a secret: I don't own Van Halen III, and I'm not certain I've even ever heard one track off this poorly rated album. Of course, this is the only Gary Cherone era release, and I suppose that speaks volumes right there.

Does anyone out there own Van Halen III? Would you leave me a comment and explain why it's either a good or bad release?

In the Classic Rock article, the editor's write "Gary Cherone was that wuss who sang in Extreme - wearing a leotard...Van Halen and Cherone were a disastrous mismatch, and produced just one album - that sold on 500,000 copies, when every other VH album had shifted at least two million. The reason is that Van Halen III stinks like a wet dog. Every song sucks, and Cherone sings them like a drowning man."

Wow. This is not a good review people. I did a little YouTube research, looking for some Cherone-era VH clips. Surprised, I found more than a few.

I'll be honest. I watched a few of the clips, and didn't seem that disheartened with Cherone. Yes, I like Extreme, but he doesn't sound like Extreme while standing next to Eddie Van Halen. In some respects, Cherone sounds like a poor woman's David Lee Roth.

I suppose this in itself is a little creepy.

So, let's compare. Here's Gary Cherone performing "Ain't Talkin' Bout Love" during Van Halen's 1998 world tour.

Now, here's Sammy Hagar performing the same song during a Van Halen tour stop. Judging by the clothes, this is a late 80s or early 90s tour.

Diamond David Lee Roth originally sang the lyrics to "Ain't Talkin' 'Bout Love" for Van Halen's massively successful debut album, released way back in 1978. This clip is from the 1984 tour.

So, which is better? You decide.

Take It Sleezy

Ah, Dirty Penny. 

Formally known as Antidote, the band recently changed their name because of legal issues. Not long ago, Dirty Penny released their debut effort Take It Sleezy. 12 tracks in total, the album is an exceptionally strong freshman effort from this California based quartet. With the power of Myspace and word of mouth, Dirty Penny entered the JPOT Music contest, and won a spot on the main stage to Rocklahoma. These boys look like Motley Crue in 1984 and in some ways they sound even better.

Take It Sleezy opens with "Midnight Ride," a throwback to classic 80s glam. Strong riffs, screechy vocals, and -yes, a cowbell - mean this song would fit on Motley Crue's debut Too Fast for Love.

Of course, Dirty Penny are a new band, and that means they have a sound all their own. Singer Binge Daniels can play it straight or dirty with his voice, and that's refreshing. While Vains of Jenna frontman Lizzy DeVine is 100% scratchy, Daniels can be smooth when it's necessary. There are times on Take It Sleezy when this is necessary. The boys in Dirty Penny also know how to harmonize. This is first evident on "Hot & Heavy," but exceptionally well executed on the appropriately titled "Scream and Shout." The latter track features all the requisite themes of a great sleaze-glam effort: parental discontent, including the need for a strong father figure. Consider the lyrics: "Check out the papers/Who's number 1?/Oh my goodness, it's your good for nothing son/Look at me now.../Daddy are you proud? (Ahem, Nikki Sixx anyone?)

The best track on Take It Sleezy is "Vendetta." Already the band's calling card, it seems like everyone at Rocklahoma knew the words to this song. This is no small fall feat considering Dirty Penny is an unsigned band. They gained a bit of name recognition during the Crue Fest (Hollywood) last summer. (On August 10, the band will team up with Vains of Jenna, RATT and Poison for a special show in Salinas, California). "Vendetta" features big guitar solos, a sing-a-long chorus and punchy lyrics.

A completely different sound is "Black N' Blue." Here, the band uses a blues-based sound and incorporates Aerosmith-standards like harmonica and fast drum fills. It's a nice change at the mid-point of Take It Sleezy.

Another strong point of Take It Sleezy is "Sleeze Disease." Here, the lyrics tell a coherent story, and the vocals are not buried by electric guitar. The boys also include an acoustic version of this track on the album. The electric version features a strong bass line and a nice drum part.

Dirty Penny are:

Binge Daniels -     Vocals
Jonny Prynce -    Guitar
Tyno Vincent -     Bass
Spanky Savage - Drums  

You can purchase Take it Sleezy for only ten bucks at www.dirtypennysucks.com.
Preview tracks at www.myspace.com/dirtypennysucks

Junk Rock...For Lovers!

Straight out of Pittsburgh and ready to take the world by storm are The CosmoSonics. Interesting name, great musicians. Their effort Junk Rock…For Lovers! is a sleaze-glam masterpiece from beginning to end.

The album starts with the high energy “Stun Gun Fun.” Almost immediately, I knew someone in this band has to be at least a little familiar with Alleycat Scratch, because “Stun Gun Fun” sounds like it would fit easily on the amazing Deadboys in Trash City. Lead singer and guitarist Gary D’ Grave has a voice as sleazy as Eddie Robinson of Alleycat Scratch. For those in the glam know, a comparison to the brilliant Alleycat Scratch is a great endorsement.

The boys in The CosmoSonics like using canned sounds to enhance the production of their tracks. Think the roar of the crowd, and you’ve got the underpinning for “Rave It Up!!,” easily the strongest track on Junk Rock…For Lovers! Here, the guitars are crunchy and the bass line isn’t buried. In fact, there are a few snippets of bass solo, which is always welcome on glam albums. The lyrics are good too. Consider this: “Hey, hey if you wanna play/It’s rock n’ roll baby, bottoms away.” Catchy lyrics and powerful guitar riffs are the cornerstone of quality glam metal. “Rave It Up!!” has both.

“Skinpop 19” is another stand-out track on Junk Rock…For Lovers! Clocking in at just over three minutes, the track features syncopated beats, harmonica and screaming lyrics reminiscent of Steven Tyler. The chorus is anthem-like, and if The CosmoSonics ever hit big, this will be one of their great live songs that has every person singing along.

If you’re into songs that feature key changes, then “Punchdrunk, Baby” is for you. The track is short and energetic and features a nice guitar line and great backing vocals. The lyrics are simple and easy to discern. Sometimes great music isn’t about reinventing the wheel, but reproducing what works. “Punchdrunk, Baby” works.

The final track “I Luv Hollywood” begins with more canned sounds, this time of crickets. Is this a nod to the seemingly dying Sunset Strip scene or some other political message? The muted vocals are a little hard to understand and that’s clearly the point. The themes here are The Rainbow Bar and Grill, fights, and rock n’ roll heaven all set to an acoustic campfire song. Kumbaya people: The CosmoSonics are bringing back glam!

The CosmoSonics are:

Gary D’Grave – Vocals and Guitar
Chaz Zalapski – Guitar and Vocals
Harrison Dray – Bass and Vocals
Angel O -- Drums

www.myspace.com/TheCosmosonics
www.thecosmosonics.com

Gypsy Pistoleros Enter the Studio

Kids, an update on my favorite glam-flamenco-sleaze band, the Gypsy Pistoleros. Here's an official press release from Evil Boy Records:

"Gypsy Pistoleros, the fastest rising U.K rock group, were stunned by the amazing reaction from the American people to their U.S debut at Rocklahoma! The band would like to say a huge thank-you to everyone that took them to heart, the feeling is mutual!

The group have been invited back to play the bigger & better Rocklahoma 2008 next year, and cant wait to see you all again.

Gypsy Pistoleros enter Mighty Atom studios ( Wales ) in September with their legendary producer Joe Gibb ( Catatonia, Funeral for a friend, Jane's Addiction, The Cure, Travis, Madonna ) to record their crazed rockin' version of the Ricky Martin classic Living la vida Loca.

The double A side single Livin la vida Loca/Pistolero will be released on Evil Boy Records November 5th."