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Dead Boys Come to Life
 
Veteran punks reunite for spring tour
 
When singer Stiv Bators died in 1990, the prospect of a Dead Boys
reunion seemed to be snuffed out.
 
"We all agreed that that would be it," admits drummer Johnny Blitz. "I
guess time heals."
 
Indeed it does, as the group will be getting back together for a U.S.
tour this spring. The impetus for the reunion came when the surviving
Boys -- Blitz, bassist Jeff Magnum, and guitarists Cheetah Chrome and
Jimmy Zero -- were invited to do a Q&A session and performance (with
Chrome and Zero filling in for Bators behind the mike) in September in
their original home base of Cleveland.
 
Blitz recalls, "I said, 'It sounds like a great idea to me, but I
doubt you're going to get everybody else to agree to this.'"
 
To his surprise, the other surviving Dead Boys were game. "It was just
amazing," says Blitz. "I couldn't believe how tight we were. Two
nights of rehearsal and then we did the show."
 
Although the Dead Boys' story originated in Cleveland, it wasn't until
the group began trekking to New York City's CBGB club that they carved
their niche. Equipped with a stack of raw punk anthems and a stage
show that rivaled Iggy Pop's in both confrontation and
unpredictability, the Dead Boys issued a pair of albums, 1977's Young
Loud and Snotty and 1978's We Have Come For Your Children, before
burning out.
 
The group reunited sporadically for live gigs throughout the Eighties,
while Bators also fronted the goth-punk supergroup, Lords of the New
Church. But on June 4, 1990, Bators died from injuries sustained after
a car hit him while he walking on a sidewalk in Paris.
 
During the ensuing years, the Dead Boys continued to be name-checked
by such chart-topping rockers as Guns n' Roses, Pearl Jam and the
Beastie Boys, who have all either covered or sampled Dead Boys songs.
 
While the Cleveland show stuck strictly to the classics, the
forthcoming dates may very well include new compositions.
 
"Apparently there is new material, but that's between Jimmy and
Cheetah," says Blitz. "But I think we'll have enough time to put some
new songs together."

Mikäs siinä, mutta onhan tuo vähän ihme juttu, että Dead Boys ilman Stiv Batorsia...nojoo, tekihän Lordskin tässä pari vuotta sitten comebackin. Ihan mielenkiintoistahan tuo olisi kuulla miltä tuo Dead Boys nykyään kuulostaa...

Oivallista.

Terve
 
Ihan sellaista hommaa lähdin pyytelemään, että jos joku bändiin perehtynyt vois vähän meikäläiselle kertoa että mistä tässä porukassa on kysymys, ja millaisia hittejä jammut on vääntäny?
 
Ite en oo tutustunu ku tohon ain't it funiin kun hommailin alkuperäisiä versioita gnr:n spaghetilta.

Terve
 
Ihan sellaista hommaa lähdin pyytelemään, että jos joku bändiin perehtynyt vois vähän meikäläiselle kertoa että mistä tässä porukassa on kysymys, ja millaisia hittejä jammut on vääntäny?
 
Ite en oo tutustunu ku tohon ain't it funiin kun hommailin alkuperäisiä versioita gnr:n spaghetilta.
 
Saatko luettua tämän?
 
The Dead Boys were one of the first punk bands to escalate the level of violence, nihilism, and pure ugliness of punk rock to extreme new levels. Although considered part of New York's mid-70's CBGB's scene, all of its bandmembers originally hailed from Cleveland, OH. The group's roots lay in the early 70's Cleveland cult band, Rocket from the Tombs, which included future Dead Boys Cheetah Chrome (aka Gene O'Connor) on guitar and Johnny Blitz (aka John Madansky) on drums, along with future Pere Ubu members David Thomas and Peter Laughner. The group's sound was a bit too comparable to 'art rock' for Chrome and Blitz's tastes (whose influences included the Stooges, Alice Cooper, and the New York Dolls), and by 1975, Rocket from the Tombs had split up.
 
Chrome and Blitz decided to enlist local singer Stiv Bators (aka Steve Bator), 2nd guitarist Jimmy Zero (aka William Wilden), and bassist Jeff Magnum (aka Jeff Halmagy), and formed a new group more a kin to their musical tastes, dubbed Frankenstein. But the group only managed a handful of local shows before fading away. Noticing that there was an underground punk scene flourishing in New York City's Bowery, the group befriended one of the leading bands from that scene, the Ramones, who had come to Cleveland on a tour stop. At the insistence of Bators, Ramones frontman Joey Ramone helped arrange a tryout for the group at CBGB's, as the whole former Frankenstein band (sans Magnum), made the trek to New York. Not only did the group land a spot at CBGB's, they enlisted the club's owner (Hilly Kristal) as their manager, and signed a recording contract with Sire shortly thereafter.
 
Changing their name to the Dead Boys (from a line in their song, "Down in Flames"), the band caused an immediate splash in their newly adopted hometown, due to Bator's Iggy Pop-esque, audience-bating antics and the group's vicious 3-chord punk rock. The Dead Boys' classic debut, 'Young Loud & Snotty,' was issued in 1977 - produced by rock singer Genya Raven, and with future renowned producer Bob Clearmountain providing bass. But by the time the Dead Boys launched a supporting tour (including opening slots for their hero Iggy Pop in the U.S. and the Damned over in England), Magnum had signed on once more as the group's bassist. Despite receiving a fair amount of coverage in the rock music press, punk was still misunderstood by most rock fans in the U.S., which resulted in the album not performing up to expectations sales-wise (despite spawning one of punk's great anthems, "Sonic Reducer").
 
The Dead Boys set their sights on their sophomore effort, which was originally to be produced by Lou Reed (with a working title of 'Down to Kill'). But at the assistance of their record company (who was trying to convince the band to soften up their sound a bit to produce a breakthrough hit), the group enlisted former Cream producer (and bassist for early 70's Cream-disciples, Mountain) Felix Pappalardi. The match didn't prove to be a fitting one, as the former hippie didn't understand the sonic onslaught of these young punks, resulting in an album that failed to expand on the promise of their debut (it's been rumored that the group unsuccessfully attempted to convince ex-Stooges guitarist James Williamson to take over the production chores from Pappalardi, in a last ditch effort to save the album). With a new title of 'We Have Come for Your Children,' the album spawned another punk classic in "Ain't It Fun," but the disc sold even less than its predecessor. To add insult to injury, the group was forced off tour for a long period of time, as Blitz was almost killed in a New York City street fight/mugging (a 'Blitz Benefit' concert was held at CBGB's to raise money for the drummer's medical bills, featuring appearances by John Belushi and Divine, as well as members of Blondie, the Ramones, and former Alice Cooper guitarist Glen Buxton).
 
With their record company pressuring the group to change their sound and look completely, the Dead Boys split up in 1979. But just a few months later, the band was forced to reunite for the recording of a live album at CBGB's (due to contractual obligations). To get revenge back at Sire, Bators purposely sang off mic, resulting in an expected unusable recording (when the album was reissued for the Bomp label several years later, Bators re-recorded his vocals in the studio). Despite splitting up once more shortly afterwards, the Dead Boys would reunite for the odd show here and there throughout the 80's. Bators tried his hand at acting in such films as 'Polyester' and 'Tapeheads,' in addition to pursuing a solo career (1980's new wave 'Disconnected'), before joining forces with ex-members of Sham 69 in the group the Wanderers (who issued a lone album, 1981's 'Only Lovers Left Alive'), and ex-Damned guitarist Brian James in the goth-punk outfit Lords of the New Church (releasing several albums between '82 and '88). Having relocated to Paris, France, Bators then attempted to assemble a punk 'supergroup' of sorts, which was to have included Johnny Thunders and Dee Dee Ramone, which fizzled out before any recording could get under way. On June 4, 1990, Bators died from injuries sustained after being hit by a car in Paris.
 
After Bators' death, countless Dead Boys compilations and live/rarity sets were issued, including such titles as 'Twistin' on the Devil's Fork: Live at CBGB's,' 'Magnificent Chaos,' 'Down in Flames,' 'All This & More,' and 'Liver Than You'll Ever Be,' in addition to releases by the pre-Dead Boys outfits Rocket from the Tombs ('The Day the Earth Met the Rocket from the Tombs') and Frankenstein ('Eve of the Dead Boys: October 1975'). Despite only issuing a pair of studio recordings during their brief but colorful career, the Dead Boys' influence on subsequent rock bands continues to be felt to this day, as such acclaimed groups as Guns N' Roses and Pearl Jam covered their songs in the 90's.

Täähän on kiinnostavaa. En panisi pahakseni, jos vaikka ilmaantuisivat Tavastialle... ;-)