[Full disclosure: I was interviewed for and am quoted in this book, since I was Moon Records' director of promotions, marketing, and production from 1991-1999.]
I'm really of two minds regarding Ken Partridge's Hell of a Hat: The Rise of '90s Ska and Swing (Hardcover, Penn State University Press, 2021). On one hand, it's a very good and engaging read, providing an excellent and oftentimes insightful overview of the bigger, mostly ska-punk, ska-pop, and swing bands that made it relatively big in the 1990s. In doing so, Hell of a Hat focuses on the rise and inevitable fall of acts that made it to major or major-label backed labels and flirted with or achieved stardom, such as the Bosstones, Sublime, No Doubt, Rancid, Reel Big Fish, Save Ferris, Goldfinger, Dance Hall Crashers, Voodoo Glow Skulls, Less Than Jake, Suicide Machines, Buck-O-Nine, MU330, Mustard Plug, Stubborn All-Stars, Hepcat, Pietasters, Slackers, Spring Heeled Jack, The Brian Setzer Orchestra, Royal Crown Review, Big Bad Voodoo Daddy, Cherry Poppin' Daddies, and Squirrel Nut Zippers. During that decade, I was so immersed in all things ska that I knew practically zilch about the swing scene beyond that when ska was declared dead in 1998, swing was the music industry's next shiny thing, and that one of the former members of The NY Citizens was in the local swing band Dem Brooklyn Bums (Chris "Kid Coconuts" Acosta told me about 'em). So, I learned a fair amount from this book--in particular, the Royal Crown Revue's story is pretty compelling, and I had no idea that Gangster Fun's John Bunkley was in Detroit swing band The Atomic Fireballs.
On the other hand, as someone who was directly involved in promoting the ska scene, it's a bit maddening to read a history of this era of American ska and find that Moon Records is depicted as a minor player, almost a footnote, really. The chapter on Moon starts 174 pages in and is done ten pages later,and much of it is devoted to certain bands bellyaching that the label didn't do enough to make them stars, even though nothing of the sort was ever proffered. Though, to be fair, he does mention Moon on page four and describes the label as "a major driver in the ’90s ska explosion." (And I have to admit to being disappointed that Partridge didn't include my tale of how The Slackers' manager at the time allegedly stole Moon's promo list from my apartment office and brought it to Epitaph, where she was made head of Hellcat; we realized the theft/betrayal had gone down when a Hellcat promo mailer was sent to one of our dummy addresses--a fake name, but using Moon's post office box!--that we used to check that our promo mailings went out.) Moon was an indie ska label with a punk rock attitude, just like Lookout or Dischord, and it sometimes managed to punch above its weight--but we never sold ourselves as anything otherwise. Having said that, Moon built the foundation for much of what transpired in ska during the '90s and helped promote/establish dozens of well-known acts when they were in their infancy. No one was championing ska music like Moon was--particularly in the first half of the '90s. I'd wager that if Moon hadn't been around, that decade's ska boom would never have happened.
While there are several key traditional and modern ska bands mentioned in the periphery of Hell of a Hat (who did quite well for indie-label acts), the premise of the book seems to be that only the bands who made it to the cusp of fame or superstardom should make up the story of that era. It's a capitalist's version of the history of American ska, based on record sales and Billboard charts, and it's incomplete (particularly since the music industry really only knew how to market ska that was more punk or pop--and the more mainstream music audiences were only into those kinds of sounds, not 2 Tone-influenced or traditional ska).
Having said all that, if you're a ska-punk and/or ska-pop fan, you absolutely will enjoy Hell of a Hat--it covers that aspect of '90s ska very well and is a valuable addition to the growing library of books on American ska.
The Kingsland Bar and Grill 269 Norman Avenue Brooklyn, NY $15 in advance/$20 day of show 16+
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Friday, May 17, 2019 @ 7:00 pm
Slackfest: The Slackers play Big Tunes (potential set list includes "Married Girl," "Sarah," "Rude and Reckless," and more; go vote www.theslackers.com/polls) with The Hempsteadys, The Fad, DJ Rata
Slackfest: The Slackers play Love and War (potential set list includes "Red Light," "Feed My Girl," "International War Criminal," and more; Go vote www.theslackers.com/polls) with Westbound Train, The Scotch Bonnets, DJ Miss Haps
Slackfest: The Slackers play Deep Cuts (potential set list includes "Stars," "Sing Your Song," "Contemplation," and more; go vote www.theslackers.com/polls) with The Far East, Ensemble Calaveras, DJ One Hundred Decibels
Duff Guide to Ska:How did this mini-tour of the US (New York/Chicago) come about? When was the last time Los Pies Negros played in the US mainland?
Werner Rodríguez Del Toro: "The Chicago show came about when we were contacted by someone at a club called Reggies who wanted Los Pies Negros to play a ska festival there. After approximately a year of conversations, it became real.
The last time that Los Pies Negros played in the US was in 1994, when we performed at the Skavoovie festival at NYC’s S.O.B.'s and one event with Spring Heeled Jack in New Haven Connecticut the following day."
DGTS:The band has been in existence for about 27 years now. When you started it back in the early 1990’s, did you think you’d still be playing all of these years later (long enough that your most recent release was called The Grandfathers of Ska)? What has kept you going?
WRDT: "[At that time,]I did not think that in the future I'd be playing in Los Pies Negros. I ignored my thoughts and lived in the moment. I live every moment like it's a song and feel every note from the start to the finish--enjoying every detail, every second of the song. The same goes for my life and my band. And I feel that you can never get enough out of enjoying and playing the music you love, the music you feel. Without music, life has no meaning for me.
I think that what kept me in the music is the love I feel for it. And the reason that Los Pies Negros is alive is because every member is passionate about the band's music--and each of us is not just a member of the band, we are a family.
Regarding our last recording Los Abuelos del Ska (The Grandfathers of Ska), I want to mention that we wrote this single because two of our members became grandfathers and none of us expected ever to be a grandfather and still in a band playing ska music. And the song speaks to that feeling."
DGTS:Many ska fans from the '90s became aware of the band through Moon’s Latin Ska compilations and the Bang movie soundtrack. What have been some of Los Pies Negro’s highlights in the years since then (releases, festivals, etc.)?
WRDT: "After that era, we recorded one of the most recognized albums named Siempre Igual (1996).
We started to play some big events in Puerto Rico, and later with the help of underground distribution, our music was being recognized in Latin countries like Mexico, Colombia, Costa Rica, etc. In 1999, we played our first big show in Mexico with bands like Desorden Publico and la Vela Puerca. Some years ago, we played one of our best concerts ever in Mexico, the "Non Stop Ska Festival." Later we played another big event named "Skatex," in Mexico. We did some recordings like Un Alien me Rapto, Detras de ese Disfraz, etc."
DGTS:What is the Puerto Rico ska scene like? (And how have things been there for you, your family, and friends in the year since Hurricane Maria devastated the island?)
WRDT: "In Puerto Rico, the ska scene is very small. Only a few people follow ska as a lifestyle. But we have a lot of fans that are not necessary only into ska. We have fans from different genres like punk, reggae, rock, Latin rhythms, etc.--because I think our music is different. We have followers of all ages. We've played everywhere and have met people at our shows who had never heard of us and after seeing our show started to follow us. The events in Puerto Rico are for a few people, but are very interesting because the people here feel the music when we play.
The first months after Hurricane Maria were very difficult, but now we are good. As a country, Puerto Rico is a fighter and we are rebuilding it again with or without the 'mainland' help."
DGTS: What is the significance of the band’s name?
WRDT: "The band's name means liberation from slavery. Los Pies Negros (Blackfoot) symbolizes the two feet released from involuntary labor, abuse, and discrimination."
Thanks to Werner Rodríguez Del Toro for taking the time to do this interview!
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Los Pies Negros' current line-up is: Werner Rodríguez Del Toro (bass/founder), Wilmer Laboy Del Toro (guitar/songwriter), Mario Montalvo (guitar/backing vocals), Iván Salaberry (drums), Robert Ramirez (trombone), Ramón Acevedo (saxophone), Diego Borges (lead vocals), Luis Rodriguez (vocals), and Leonel Crespo (trumpet).
Discography:
1993: Los Pies Negros
1994: Moviendo los pies
1995: Siempre Igual
2004: Detrás de ese Disfraz
2005: Latin Ska Force II (split CD with los Vicios de Papa)
2009: En vivo y sin Disfraces (a live CD)
2011: Un Niño Solo (EP)
2012: Un Día Normal (EP)
2013: Kamikaze (split CD with Los Fiskales)
2015: Un Alíen me Raptó (EP)
2016: Los Abuelos del Ska (EP)
2017: Siempre Igual (Single)
This is starting to make the rounds on the internets (otherwise known as Facebook)...
Asbestos Records presents - SKALAPALOOZA 2012 Oct 19th - Philly, PA - World Cafe w/The Pietasters, Pilfers, SHJ Acoustic Oct 20th - Wash, DC - 9:30 Club - w/The Pietasters, Pilfers, SHJ Acoustic Oct 21st - NYC, NY - Gramercy w/The Pilfers, SHJ Acoustic Oct 26th - New Haven, CT - Toads w/The Pietasters, Pilfers, SHJ Acoustic Oct 27th - Foxborough, MA - Showcase Live w/The Pietasters, Pilfers, SHJ Acoustic Oct 28th - TBA
If this bill doesn't bring out the ska fans, I don't know what will.
Thanks to Mike D. of The Establishment for this short Spring Heeled Jack video teaser from one of their recent reunion shows at Toad's Place in New Haven...
Mike and his crew shot the Friday night SHJ show with four cameras and he is now editing all the footage--though there are no plans to release the final product (yet). Stay tuned...
Not that the die-hard Spring Heeled Jack fans need any reminders (Across the Aisle singer and SHJ fanatic Megg Howe just texted me a little while ago to ask if I was going to either show). They are playing two all ages shows this weekend at Toad's Place in New Haven, CT: Friday, May 7 at 8:00 pm and Saturday, May 8 at 8:00 pm. There are some good openers too, including Tip the Van on Friday night and The Pietasters (!) on Saturday. Here's hoping that these gigs inspire SHJ to come down and visit NYC soon...
Update:
Check out the press preview coverage here (Moon gets some love!) and here (more love!).
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Update #2:
There is a review of the Friday night SHJ show in the Hartford Courant.
There have been rumors floating around about this for a couple of months now, but it is finally confirmed: Spring Heeled Jack will be playing for the first time since their 2002 tribute show in honor of drummer and SHJ co-founder Dave Karcich, who tragically died of a brain aneurysm at the age of 28.
You can catch SHJ on May 7 at Toad's Place in New Haven, CT. In conjunction with this gig, the band's two albums, Static World View and Songs from Suburbia are being reissued on limited edition vinyl runs of 500 copies each by Asbestos Records.
According to us, "Across the Aisle crank out loads of hooky, tart, and rambunctious ska-punk-pop in the vein of such 90s acts as Dance Hall Crashers and Save Ferris, but with Mighty Mighty Bosstones Devil's Night Out-type muscle and bite" and are one of the really interesting players on the resurgent NYC ska scene. Currently, the band is in the midst of recording its second EP or first full-length--it all depends on how things work out--but Jay Pintar and Megg Howe were kind enough to take the time to reply to some questions from The Duff Guide to Ska...
Duff Guide to Ska:How is the recording of the new album going? Is the ATA sound changing dramatically from what was captured onThe Mercy EP? Who is producing it and which studio are you using?
Jay Pintar (trumpet): Recording the new album has been a steady process. We've hit a few hangups...illness with the seasons changing, and it's always a challenge to coordinate six schedules. Still, what we have thus far is sounding really great, and we're crazy pumped for it.
The sound itself, I don't feel, has changed that much since we recorded Mercy. Some of the tunes we're recording we've been playing for a year or more, so they're pretty much second nature to us at this point. However, we've had Aaron, our new guitarist, since August, and it's been great to hear someone else's new take on material. He's definitely a rocker, he takes liberties that the others did not. He also built his own pedal board, so there are will be a lot more guitar effects on the new recording. Also, when we recorded Mercy in early '08, I was the only horn player at the time, so I recorded three-part horns. Jackie, our alto sax player, came along five months later. It's nice to be laying down tracks with her by my side.
This new recording, in light of these delightful economic times, will be self-produced and recorded in our drummer's home studio. JV [John Vergara], our drummer, has education and experience in audio engineering, and between the six of us, we acquired everything we need to rehearse and record without breaking the bank. We dig it.
Megg Howe (vocals): Recording is so much fun! I really enjoy the process, 'cause you can really appreciate everyone's "part" in each song. Sometimes you forget to really listen to what each instrument sounds like, so when it's stripped down by itself sometimes I say, "Oh, wow, yeah, that's what you're playing there?! It's so brilliant!" So we're all in this basement recording together, so it's funny when I start recording vocals and I take off my headphones--at least two members say they had no idea what I was saying before. It's important for everyone to really hear the lyrics--then they can put my understanding of the idea behind the song and they can feel it too.
DGTS:Will the album be self-released or have you been shopping it around to some labels?
JP: We'll definitely do some shopping. It really depends on whether we end up recording a full-length album or another EP.
MH: Yeah, hopefully it'll create a buzz and, you never know, it could be really beneficial to have some backing!
DGTS:How did the Checkerboard Kids show taping go? When will your episode be broadcast?
JP: The taping went really well! A couple of us were a little under the weather, but all things considered, it went really well. We also had a handful of fans and friends who made it out to the studio to support us! We really appreciated that.
Still no word on when it's going to air [update: it will be on 10/27/09 at midnight!], but there are a couple of video clips from it on YouTube. Here's one of the clips.
MH: Taping was a blast and Phil [Esquire] is adorable. But I was so, so sick, I was getting over a cold/sore throat and losing my voice earlier that week. So here and there you can hear my voice cracking, 'cause I was really pushing it. I was upset that I couldn't give it 100%.
DGTS:What does "Across the Aisle" refer to?
JP: Well, we really wanted "Color Me Badd" (that's with two Ds, now) but, it was already taken...
Seriously, though...it's a new take on the political expression. Ordinarily, it refers to the difference between Democrats and Republicans, in that they're so far removed from the other party's interests and ideals that they're almost literally "across the aisle" from one another...yadda yadda... We reinterpret it to mean, quite basically, diverse. When it comes to our backgrounds, ethnicites, orientations, genders, religions, and especially our musical interests and experiences, we're all over the map. So, although we're "across the aisle" from one another, we've come together to make our own music.
It's VERY important to note that when this description is spoken with inflection and told with the use of hand gestures, it doesn't come off the slightest bit pretentious. :-)
DGTS: And how/why did you decide on Kelly green for the band's look/image? (What's it all about?)
JP: I think it was back in summer '07. Megg, our then guitarist Joe, and I were all on the subway. The conversation pretty much broke down like this:
JAY: Megg, what color are your eyes?
MEGG: They're green.
JAY: Mine, too!
JOE: Woah, me too...
ALL Weird.
JAY: We need a band gimmick. Maybe we should all DRESS in green.
MEGG: I like KELLY green.
JAY: Me, too!
JOE: I'm WEARING kelly green!
JAY: Done.
I'm sure I paraphrased. Ultimately, it is, quite simply, a gimmick. Hopefully, we'll be remembered for our music, but if someone should say, "Oh yeah...aren't they that band with the green and stuff..." then we've done some good. And we started with the neckties just this year.
MH: Haha! Yeah, I forgot about that. Nice, Jay! That's totally 'howe' it went down! But seriously, everyone looks good in kelly green!
DGTS:I think I read that you and Megg both have backgrounds in the theater--how does this influence/affect your performing? Do you approach it from the perspective of playing out live or is it more about putting on a dramatic "show"?
JP: You read correctly, sir! Megg and I each have backgrounds in theatre. In fact, that's how we met. In spring of '06, we were in an original rock musical together. Long story short...the show was not the best, though we did get to revive it in concert form at CBGB's, shortly before it closed for good. Megg and I reconnected about a year later, and that's when the band really started to form. In terms of how it affects performing, I'd say we feed of one another's energy alot, and we're very comfortable onstage together. People often think we're a couple!
I don't think it's about putting on a "dramatic show" necessarily, at least not for me. Though it's an awful lot like being in a play, in that everyone has their role, you've rehearsed, and you try to find real moments. We've a few bits of choreography in several of the songs, and we do other other things like call and response and hand claps and whatnot, but they're mostly because we're a bit dorky and think it's fun, not because we want to be dramatic.
MH: Oh man, that musical was a nightmare, but a blessing because I met Jay. We stayed friends and eventually I convinced him to start ATA with me! I honestly can't imagine not having him as my side-kick on vocals, I truly don't feel like I'm the only lead vocalist. We're such a team, I always say we're a two person fronted band! We need him for sure--he's a better singer than me!
DGTS:Which are your favorite ska bands--and which ones have had the most influence on ATA?
In terms of influence, I'm sure it's different for everyone in the band. I know Ashray, our bass player, is really into Rancid and Operation Ivy. For Jackie, it's Hall & Oates all the way (can you blame her?). For me, I listen for horn arrangements and vocal harmonies in any and all bands, not even necessarily of the ska variety. Oh, and I love Dance Hall Crashers...so fun.
MH: For me, since high school I got into No Doubt and just had to know who they all were influenced by and what they were listening to. I was so obsessed with their sound and this whole ska scene that I had never heard about. I found out they were friends with Fishbone. Oh, and I got into Spring Heeled Jack, so those three bands since 1995 have really meant a lot to me. I still listen to SHJ's Static World View! It's such a great album. Also it's come full circle, knowing that you worked at Moon Ska Records with them is so crazy to me, I'm just so honored that you're diggin ATA!! Without these three bands there probably wouldn't be an ATA!
DGTS:And who do you like playing with from the NYC ska scene? Is it my imagination, or are there starting to be a ton of ska bands around here again?
Yes! There are more popping up everyday. Some are not necessarily ska, but reggae and various sub-genres. Also, since we're not purely a ska band, the fact that we've punk and reggae elements opens us up to line-ups with other bands/artists outside the ska world, as well.
MH: We've also played with The Pilfers and New York Ska Jazz Ensemble. Although they're from Jersey, we've done a few shows with Hub City Stompers (and have upcoming shows with them).
DGTS: What are your thoughts on music file sharing?
JP: I'd be lying if I said I've never done it. In college, especially, everyone and their mother did it. Now that the shoe's on the other foot, I just will not do it. I don't condone it it any way. Bam.
MH: Yes, totally have done it, but I guess I'm on the fence. Now that I'm tryin' to make a living at it, of course I want to make some profit. But I also, at this point in the game, I just want more fans, ya know. I want to spread the ATA sound!! So, if kids hear ATA and want to share it with friends, I say the more the merrier. I want the world to have ATA!
DGTS:Any ATA plans for the coming months that you'd like to share with The Duff Guide to Ska readers?
JP: Two Brooklyn shows in November: Saturday, November 7th @ the new Knitting Factory and Saturday, November 28th @ Trash Bar. Keep checking our sites: MySpace, Facebook, Twitter, YouTube and atamusic.com for all things ATA!
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According to Phil Esquire, the ATA Checkerboard Kids episode will be airing on MNN Time Warner Cable Channel 34 in NYC at midnight on Tuesday, October 27th. This is viewable live around the world, streaming on http://mnn.org.
Thanks to Phil, here's an exclusive clip that won't appear on the episode:
What They're Saying About My Book "The Duff Guide to 2 Tone"
“An essential read…Stephen's eye for detail is incredible and his love for 2 Tone oozes from each page.” — Kevin Flowerdew, Do the Dog Skazine
“Written with a personal touch and with great passion about the bands and releases while giving a lot of emphasis to the lyrics, Stephen’s book is a great guiding hand to navigating your way to some great new music.” — Peter Walsh, 2-Tone.info
“It's some of the finest Madness analysis I've ever read.” —Donald Trull, Stateside Madness
“Steve's own story would make a great book, but instead he's written The Duff Guide to 2 Tone, a 250+ page collection of 2 Tone-related pieces from his blog. There are reviews of original pieces, but the book's real purpose is to show how the 2 Tone sound and—more importantly its ideals—carry on today...Get this book right away!" — Charles Benoit, Reggae Steady Ska
"...Shafer has definitely not forgotten how socially conscious issues were at the root of Ska even from the beginning. He makes certain to thread the political issues that motivated the development of Ska throughout his narrative; painting a picture that took both the oppressive political environments and the often ecstatic musical content into account. And in that, he nails down for me what the enduring pull of Ska was to its many fans. Was there ever a more upbeat dance music that combined its boundless energy with a push for progressive social values and calling truth to power?" —Post-Punk Monk
"...[The Duff Guide to 2 Tone is a] chatty, informative and knowledgeable work, one that you can either sit down and read or use as a reference source..." —Nik Skeat, Scootering Magazine
"During the reading of the book it is dangerous to have a screen open next to you with Discogs. I have found lots of ‘new music’ via the stories in The Duff Guide to 2 Tone which I must have." -- Peter Vrakking, Blue Beat & Ska
In the mail today, I received the first copy of my new paperback book The Duff Guide to 2 Tone --and am thrilled to announce that it is now...
About Your Duff Guide
Steve Shafer/The Duff Guide to Ska For most of the 1990s, I was the promotions, marketing, production guy for Moon Records (RIP). It was one of the best jobs I ever had. Seriously, I miss it badly. During 1999/2000, I ran 7 Wonders of the World Music, the first digital download-only ska label that was too ahead of the curve for its own good (RIP).
I filmed and edited this Toasters video for $2,500, which made its debut on MTV's 120 Minutes. I also put together these compilations for Moon: the first three Skarmageddons; Ska United: A Global Ska Sampler; Skank Down Under; This Are Moon Ska I, II, and III; and Moonshot!
Here's an old interview with Adam Monkey from Read Magazine that covers my days at Moon and 7 Wonders. I also did a somewhat more recent interview with Read Junk.
I've been interviewed about ska music and Moon Records for The New York Times, Heather Augustyn's "Ska: The Rhythm of Liberation," Aaron Carnes' "In Defense of Ska," Kenneth Partridge's "Hell of a Hat: The Rise of '90s Ska and Swing," and Marc Wasserman's "Ska Boom: An American Ska & Reggae Oral History" (I also wrote the introductory chapter "1985: The Year American Ska Broke" for Wasserman's book).
And I'm the author of "The Duff Guide to 2 Tone," which can be ordered from Amazon--and is available in the US from Jump Up Records, and in Europe from the 2 Tone Village Shop (Coventry, UK), Champion Sound Records (Hull, UK), Aggroshop (Nijmegen, Netherlands), and Copasetic Mailorder (Hamburg, Germany). Plus, my book was on sale in the museum shop for the "2 Tone: Lives & Legacies" exhibition (May 28 - September 12, 2021), curated by Simon Reynolds, Cory Barrett, Pete Chambers, Jennifer Otter Bickerdike and Daniel Rachel, at the Herbert Art Gallery Museum in Coventry, UK.
I'm now working on my next book, "Calling All the Rude Boys: The Duff Guide to The Toasters, 1981-1992," to be published in 2023.
If you have a ska or reggae release that you'd like me to consider reviewing, please send an e-mail to Steve at duffguidetoska@gmail.com. You should know that I am old school and prefer music in tangible formats (plus I might use your music when I DJ ska events). I'd also appreciate any news or tips you may have about bands.
All reviews and interviews posted on The Duff Guide to Ska are copyrighted and are the sole property of Steve Shafer. Please contact me for permission to reproduce anything on this blog.
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See Live Ska Bands in NYC!
Check out the NYC ska shows I co-host and co-DJ with Ryan Midnight!
To help prepare for my stint deejaying at the NY Beat 25th Anniversary party last month, I mail-ordered a copy of The Selecter's often ...
Visit The Duff Guide to Ska Video Channel!
Check out The Duff Guide to Ska Video Channel for footage of ska bands in action in clubs around NYC, as well as unusual and rare ska videos from the 90s! Bands featured include The Toasters, The Bluebeats, The Forthrights, Across the Aisle, The Caroloregians, The Moon Invaders, The Rudie Crew, Tip the Van, Hey Stranger, Beat Brigade, Bigger Thomas, King Chango, The Scofflaws, UB40, The Hard Times, Jah Love and the Valentinians, The Shifters, Rudies Don't Care, Big Audio Dynamite, Stranger Cole and Patsy with Crazy Baldhead, Queen P of Ocean 11, King Hammond, The Snails, King Django, Doomsday! The Ultimate Tribute to Mephiskapheles Consisting of Former Members of Mephiskapheles, Destroy Babylon, The Frightnrs, The Pandemics, Los Skarroneros, The Bullbuckers, The Scofflaws, The Reggay Lords, The Copacetics, Rude Boy George, Dave Hillyard and the Rocksteady 7, Tokyo Ska Paradise Orchestra, The Specials, Roddy Radiation and Lynval Golding, The Ladrones, Chris Murray, Radio Riddler, UB40 featuring Ali Campbell, Astro, and Mickey Virtue, Barbicide, The Twilights, Bim Skala Bim featuring John Bunkley (Gangster Fun), The Pomps, and more!
(Review by Steve Shafer)
