Archive Review: Rocket From the Tombs' Rocket Redux (2004)

The near-mythical art-punk forebears of both Pere Ubu and the Dead Boys, Rocket From the Tombs is one of the great lost bands of rock ‘n’ roll. Fronted by pre-Pere David Thomas, a giant of a man with a fractured voice who went by the name of Crocus Behemoth, RFTT was a fixture on the mid-‘70s Cleveland rock scene. Influenced by bands like the Stooges, Velvet Underground and Kiss, RFTT experienced an ever-changing line-up of musicians with Thomas as the only constant. It wasn’t until Thomas hooked up with songwriter/guitarist Peter Laughner that the band settled down with a roster that included guitarist Gene O’Connor (a/k/a Cheetah Chrome), bassist Craig Bell, and drummer Johnny “Blitz” Madansky.

Rocket From the Tombs’ Rocket Redux

It is this RFTT line-up that is considered by Cle-punk aficionados as best representing the inspired mix of hard rock, heavy metal and art-rock that would become Rocket From the Tombs’ legacy. The band would release several singles during its brief lifespan, circa 1974-75, songs like “Sonic Reducer,” “30 Seconds Over Tokyo” and “Final Solution” that would later be revisited in classic versions by Pere Ubu and the Dead Boys. Creative tensions would eventually break the band into rival factions, with Thomas and Laughner forming Pere Ubu and O’Connor and Madansky forming the Dead Boys with Stiv Bators. RFTT never recorded a full-length album during it’s brightly-burning existence, the band’s disparate demo tapes and live recordings traded feverishly by hardcore fans for two and a half decades until they were collected on CD in 2002 with The Day the Earth Met Rocket From the Tombs.

Laughner would leave Pere Ubu shortly after its formation, starting and discarding a number of bands while he was writing about music for Creem magazine. The talented songwriter would die of liver failure in 1977 at the young age of 25, but his creative progeny would forge careers of various lengths. The Dead Boys lived fast and died young after a few years and a couple of albums while Thomas and Pere Ubu would soldier on into the new millennium. The RFTT myth kept growing through the years, however, and during the summer of 2003 surviving band members Thomas, O’Connor, and Bell got together for a brief tour under the Rocket From the Tombs name. Television’s Richard Lloyd filled the Laughner position and Pere Ubu’s Steve Mehlman sat in on the drums. The response was encouraging and performing the old songs was fun so much like the Rubber City Rebels recently did, the five RFTT members ventured into the studio.

Sonic Reducer RFTT

Rocket Redux is the result of the reformed band’s studio sojourn. Produced by Lloyd in his NYC studio, the album is the collection of songs that RFTT never got the chance to record in 1975. Not surprisingly, the tunes still sound great after almost 30 years. All the members of RFTT’s current line-up have worked as musicians since the ‘70s so there is a fair degree of professionalism in the performance of these familiar songs. These guys are also some of the most hallowed names of the punk and post-punk eras, so the songs show a fair degree of off-kilter enthusiasm and reckless energy as well. Lloyd’s production on Rocket Redux offers a nice balance of melodic grunge and outsider art, red-hot twin guitars leaving scorched earth beneath Thomas’ vocal caterwauling.

If the songs on Rocket Redux are familiar, the arrangements and performances are not…this is how these songs were meant to be heard, and the band takes them back from history by adding its own brand to the titles. “Sonic Reducer RFTT” strips this gem of Stiv’s Iggy mannerisms and brings the song back to its minimalist art-punk roots with flailing vox by Thomas and stunning six-string work by O’Connor/Chrome and Lloyd. Pere Ubu’s rendition of “Final Solution RFTT” was never as eerie as this, Bell’s throbbing bass and Mehlman’s tribal drumwork giving way to Gothic vocals and screaming guitar riffs. It is some of the lesser-known works of the RFTT canon that benefit most from this reclamation project, tho’, Laughner’s tragic “Amphetamine” for instance is provided a reverent reading with delicate chiming guitarwork and somber vocals by O’Connor (or is it Lloyd?). New life is breathed into Laughner’s “Ain’t It Fun,” this “screwed and chopped” version bolstered by intricate guitar interplay and the hauntingly prescient line “ain’t it fun when you know that you’re gonna die young?” Stellar performances of “Down In Flames,” “Frustration” and “Life Stinks” show that RFTT has transcended time in its pursuit of rock ‘n’ roll’s Holy Grail.

The Reverend’s Bottom Line

Five, or maybe ten years ahead of its time, Rocket From the Tombs was fated to become one of those dusty footnotes to rock ‘n’ roll history, the band’s importance appreciated by critics and a few fans. To paraphrase Frank Zappa, however, “the modern day punk refuses to die,” the reformed Rocket From the Tombs adding another chapter to the band’s growing legacy with Rocket Redux. Whether you’re an old school fan or a young punkster learning about the genre from reissue CD, you owe it to yourself to discover/rediscover the myth that is Rocket From the Tombs. (Smog Veil Records, released February 24th, 2004)

Review originally published by Alt.Culture.Guide™ zine

Also on That Devil Music: Rocket From the Tombs' The Day the Earth Met the Rocket From the Tombs CD review

Archive Review: Rocket From the Tombs' The Day The Earth Met The Rocket From The Tombs (2002)

One of rock music’s most interesting cult obscurities, Rocket From the Tombs has become the standard-bearer for an oft-overlooked Cleveland rock ‘n’ roll scene as well as a textbook illustration of “what might have been.” Formed in 1973 by “Crocus Behemoth,” the alter ego of singer David Thomas, the band derived its name from a short film made by Thomas and his friends titled The Day The Earth Met Rocket From The Tombs.

It wasn’t until guitarist/vocalist/songwriter Peter Laughner was added to the ever-fluid Rocket line-up, however, that the band began to focus on making serious music. The best-known Rocket roster, circa 1975, included Thomas and Laughner along with guitarist Gene O’Connor, bassist Craig Bell, and drummer Johnny Madansky. Over the course of the eight months they would play together, these five Cleveland musicians would create a legacy that is still being debated today...only at the time they didn’t know that what they were doing would last beyond tomorrow.

Rocket From the Tombs’ The Day The Earth Met The Rocket From The Tombs

RFTT would develop a unique musical style that was heavily influenced by the underground sounds favored by Laughner and Thomas, artists like the Velvet Underground, Iggy & the Stooges, and the MC5 mixed with a healthy dose of 1960s-styled garage-rock and British Invasion bands like the Who and the Kinks. The resulting songs were chaotic, unpredictable affairs that would often veer off recklessly into sheer sonic overkill, Thomas' yelping vocals and manic onstage performance style driving the audience berserk. With the help of friends at local radio station WMMS-FM and friendly local club owners, Rocket From the Tombs would become one of a handful of popular original bands in a Cleveland rock scene dominated by Top 40 cover bands. When Laughner, then writing album reviews for Detroit’s Creem magazine, gave critic Lester Bangs a tape of a live RFTT radio broadcast, the legendary critic championed it in the pages of the magazine.

Alas, RFTT seemed doomed from the beginning. The band burned so brightly and with such intensity that the members were constantly at each other’s throats. Drummer Madansky left the band at the urging of his girlfriend. When a young Iggy acolyte by the name of Stiv Bators joined RFTT as the primary vocalist, his presence would prove to be so disruptive as to break the band apart. Bators would take guitarist O’Connor (who would become known as Cheetah Chrome) and Madansky (a/k/a Johnny Blitz) and form the Dead Boys while Laughner and Thomas would start a new band called Pere Ubu.

Live From Punk Ground Zero

Unfortunately, Rocket From the Tombs never recorded a proper album. Bootleg tapes have circulated for a quarter-century, but now indie label Smog Veil Records has collected the best available tapes from RFTT’s all-too-brief career, cleaned them up as much as possible and has thrown them together as The Day The Earth Met the Rocket From the Tombs. This important compilation is the most complete document available on this legendary band, and the material it preserves is a priceless rock ‘n’ roll treasure. The album includes nine songs recorded in February 1975 in the band’s rehearsal loft, taken from a tape made for broadcast on a WMMS-FM radio program showcasing Cleveland bands. These were probably the songs on the tape given Lester Bangs, including a discordant pre-punk “Life Stinks” and the complex Laughner composition “Ain’t It Fun.”

Three of the songs here are culled from five recorded live by WMMS during a “heavy metal showcase” at Cleveland’s Agora club, while another seven songs were captured on tape during a July 1975 gig opening for Television. Although several of the songs offered on The Day the Earth Met... – notably “Sonic Reducer,” “Final Solution” and “30 Seconds Over Tokyo” – would become legendary when revisited by the Dead Boys and Pere Ubu, neither of those band's renditions comes close to matching the energy and passion of these originals. Choice covers of the Stooges’ “Raw Power” and the Velvet Underground’s “Foggy Notion” reveal RFTT’s roots and influences while several of Laughner’s songs, such as “Amphetamine” and “Transfusion,” show the talents of a gifted wordsmith, a punk Dylan who matched highbrow lyrical poetry with lowbrow street music.

The Reverend’s Bottom Line

The sound quality on The Day The Earth Met the Rocket From the Tombs is spotty, but certainly no worse than many musically inferior bootlegs. Given that most of these tracks were recorded on reel-to-reel tape in the mid-1970s, it’s a wonder that any survived. As it is, the album shows Rocket From the Tombs to be the creative contemporaries of bands like the Dictators, Television, and the Ramones, an important and influential pre-punk band that would launch both art-punks Pere Ubu and punk legends the Dead Boys.

Sadly, RFTT also serves as a large part of the legacy of Peter Laughner, a brilliant and talented songwriter and guitarist who would die before his place in the rock ‘n’ roll firmament could be ensured. Perhaps the most entertaining historical recording you’ll run across this year, The Day The Earth Met the Rocket From the Tombs deserves shelf space in the collection of any true punk rock aficionado. (Smog Veil Records, 2002)

Review originally published by Alt.Culture.Guide™, 2002

Buy the CD from Amazon.com: Rocket From the Tombs’ The Day the Earth Met the Rocket From the Tombs

Archive Review: Live at Continental, Best of NYC (2005)

In honor of the closing of the infamous East Village music venue Continental, we’re republishing this vintage album review from the Rev’s archives. For more info on the legendary NYC club, check out Eric Davidson’s article at the Rock and Roll Globe.

Every city in America with any music scene at all has a rock ‘n’ roll club of some notoriety. In Nashville, it was Cantrell’s, the legendary late ‘80s dive that hosted bands like Black Flag, the Replacements, and the Gun Club as well as serving as home base for the Music City’s growing rock music scene. In Detroit circa 1980, the club du jour was the New Miami over in the Cass Corridor, where rich kids from Grosse Point would go slumming alongside rockers, fighting rats for their beer while watching Motor City bands like Flirt, Destroy All Monsters, and the Mutants. As for New York City, well, there are too damn many clubs to consider, from the infamous CBGB’s and Max’s Kansas City of the ‘70s to the late ‘90s hub of New York/New Jersey culture, the East Village’s Continental.

Continental opened in 1991 on Third Avenue in the East Village, a rather smallish club holding around 300 people. Club owner Trigger opened Continental with the idea of having a venue for local talent to get off the ground, a place for NYC bands to gather, swap ideas and create great music. Continental soon attracted some of the scene’s heavy hitters, with folks like Joey Ramone, “Handsome” Dick Manitoba and Adny Shernoff of the Dictators, and Blondie’s Debbie Harry hanging out at the club, hosting shows and generally supporting the scene. During the almost decade and a half of the club’s existence, local talents have graced the Continental stage alongside national artists like Green Day, Patti Smith, Iggy Pop, and Guns ‘N’ Roses.

A few years back, Trigger decided to document the music scene that had grown up around Continental and brought in the Rolling Stones Mobile Unit to capture a week’s worth of performances in the club with the idea of releasing the recordings as a live CD. Those performances, along with various live recordings from the club through the years, make up Live at Continental, Vol. 1 and Vol. 2. If you’ve ever had a fondness for NYC rock, and this scribe does, you absolutely, positively need these two records. Joey Ramone, Cheetah Chrome, Lenny Kaye, the Ramainz (Dee Dee and Marky Ramone), Murphy’s Law, and the Bouncing Souls are among the many artists gracing these two discs, delivering live performances you won’t find anywhere else.

Live at Continental, Vol. I kicks off with a slice of NYHC courtesy of Agnostic Front, followed quickly by Jesse Malin’s Bellvue, whose “Faded Flowers” sounds like an inspired cross between Jim Carroll and the Jayhawks. The Bouncing Souls deliver their “Quick Check Girl” with the usual reckless abandon and solid punk rock fervor. Other highlights of the first disc include Cheetah Chrome kicking out the jams on the Dead Boys’ “Sonic Reducer” with “Handsome” Dick on vocals; the Cro-Mags’ blistering hardcore rant “Street Justice” and Joey Ramone’s reading of “I Wanna Be Sedated,” which lights up the record with its spirit and energy.

Lenny Kaye, best known as Patti Smith’s guitarist, is an artist of considerable talent in his own right, delivering the dark, somber “Going Local.” Among the few bands here that I was unfamiliar with, Heap’s “Puerto Rican Girl” is a red-hot rocker and Furious George’s “I Am the King” is a punky rave-up. The vastly underrated H2O smacks down the crowd with its “Liberate” while LE.S. Stitches, Lunachicks, and Murphy’s Law crank out fine variations on a punk rock theme. Dee Dee Ramone and Marky Ramone are joined by Barbara Zampini in possibly the coolest cover band ever, the Ramainz running through a faithful reading of “Cretin Hop.”

Live at Continental, Vol. II features many of the same artists found on the first disc, with Bellvue, the Bouncing Souls, Cheetah Chrome, Joey Ramone, H2O, the Ramainz, Lunachicks, and Murphy’s Law cranking out dynamic live performances for the Continental crowd. Bellvue’s “Money Runner” drones like the Pixies and hits with the power of a hundred ‘80s college rock bands while Cheetah Chrome’s “Love Song” leaves scorched earth in its wake behind Chrome’s incendiary guitarwork. Joey Ramone’s “Blitzkrieg Bop” and the Ramainz “Commando” illustrate the longevity and power of the Ramones’ legacy. H2O kicks serious ass with “Empty Pockets,” an anti-poverty screed that will make your ears bleed while the raucous Murphy’s Law classic “Somebody’s Gonna Get (Their Head Kicked In Tonight)” will certainly satisfy your hardcore Jones.

The second volume also offers a number of performances by lesser known (to audiences outside of NYC) artists such as Battershell, Independents, Stab City, Blisster, Gutter Girl, and Harley’s War. Battershell vocalist/guitarist Tammy Lynn sounds like a cross between Karen O and Wendy O Williams on “Shower Song,” the hard-edged pop song spiraling out of control into a cacophonous clash of instrumentation and attitude. Gutter Girl’s “Crazy Chicken” hits your ears with all the subtlety of a jackhammer while Harley’s War, fronted by the Cro-Mags’ Haley Flanagan, serves up the powerful “Steal My Crown,” a minimalist dirge punctuated by hard riffs and explosive rhythms. Blisster offers up guitar-driven pop/rock with a razor-sharp, punkish edge and Independents’ “Vampires From Outer Space” evokes memories of the Misfits with three-chord recklessness and B-movie soundtrack lyrics.

Other Big Apple bands featured on Live at Continental, Vol. I and Vol. II include Honky Toast, the Waldos, Toilet Boys, the Voluptous Horror Of Karen Black, Vasquez, Superthrive, Simi, Helldorado, Frankenorange, Bottom, the Bullys, Sea Monster, Suicide King, Candy Ass, and the David Ellis Group. There are 46 tracks here altogether, stretched across two excellent CDs. Produced by club owner Trigger and Continental soundman Noel Ford, the sound is uniformly good – not as slick and processed as your typically lifeless major label recording but head and shoulders above the usual live club bootleg. There is a bit of echo and a slight hollow feel to the tracks, but overall the performances are dynamic with crisp guitars crisp and sharp vocals. Turn up the volume a notch and it sounds like you’re standing right in front of the stage.

If you’re looking for the Strokes, the Mooney Suzuki, or the Yeah, Yeah, Yeahs, you’ll have to look elsewhere, bunkie! The bands on Live at Continental, Vol. I and Vol. II tend to lean towards the punk and hardcore side of the musical equation, but there’s enough pure, unvarnished indie rock in these grooves to satisfy a wide variety of tastes. Kudos to Trigger and Ford for creating the essential audio documentary of the Continental club scene in these two volumes – this shit rocks! The Rev says “check it out!” (Continental NYC, 2005)

Buy the CDs from Amazon.com:
Live at Continental: Best of NYC, Vol.I
Live at Continental: Best of NYC, Vol. II

Review originally published by Alt.Culture.Guide™, 2005