Three decades after the inception of X, one thing is clear: X was not only one of the most influential bands to crash out of the punk movement of the late '70s, but the band's music continues to be sonically groundbreaking today. Songs written during the group's inception are as relevant and inventive today as they were in 1977.

The fact is, no one sounds like X and no one ever will.
It's not surprising when you consider the group's unique beginnings, which can only be attributed to fate. On the same day with nearly the exact same wording, two want-ads appear in a local music rag. One was sent in by a guitarist named Billy Zoom, the other by bassist who called himself John Doe.
Zoom, a rockabilly rebel who'd performed with Gene Vincent, had read a negative review of a band called the Ramones. It said they only played three chords and they played 'em too fast. So naturally, he went to see them. The show was at the Golden West Ballroom in the L.A. suburb of Norwalk in early '77, and as soon as the Ramones started to perform, Zoom realized that, musically, he'd found exactly what he wanted to do with his life.
Doe, who was originally from the Baltimore area, was already down with the East Coast CBGB's scene and by the time the two got in the same room together after responding to each other's ads, it seemed it was meant to be. They performed a few shows with various drummers before a poet with no ambition of being a singer would enter the picture.
Doe found her in Venice Beach, at a poetry reading. He liked her poems so much he offered to perform them in his band. The poet, Exene Cervenka, had just moved to town from Florida and she told him, no offense, but if anyone was gonna perform her poems, it would be her, and she soon ended up in the band. Zoom was skeptical about someone's girlfriend being in the band. After they did their first show with Exene, he didn't know exactly what it was she had, but he knew it was magic.
After a succession of drummers, Doe was at the underground punk club the Masque in Hollywood one night, checking out a band called the Eyes, which featured a pre-Go-Go's bass player named Charlotte Caffey. He called Zoom immediately and said he'd found their drummer. Doe told him he played with a parade snare and hit it hard as a hammer. Zoom told him to promise him anything. His name was D.J. Bonebrake and he quickly signed on. The band was now complete, and X would soon emerge from the young punk scene as one of its most successful offspring.
The band's early albums, Los Angeles (1980), produced by Ray Manzarek of the Doors, Wild Gift (1981), and Under the Big Black Sun (1982) explored dark love and an even darker L.A. with the unflinching eye of a Raymond Chandler novel. Doe and Cervenka would marry and later divorce, but they'd always remain soulmates. As they released each ensuing album, More Fun in theNew World(1983) and Ain't Love Grand (1985), the band continued to grow sonically and politically, fearlessly mixing genres without ever losing its center. As each member went on to explore diverse careers—careers that included acting, art, writing, producing and multiple side projects."

Redd Kross have always been too good, too perfect, too true, to believe. Mythic. Could this tuneful hardcore punk EP really be the work of a brother band with the 15-year-old on vocals and guitar and the 11-year-old on bass? Did Redd Kross really open for Black Flag? Could Jeff and Steve really have been born and raised in the Beach Boys' hometown of Hawthorne, California, and did Jeff really see the Beatles live in 1966? Did one of them, dressed in Gene Simmons makeup, really kill a Bruce Springsteen impersonator onstage? Is that really their hair? Could Researching the Blues, their first studio album in 15 years, be not just the hottest thing since Cher went solo but the best start-to-finish Redd Kross record ever?

Somehow, the answer to all the above is improbably, wonderfully, beautifully YES. Long have Redd Kross rocked, and long have critics, devoted fans, Rodney Bingenheimer and fellow musicians from Seattle (Nirvana) to New York (Sonic Youth) to Driftwood, Texas (Butthole Surfers) to Hollywood (everybody) bowed before the Kross and their self-aware pre-spandex Glam bubblegum garage psychedelic Cheap Trick/Kiss/Revolver post-Kim Fowley rock and roll. Degenerate, sweet: tongues in cheek, song-long winks.

Commercial success may never have been theirs (if time and space had been aligned correctly, they'd have been blitzing ballrooms in the early '70s instead of opening for Stone Temple Pilots in the early '90s), but Redd Kross have endured and endeared because they've always had the best possible attitude: smarts, smiles, and total commitment to live hair-spinning showmanship.

Like fellow legendary Great American John Waters, they've devoted their career to making subversive entertainment in a high pop celebrity style, reintroducing in their especially golden late '80s/early-'90s period such forbidden classic-rock tropes as melodies, harmonies, ripping musicianship, and primary colors-stuff that had (largely) been ditched in the underground rock's post-punk, No Wave, hardcore, and sensitive-egghead scenes. Redd Kross then spent the '90s making one great misunderstood record after another until enough shit had caked the fan that in 1997 they pretty much called it quits.

But you never quit being brothers. And so here's the next Redd Kross album-produced and mixed by younger brother Steve earlier this year after it was mostly written by older brother Jeff in 2007-08, and recorded in that same period with the band's current lineup, who've re-engaged in live performance since being lured back into action by an excitable Spanish promoter.

They're too nice to say so themselves, but attention must be paid to this band, to this great album, Researching the Blues, which, like a pair of great pants, is tight and the perfect length. By the time you're two minutes and 51 seconds into the second song, "Stay Away From Downtown," and the band is breaking into the sha-la-las, you will be running around the room with your hands in the air. As the fourth song, the Brian Wilsonian "Dracula's Daughters," ends and the dynamic mid-'60s Beatles jingle "Meet Frankenstein" launches into its first chorus, you will be mass-texting all of your friends with the good news. By the final four songs-"The Nu Temptations" (Stooges-worthy riffs! Cowsills counter-harmonies! And more!), the "Surrender"/Noel 'n' Liam rockers "Choose to Play" and "Winter Blues," and the stunning summer psychedelic power pop that is the closing "Hazel Eyes"-you will know the truth. You tried the rest-but now you've had the best. The McDonalds were educated at Rock 'n' Roll High, and they've stayed true to their school. Here's to their beautiful reunion! Redd Kross Forever!

Jay Babcock
Joshua Tree, California
May 2012

Founded 34 years ago in Los Angeles during the first wave of LA punk rock by brothers Jeff and Steven McDonald (then respectively 15 and 11 years old), Redd Kross cut their teeth opening for Black Flag at a middle school graduation party. Their debut recordings caught the attention of Rodney Bingenheimer, who quickly became a fan as he spun their Ramones inspired songs like "Annette's Got The Hits" and "I Hate My School" on the world famous KROQ.

Their following releases maintained roots still firmly planted in punk, but the band started to experiment with different musical elements and band members. Redd Kross boldly broke new ground by intuitively and inventively mixing their eclectic inspirations in song and performance. They understand and embrace the esoteric commonalities between the Partridge Family and the Manson Family; the Beatles and Black Sabbath; The Osmonds and the New York Dolls. The result was a band that was ahead of their time – daringly original, artistic and uncontrived.

"Teen Babes from Monsanto", "Born Innocent" and "Neurotica" became precursors to the Seattle bands of the 90′s, as well as becoming an inspiration to many indie and alternative rock bands world wide.

"Neurotica was a life changer for me and for a lot of people in the Seattle music community."
- Jonathan Poneman, cofounder of Sub Pop.

"(Redd Kross) are definitely one of the most important bands in America."
- Sonic Youth's Thurston Moore

In 1990 the band released their major label debut, "Third Eye". Taking their obsession with late 60′s bubblegum am radio to a new level, the song writing matured with more complex arrangements, harmonies and lush production. Redd Kross had their first single chart "Annie's Gone"(#16 Billboard modern rock), and began to tour with notable artists such as Sonic Youth, The Go-Go's, The Posies, Jellyfish, The Lemonheads, and the HooDoo Gurus.

Robert Hecker took leave as lead guitarist and the McDonald brothers were joined by Eddie Kurdziel (guitar), Brian Reitzell (drums), and Gere Fennelly (keyboards). They released the critically acclaimed "Phaseshifter" album in 1993 featuring the hit songs "Jimmy's Fantasy", "Lady In The Front Row", and a raucous cover of Frightwig's "Crazy World".

Redd Kross toured relentlessly for the next several years, appearing on television sets across America performing on the John Stewart Show (pre Daily Show), Conan O'Brien, and the Tonight Show. The band began working their magic on UK festival stages such as Redding Festival and Finsbury Park, and did a US arena tour with The Stone Temple Pilots and Meat Puppets.

In 1997, Redd Kross released one of their most polished albums, "Show World" featuring the perfectly crafted pop single, "Mess Around". After supporting the album by touring with Sloan and the Presidents of the United States, the band went on a much needed hiatus. Fans wondered when they would return, and things seemed more uncertain after the untimely passing of guitarist Eddie Kurdziel in 1999.

The McDonald brothers launched www.ReddKross.com and began to reconnect with their fans and make new ones. They experimented with the new medium just as innovatively as they do with their music – Steven McDonald released an online only mashup album called "Redd Blood Cells" by adding bass tracks to the White Stripes album - with Jack White's consent, and was used by the Creative Commons Organization to explain how the CC license and the internet can unleash artistic creativity and collaboration, Jeff McDonald began podcasting ("Hit It!") before iPods or podcasts were invented, and also released a web based video series ("Bitchin' Ass") far ahead of YouTube.

Redd Kross reissued their classic "Neurotica" album as they worked on a variety of other projects including "Ze Malibu Kids", "The Steven McDonald Group", and worked in various capacities with other bands on stage and in the studio such as the Donnas, Turbonegro, Imperial Teen, Anna Waronker, be your own pet, fun., Sparks, Tenacious D, Beck and OFF!

In 2006, Jeff and Steven announced their reunion with the "classic Neurotica" line up – and were joined once again by guitarist Robert Hecker (IT's OK) and drummer Roy McDonald (the Muffs). Redd Kross have been playing to enthusiastic audiences at sold out select shows and festivals such as the Azkena Festival, Coachella, Dig It Up! (The HooDoo Gurus Invitational), NorthWest Music Fest, CBGB Festival, and Pop Montréal.


セイジ (ギターウルフ): Vo,Gt
トオル (ドラムウルフ): Dms
U.G (ベースウルフ): Vo,Bs


ドラマー脱退し後任にトオルが加入。Daddy-o-Novの主催するイベント"BACK FROM THE GRAVE"に出演するようになる。 徳間ジャパンよりリリースされたオムニバスにthe5.6.7.8'sらと参加。


エストラスレコード主催のガレージショックへの出演を含む初のアメリカツアーを行う。OBLIVIANSのメンバー主催によるレーベル"GONER RECORDS"より1stアルバム「WOLF ROCK」リリース。

6月にLess than TVより2ndアルバム「RUN WOLF RUN」をリリース。アメリカのパンク紙「MAXIMUM ROCK'N ROLL」の表紙を飾る。


全米ツアー(34カ所)敢行。テキサスの巨大イベント「SXSW 1997」のマタドールナイトにも出演。ローリングストーン誌のページを飾る。4月下旬にはロンドン、ドイツのクラブを「THE JON SPENCER BLUES EXPLOSION」とのジョイントツアーで廻る。メジャー争奪戦の末、Ki/oon Recordsに移籍後、メジャー1stアルバム「狼惑星」リリース。「インベーダーツアー」を行う。10月末には「THE CRAMPS」と共に全米31ヶ所のツアーを行う。

1月メンフィスの親友OBLIVIANSとともに日本でショートツアーを行う。4/1にマキシシングル「カミナリワン」をリリース「カミナリツアー」を世界的に敢行!!全日本12カ所、初のヨーロッパツアー16カ所でも軒並みSOLDOUT!! 6月に「THE CRAMPS」日本ツアーを、強力サポート。その後、全米24カ所を1カ月で廻る。8/1にはフジロックフェスに出演。9月にはアメリカから「ウォーグルス」を招いてショートツアーを行う。NHKFM「LIVE BEAT」に出演。11/21にマキシシングル「環七フィーバー」をリリース。11/28にはイベント「恵比寿ダイナマイ!」にミッシェルガンエレファントと共演、SOLDOUTになる。

メジャー2ndアルバム「ジェット ジェネレーション」をリリース、「爆音ツアー1999」全国25カ所を廻る。5月にシアトルの「THE MAKERS」を迎えてのショートツアーを敢行。6/21からギターウルフ五大陸制覇をすべくニュージーランド&オーストラリアツアーを廻る。また「OUT OF HELL」、「RUSHBALL'99」、「音楽と髭達'99」、「RISING SUNROCK FESTIVAL 1999 in EZO」出演。8/28PV監督竹内鉄郎氏の初映画「WILD ZERO」にロックンロールヒーローとして出演。9月日比谷野外音楽堂にてワンマンライブ、東京のど真ん中に爆音を轟かせた。またNYでのマタドール10周年イベントを皮切りに13回目にもなる6週間28公演の全米ツアーを敢行。

マキシシングル「GOD SPEED YOU」、メジャー3rdアルバム「ロックンロールエチケット」リリース。「ロックンロールエチケットツアー2000」(全国38都市44カ所)敢行。その後も「TOKYO BIG RUMBLE」、「ROCKMONSTER FESTIVAL」、「ロンドンナイトスペシャル」、「RUSH BALL」、「ロッケンロールサミット」等数多く出演、12月にはLONDON NITE 10周年イベントに参加。

フジテレビ「HEY HEY HEY 」出演。1月関東のライブハウスをツアーで廻る。また矢沢永吉トリビュートアルバムに「アイ・ラヴ・ユー,OK」で参加。4月マキシシングル「アイ・ラヴ・ユー,OK」リリース。7月に韓国での日韓共同イベント「CONTACT 2001 KOREA-JAPAN LIVE PROJECT」に出演が決定するも、日韓教科書問題により急遽中止。また「OUT OF HELL VOL,2」、「HOTROCKS 01」、「ROCK IN JAPAN FESTIVAL 2001」、「RISING SUN ROCK FESTIVAL 2001 in EZO」、「BLACK LIST 010」、「ROCK JAPANESE ~おいらが一番~」、「GO-GO NITE」に出演。10月下北沢SHLETER10周年イベント「ROCK OF AGE 01」に出演。11月にはブラジル&アメリカツアーを敢行。全10日間で5公演を廻る。

1月にサンフランシスコの「THE ZODLAC KILLERS」を呼びショートツアー。3/6に2年ぶりとなるメジャー4thアルバム「UFOロマンティクス」をリリース。全国36ヶ所のリリースツアー「火の玉ツアー2002」を敢行。6月には初となる沖縄、奄美大島でライブを行った。 7月には岩手の千厩町の青年からのオファーにより実現した「千厩野外爆音イベント」に出演。8月には去年に続き「ROCK IN JAPAN FESTIVAL2002」に出演し35,000人を揺
らせた。フジテレビ主催の毎年恒例となってきた「ロッケンロールサミット」にも出演。9月にはTFM主催「つるロックフェス02」に出演。10月には京大西部講堂にて行われた「ボロフェスタ02」に出演。佐世保ミュージックドライブに出演。11月にはフランスの老舗パンクレーベルより「UFOロマンティクス」をリリース。そのプロモーションツアーをフランス、ベルギー、オランダ、スペイン、スイスで敢行。軒並みソールドアウト。日本に戻ると、ブラジルで共演したAUTORAMASとショートツアーを行う。12月、ライブ映像満載のDVD「RED IDOL」リリース。

2月、アメリカNARNACK RECORDSより「UFOロマンティクス」をリリース。リリースツアーを、アメリカ6都市8公演を行う。「THE D4」のプロモーション来日にシークレットゲストで出演。「FUJI ROCK FES 03」に出演。小雨の朝一番にも関わらず、ホワイトステージを満員にする。「RISING SUN ROCK FES. 03」出演。G.Voのセイジが敬愛するアーティスト「Joan Jett」の日本発売のベスト盤を選曲、監修する。Joan Jettの来日ライブもサポート。11月にはアルゼンチン&ブラジル&USツアー。初のアルゼンチンで800人を集める。ブラジルでもイベントを含めたツアーは全てソールドアウト。ブラジルの「MONSTRO DISCO」と契約、UFOロマンティクスをリリース。大晦日には熊本県、三井グリーンランドでカウントダウンライブを行う。

5月、初のイベントを企画。その名も「トーキョージェットナイト」、銀杏ボーイズ・ジェットボーイズ・惑星と対バン。6月、ギターウルフをリスペクトしている世界各地のバンドによるトリビュートアルバム「I LoveGuitarWolf very much」をリリース。7月、メジャー第5弾アルバム「LOVEROCK」をリリース。9月、日本全国を廻るレコ発ツアーを敢行。

1月、「LOVEROCKツアー特別編」、2月、ソニックマニア東京・大阪に出演、2月~3月には1ヶ月に渡るアメリカツアーを敢行。3月31日、ベースウルフ Billy急死。7月、ギターウルフ初のベスト盤「GOLDEN BLACK」・ライブDVD「LIVE AT 世界」をリリース。8月、毎年恒例「ロッケンローサミット」にセイジとトオル二人だけで出演。9月、新ベーシスト「U.G」(ユージ)が19才で加入。ライブ活動を再開させる。12月、ニュージーランド&オーストラリアツアーを敢行。ツアー最終日はメルボルンで年越しカウントダウンライブで締めくくる。

1月、九州・西日本方面をショートツアーを行う。2月、極東の街・根室のイベントに出演。納沙布岬を訪れ北方領土を見る。UG加入後初めてのレコーディングに入る。4月、韓国で初めてのライブを行う。5月、ライトニングボルトとのスプリットシングル「ウルトラクロスvol.1」を発売。6月9日「ロックの日」に新宿ロフトで怒髪天との共同企画「トーキョージェットナイトvsトーキョーブラッサム」を敢行。7月、「UDO MUSIC FES」「夏の魔物」「FUJI ROCK FES」に出演。8月、「RISING SUN ROCK FES」、「ロックンロールサミット」に出演する。さらには、8月9日に、ストラグル・フォー・プライドとのスプリット・シングル『ウルトラクロスvol.2』をリリース。11月、オーストラリア&ニュージーランド・ツアーを行い、12月27日に、DJ BAKUとのスプリット・シングル『ウルトラクロスvol.3』をリリース。

UG加入後初のフルアルバム『DEAD ROCK』をリリース。それにともない「アンドロメダツアー2007」で、日本全国を駆け巡る32都市・35公演のツアーを廻る。9月、結成20年・メジャーデビュー10年を迎え、セルフカバーアルバム「火星ツイスト」をリリース。あわせて、自主企画イベント「ジェットナイト」を東名阪で開催。そしてebisu LIQUIDROOM公演をもって、セイジのボディーオーバーホールのため、活動を一時休止する。


1月24日 恵比寿リキッドルームにて前年12月よりスタートした復活後初となる7箇所の全国ツアーを締めくくり、セイジのさらなる完全復活へむけて約半年間のライブ活動休止期間に入いり、セイジの足の手術が完了。完全復活!夏フェスをこなし12日間でアルバムをレコーディング。マタドールフェスを含むUSツアーを慣行。

1月10日@新木場STUDIO COASTにて"「宇宙戦艦ラブ」Release Party!! 新木場ニューイヤージェット ~10代無料ライブ~"を開催。
3月17日@名古屋クラブクアトロ~4月24日@ebisu LIQUIDROOMにて、10thフルアルバム「宇宙戦艦ラブ」のリリースツアー「"フーチークーチースペースツアー"(全7箇所(仙台は東北地方太平洋沖地震の影響により公演中止)を敢行。
海外でのLIVE活動も完全に再開し、"Hoochie Coochie Space Men Tour USA 2011"と冠し、5月より30日間で24公演のUSツアー、7月に21日間で18公演&11月に20日間で19公演のEUツアー、12月に15日間で13公演のオーストラリア/NZニュージーランドツアーを敢行。戻って来てから、PUFFYのカバーアルバムへの楽曲「女マシンガン」(作詞:セイジ/作曲:ジョン・スペンサー)のREC、そしてニューアルバムのRECも同時にスタート。

結成25周年、デビュー15周年を迎え、国内は下北沢シェルターから、横浜・日産スタジアムにて行われた矢沢永吉40周年LIVE"BLUE SKY"へスペシャルアクトとして、年末は"DECEMBER'S CHILDREN"にて日本武道館のステージにまで。そして在日ファンク、電気グルーヴ、THE JON SPENCER BLUES EXPLOTION他とのガチンコ2マン対決!海外は3月からの韓国、4月より"Alien Action Tour 2012"と冠し、US(31日間27公演)ツアー、EU(27日間24公演)ツアーと怒濤のツアーを敢行。最早、向かうところ敵も場所もなし。12/25クリスマスには久しぶりに"トーキョージェットナイト" を開催。

3/6に2年4ヶ月振りの11thフルアルバム「野獣バイブレーター」をリリース。リリース前より「マグマ信長」「幽霊ユー」等、既に曲名からネットを中心に話題に。アルバムからの5曲のミュージックビデオを持って、「ツアーマグマ2013」と冠し3月8日@地元・松江よりスタートしファイナルの4月18日@代官山UNITまでの全16箇所の全国ツアーの会場はどこも大賑わいで、また今回より"ウルフちゃん"なる狼のマスコットがツアーに同行し人気を博した。5月末EUでのアルバムリリース(全世界配信)後の、6月~はニューアルバム「BEAST VIBRATOR(野獣バイブレーター)"を持ってEUを皮切りにワールドツアーを予定。

The often amorous, and occasionally frightening NOBUNNY has been captivating audiences of dedicated fans and new believers since Easter 2001. The raucous rabbit's music is an intoxicating concoction of all the rights and wrongs that make up the heart and soul of real rock n roll.

The legendary NRBQ — founder & driving force Terry Adams on keyboards & vocals, Scott Ligon on guitar & vocals, Casey McDonough on bass & vocals, and Conrad Choucroun on drums — release their latest studio album on June 17. With twelve great new songs, Brass Tacks is brimming with swinging rhythms, sweet vocals, and sparkling sound.

The one and only Q hits the road in June to bring the music to the people. What to expect besides the unexpected?

"Ability to groove like no other band on the planet," opmatters.com.

"Spontaneity, humor, breadth, and musical know-how…" —No Depression.

"Music no one can make anymore." —Detroit Metro-Times.

"NRBQ is still liable to play anything. Roaring rockabilly, transcendent pop-rock, roadhouse blues, avant jazz – you name it." —Minneapolis Tribune.

"Honest about inspiration wherever it is found, fearless, searching for possibilities, taking chances." —Daily Hampshire Gazette.


"On the band's MySpace page, these allegedly-from-Jersey guys offer a shorthand take on their formula for pop hits: "ONE RAMONES RIFF + ONE STOOGES RIFF + REALLY DUMB WORDS". It's an apt if self-deprecating description, as songs like 'I Can Read' and 'Nobody Makes My Girlfriend Cry But Me' lovingly skewer The Ramones' many sides–mopey, belligerent, goofy, and not-very-bright, but always catchy as hell." --Bay Bridged

For most, a brush with death would be cause for retreat, reflection, and reluctance, but Seattle band La Luz found something different in it: resilience. Having survived a high-speed highway collision shortly after releasing their 2013 debut LP It's Alive, La Luz, despite lasting trauma, returned to touring with a frequency and tirelessness that put their peers to shame. Over the past year-and-a-half of performing, the band arrived at a greater awareness of their music's ability to whip eager crowds into a frenzy. In response, frontwoman Shana Cleveland's guitar solos took on a more unhinged quality. The basslines (from newly-installed member Lena Simon) became more lithe and elastic. Stage-dives and crowd-surfing grew to be as indelible a part of the La Luz live experience as their onstage doo-wop-indebted dance moves.

When it came time to record Weirdo Shrine, their second album—due out August 7th—the goal was to capture the band's restless live energy and commit it to tape. In early 2015, Cleveland and Co. adjourned to a surf shop in San Dimas, California where, with the help of producer/engineer Ty Segall, they realized this vision. Tracking most of the album live in shared quarters, La Luz chose to leave in any happy accidents and spur-of-the-moment flourishes that occurred while recording. Cleveland's newly fuzzed-up guitar solos—which now incorporated the influence of Japanese Eleki players in addition to the twang of American surf and country—were juxtaposed against the group's most angelic four-part harmonies to date. The organs of Alice Sandahl and the drumming of Marian Li Pino were granted extra heft and dimension. Thematically, Cleveland channeled Washingtonian poet Richard Brautigan on "You Disappear" and "Oranges," and sought
inspiration from Charles Burns' Seattle-set graphic novel Black Hole.

The resulting album is a natural evolution of the band's self-styled "surf noir" sound—a rawer, turbo-charged sequel that charts themes of loneliness, infatuation, obsession and death across eleven tracks, from the opening credits siren song of "Sleep Till They Die" to the widescreen, receding-skyline send-off of "Oranges" and its bittersweet epilogue, "True Love Knows."

In describing Weirdo Shrine, Segall remarked that it gave him a vision of a "world…burning with colors [he'd] never seen, like mauve that is living." In "Oranges," the Brautigan poem which inspired the aforementioned track of the same name, the poet writes of a surreal "orange wind / that glows from your footsteps." These hue-based
allusions are apt: the sound of La Luz is (appropriately) vibrant, and alive with a kaleidoscopic passion. Weirdo Shrine finds them at their most saturated and cinematic.


Baby Shakes are a rock n' roll-punk band from New York City. Mary on lead vocals and rhythm guitar, Judy on lead guitar and vocals, Claudia on bass and vocals, and Ryan on drums. With catchy melodic vocals over dirty guitars and a killer rhythm section, their influences range from The Ramones and Slade to Chuck Berry and 60's Motown girl groups. Formed in 2005, they've released 4 singles, a 10" heart-shaped EP, a singles collection, and two full length album. They have toured the US, Japan, and Europe. Baby Shakes have shared the stage with The Romantics, The Boys, Shadows of Knight, The Undertones, Barracudas, Protex, Black Lips, Paul Collin's Beat, among others.


Montreal's long-reigning international solo king of roots rock. A legend in his prime...


"Bay Area native Roy Loney, a founding member of the great Flamin' Groovies, quit the band in the early '70s, ostensibly to pursue a solo career. Oddly, his first solo recording didn't appear until 1979, nearly seven years after leaving the Groovies. In the interim, Loney had taken a series of record industry jobs, at one point working as a sales rep for the now defunct ABC Records, and at the funky and fabulous Jack's Record Cellar in San Francisco. Despite the delay, Loney's return to rock & roll performance was auspicious; there was a tremendous EP, A Hundred Miles an Hour, dedicated to Sissy Spacek, which was followed by the wild and woolly full-length LP, Out After Dark. Eschewing the Byrds-ian pop direction that former partner Cyril Jordan had now taken the Groovies, Loney's records were wild-eyed, rockabilly-fueled chunks of joyous noise, with much shaking, rattling, and rolling provided by the great guitar playing of ex-Groovies James Ferrell and drummer Danny Mihm. Now fully integrated into the late-'70s/early-'80s rock scene, Loney, retaining his deservedly hip credentials, released a string of fine records from 1979-1983 on mostly small indie labels, eventually dropping out of sight in 1984. Actually, he just withdrew from the rock scene for a while and continued to play in the Bay Area and work at Jack's. In the late '80s, recording for roots rock label Norton, Loney unleashed The Scientific Bombs Away, which was a terrific, if almost totally ignored record. Loaded with raving guitars, hiccuping vocals, and his thoroughly original sense of humor, Loney had made a triumphant return to rock. Too bad no one seemed to care. Later, Loney recorded a great cover of Sam the Sham's "I Couldn't Spell !!*@!" with the Seattle band Young Fresh Fellows." --AllMusic.com


Wounded Lion is a scrappy pop formation with more layers than one might think. The LA-based quintet artfully blends crunchy guitar chug and caveman thud with buoyant pop melody and deceptively simple lyrics, uncovering wonky pop gems along the way. The songs hint at melancholy but simultaneously offer infectious choruses and exuberant grooves. The resulting sound is fresh, despite celebrating everything from the Velvets to the Clean, with some CCR thrown in for good measure.


Glitter Wizard is a heavy psychedelic glam rock outfit from California.

Influences include Hawkwind, Motörhead, that episode of "The Young Ones" with the Damned on it, BÖC, Van der Graaf Generator, Deep Purple, Scorpions, Neil Merryweather, Funkadelic, Mammatus, Pentagram, Witchfinder General, Sabbath (duh), Comets on Fire, Sleep, MC5, Blue Cheer, Alice Cooper, Stooges, Uriah Heep, hey...wait, come back! I'm not done yet! Aw, c'mon!

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