#mommymen

[ozkar-krapo]

GEZA X & The MOMMYMEN

"You goddam Kids!"

(LP. Dyonisus rcds. 2002 / rec. 1979-81) [US]

[boredout305]

Geza X Interview from 2005, Part One

Way back in 2005, Mor and I met up with Geza X at a recording studio he was working at in Los Angeles. It’s been a longtime since, and memories like vision just get worse, but I recall he had one of the late Rob Ritter’s (Gun Club, Bags, 45 Grave, etc.) amps there which he’d purchased from his former Silver Chalice band mate back in the ‘80s. Of all the illustrious accomplishments on Geza’s resume and cool stuff he had around, having Rob’s old amp really impressed me. This interview originally ran on a small website we started (In a Better World), long-since defunct. I want to point out that Mor was only nineteen when she did this interview. I think she did a great job and I wish she’d stuck with interviewing people. Geza was really pleasant, by the way. -Ryan Leach 

Interview by Mor Fleisher-Leach 

Mor: Having recorded so many singles, how do you think the demise of the 45 affected rock ‘n’ roll music?

Geza: Let me back track a little bit, because I grew up in the ‘60s and heard a lot of the one-hit-wonder bands. There were so many groups with regional hits, like The Standells and The Seeds—stuff like that. Even bands like Love, who were very big in one area of the country, weren’t that well known in other parts. I used to listen to these singles. In fact, I used to go to thrift stores and collect all these Dogs and other bands’ singles that just never made it out of their city. Sometimes there would be an incredible song on there. This was the era when The Beatles and all those types of bands had hit singles and the format was so big with radio. Radio was a lot different in those days. DJs would play various genres on pop radio during their sets, so you’d get a psychedelic song followed by Tom Jones. It was just a completely different world and I loved it. I was really interested in music, but I was also a student demonstrator. I was involved in leading all of the UCLA anti-war protest marches when the UC schools went on strike. I was a big activist, but I was always following the underground music scene. There were so many obscure bands who had one really great song. That aspect of 45s caught my attention and I became fascinated with singles. What happened when punk rock hit was that there was naturally some intrigue about the music. Jimmy Carter heard about it and said, “Well, we can’t have that in this country! They’re talking about anarchy!” President Carter sent out a memo to the heads of all the record companies promising them these humongous tax breaks if they didn’t sign any punk rock artists. That’s why none of us got signed by the majors and only the real sugarplum bands like X or The Dickies got record deals on the West Coast. We were a lot more like the English version of punk rock. The first wave of punk rock during The Masque era was very anti-art and Dada influenced.

Mor: How do you think it was different on the East Coast?

Geza: The punk audiences and artists on the East Coast were generally older and came out of this New York Dolls tradition. It was good stuff. The whole skinny-tie thing came from the East Coast. We just wanted beer. Nickey Beat was making these incredible shirts with spray paint and things like that, so we were really going with the razorblades and safety pins aesthetic out here in LA. But back to the singles—when I had the opportunity to start recording bands, there was nobody releasing stuff. We were almost forced to start the DIY movement, so we met the people at the pressing plants. We pressed singles because putting them out was still relatively cheap and we’d cram as many songs on there as we could. Sometimes a single had three or four songs on it. Everybody in those days had a record player and all the punkers were really broke; they’d blast punk singles on cheap record players. Singles were a really good format for punk. I was trying to bring back the one-hit wonders, which I did succeed in doing with a lot of the groups that I recorded. I spotted the bands that were really strong and I was looking for good material.

Mor: You produced the first Germs single, correct?

Geza: Well, it was not technically the first Germs single (“Forming” on Chris Ashford’s What Records?). They took some cassette that they had recorded that was really fuzzy and released it as a single. That was their first single. I did their first major deal for Slash Records (“Lexicon Devil”). It was a single that Slash put out when they became a label after their run as an underground magazine ended.

Mor: When did you first start theorizing about X-Music?

Geza: Between 1970 to 1972, I really started thinking about what was wrong with music. I liked underground music, but I saw the train coming in where everybody was going into this lame stage with bands like Bread. Really terrible ‘70s, post-hippie dumbed-down bands that were pretty tame in comparison to the underground music of the ’60s. I thought the ‘70s were an era where music was dying. I started thinking to myself—what would be the most extreme thing I could do that would be the total opposite of that? I liked Frank Zappa and Captain Beefheart and all those really weird, atonal bands, so I started playing with a lot more dissonance and what I called “X-chords”—which were just tritones. I read all these books on music theory. In the Middle Ages, people were afraid of these chords because they thought they would call forth the Devil, so people would be beheaded if they accidentally played them. If the court jester was playing along and accidentally hit a tritone, they would say, “Off with his head!” You had to be really careful around the church when you were playing tritones, so of course I bashed them out as loud as I could!

Mor: How was it different playing with bands like The Bags as opposed to The Deadbeats or The Mommymen were you would play X-chords?

Geza: The Bags was more of a poppy-punky band. I liked that kind of music too, because I liked so many different styles, including good top-40 and stuff that had a hard rock feel to it. I got into punk because in those days we were all starving to hear three-chord songs, but everything sounded like The Eagles, James Taylor and disco. All of that music was like a curse on LA in the ‘70s. If you turned a little amplifier up past “two” on the volume knob, you’d get booted out of these singer-songwriter clubs. Everything was acoustic and really cheesy and there were all these sensitive artists singing about these really sensitive things and I would just think, “Where’s the blood?” Needless to say, The Ramones showed up and played really loud and we were all really excited about it.

Mor: You joined The Bags early on, right?

Geza: Yes. It was pretty much around when The Sex Pistols and The Ramones had just started breaking out, and I was thinking “God this is great music.” My friend Joe Nanini and I said “Okay, we’re gonna join a punk-rock band.” Joe had moved to LA from Santa Maria with me, and he ended up joining The Bags too before he went on to Wall of Voodoo. I’d try to throw in a couple X-chords in with the Bags from time to time, but they’d get really mad at me.

Mor: Why did you go on to The Deadbeats after that?

Geza: I always liked kind of obscure, goofy, weird music. In those days, there was nothing like that. I was the only person I knew that was playing music in that vein. Then I met this band called The Deadbeats, and they were doing something very similar. Nickey Beat introduced me to them and I just thought “I’m home!” X-chords and all—they were ready for me. So that became a really happy outlet for some very arty, Dada rock. I really got to get my art-rock chops out with the Deadbeats. We would also wear costumes on stage which was really a no-no in those days with punk. We would perform brain surgery on stage with manikins.

Mor: After that you did the Mommymen which was your own thing.

Geza: Right. It was a similar thing to the Deadbeats, but it was a little bit more in between. I don’t know what I was thinking; I thought for sure it was going to be the next big punk hit. Now I listen to the Mommymen stuff and it’s so weird.

Mor: What was it like making the Mommymen record (You Goddamn Kids)? I heard you had some studio trouble.

Geza: No, not exactly. What happened was the studio where I recorded the Mommymen record was rented by these guys named Larson and Bobby Paine. Those guys were legends in the scene. They were not exactly part of the punk scene, but they were sort of lurking around it as producers. They were really cool guys and very talented songwriters. They really knew music and a fair amount about the studio. They worked with the Go-Go’s and Fear. They worked with a lot of bands before they came up, and of course they got shafted by all of them because that’s the way the world works. So anyway, those guys were my home team and good friends of mine. Bobby ended up playing bass in the Mommymen for a while. He and his brother Larson had rented this studio and they were cutting demos there. They were recording Fear demos, which I worked on. They were also doing Levi and the Rockats demos. They did the first Josie Cotton tracks, some of which appeared on her album (Convertible Music). I became an engineer at their studio sort of by accident. They’d asked every engineer in the city to help them get their studio running properly. They had rented it, but the gear was just sitting there and it was really old and trashed and none of it was really working correctly. In those days, I was this post-speed freak tweeker fiend, but I had this way with electronics gear. Finally, in desperation after they tried every engineer and they’d all gone running out of there in terror, they said “Look, you want to come in and goof around with this equipment and see what’s going on?” I went in there and thought there was no way to fix it—to have it actually working properly—unless I just took it all apart. They got really nervous, and I asked them to just go away and I’d do it and everything would be fine. So they came back about four days later. I don’t remember this story, but apparently Josie (Cotton) remembers it quite vividly and told me about it. I had every piece of gear on the floor taken apart, including this old plastic 8-track tape machine, and everything was just laying on the floor. They say I was petting the parts and talking to them.

Mor: Was this drug influenced?

Geza: No, I didn’t take drugs in those days, but that’s after I had taken loads of them! In those days, that’s what I used to do because I was always broke and I had very little electronic equipment. But I liked recording, so I would just get whatever was around and I didn’t have any money to repair the equipment so I had to talk to the gear. Anyway, I put it all together and it worked and I made a bunch of records there including my own.

Mor: How was the process of making that (You Goddamn Kids) record?

Geza: It was really fun. It wasn’t all tube gear, but there was some tube gear in there because it was a really old studio. It was a small place, but it had a decent sound—like a project studio. Even back then, I was totally in the DIY mode. I really have to say that I was probably one of the people who started the DIY movement back in ’77 and ’78. It was what went on to become DIY recording and so-called alternative rock. Of course, at one time it really was alternative.

[radiophd]

geza x and the mommymen -- i hate punks

[program-annihilator]

SST 196, released in 1988. This is Paul's only solo release on SST and it plays like a demented Dario Argento soundtrack. Paul Roessler was a prominent member of the L.A. punk scene during the late 1970s and 1980s. He played keyboards in bands such as The Screamers, Twisted Roots, DC3, 45 Grave, Nervous Gender, Crimony, SAUPG, Geza X and the Mommymen, Mike Watt and the Secondmen, Nina Hagen and The Deadbeats and Pat Smear.

Roessler has also released solo recordings such as this album, "Abominable" as well as "Curator," "The Arc," "6/12" and a rock opera entitled "Burnt Church" with Jeff Parker. He currently works as a record producer at Kitten Robot Studios in Los Angeles, California. He is the brother of Kira Roessler, formerly of Black Flag, and the son of underwater photographer Carl Roessler.

[fodderstompferz]

um... i'll try and explain this. geza x was a producer most associated with the west coast hardcore punk scene. many of the most popular bands of the scene were produced by him - dead kennedys, germs, black flag included. he also had solo ventures, like his exploits with the mommymen (yes, that's a favorite band bame of mine). but as you can tell, 'pony ride ii' is not a punk song. what is it? where did i hear of it? are the rest of the tracks on the album anything like it? to provide some answers, i don't know, my mom (of course - who else??), and... maybe remotely. but anyway, who's to say a producer can't have a wild side? sincerely, i can say no more... except it is a fun song though. pony ride indeed!

[onecalltocuba]

18 março 2021

Setlist *setlist-roteiro: a ordem das musicas em sua maioria são definidas ao vivo e podem sofrer alterações

Geza X and The Mommymen - Rio Grande Hotel The Innocent Vicars - She's Here Adaptors - In The Slot Andrea Mingardi Supercircus - Pus Jo Squillo Eletrix - Violentami Satan 81 - Radioattivita Starshooter - Get Baque Les Olivensteins - fier de ne rien faire Dogs - No Way Dogs - 19 Dogs - Charlie Was A Good Boy

Automatics - Walking With The Radio On 999 - The Biggest Prize in Sport Neon Hearts - Get So Many Pains The Plugz - Brain Time The French Are From Hell - God's Lightning The Sound - I Can't Escape Myself Disco Zombies - Mary Millington Sogblettir - Helvítis djöfull Taugadeildin - Her Longing Grýlurnar - Sigmundur Kroppur Vonbrigði - Kjöt Lurkers - Ain't Got A Clue Buzzcocks - You Tear me Up Xtraverts - I Hate You The Boys - Wrong Arm Of The Law Squire - Get Ready To Go The Members - G.L.C O Level - Storybook Beginings Loose Prick - Mikään ei saa mua jäämään Ypö-Viis - Hyvät pahat ja Ypöt X-Ray Spex - Identity X-Ray Spex - Plastic Bag X-Ray Spex - Oh Bondage Up Yours!

[ulezak]

Putiferio (poltergeist serenade) - chapter 1 (don’t feed the animals)

Internet Archive (download & stream) - Mixcloud - SoundCloud - HearThis

a satanic (aural) comedy courageously mixed/blended & recorded live by maux (aka mauxuam) during the 20/21/22/23 august 2017 at the Ormus Lounge in Frank Zappa Straße, Marzahn.DDR/Berlin.EU. calling the ghosts: Daevid Allen / Negativeland / Alan Vega / Leonard Cohen / Prince / Lucio Battisti / Fabrizio De Andrè / Frank Zappa / Kim Fowley / Snakefinger / Muslimgauze juiced, cut & baked with trust at Sandokan Bay studio incidentally dislocated in Frank Zappa Straße Marzahn.DDR on the early days of september 2017 during the full moon phase .. while desperatly skint sinking too close to the bone .. dedicated to my ghost … forever longing for the Pearl of Labuan.

total play time: 6 hours 13 minutes 34 seconds

TRACKsLISTing: 001 - Johanna M. Beyer : Music Of The Spheres [An Anthology of Noise & Electronic Music vol.2 - 1938] 002 - Vincente Price : How To See Ghosts or Surely Bring Them To You [A Hornbook For Witches, Stories and Poems For Halloween - Caedmon Rec. 1976 - LA]003 - Sun Ra : There Are Other Worlds (They Have Not Told You of) [Lanquidity - 1978]004 - Franco Battiato : Il Silenzio del Rumore [Pollution - 1972 - Sicilia]005 - Lucio Battisti : La Collina dei Ciliegi [Il Nostro Caro Angelo - 1973 - Roma]006 - Mono Pause : Come Into The Future [America The Beautiful - Reccomended Rec 1994]007 - Throbbing Gristle : Convincing People [20 Jazz Funk Greats - Industrial Rec. 1979 - London]008 - The Residents : We Are An Happy Family [Commercial Album - Ralph Rec. 1980 - SF]008 - Vampire Rodents : Bosch Erotique [America The Beautiful - Reccomended Rec 1994]010 - Kim Fowley : 1983 - Don't Feed The Animals [Snake Document Masquerade - Island Rec. 1979]011 - Kevin Ayers : Song From The Bottom Of A Well [Whatevershebringswesing - 1974 - UK]012 - Van Der Graaf Generator : Necromancer [The Aerosol Grey Machine - 1969 - London]013 - W. Biggers : Underdog [Television's Greatest Hits vol.2: More From The 50’s & 60'Ss - ? - Hollywood]014 - Wiseblood : Grease Nipples [PTTM - 1991 - NY]015 - The Swingle Singers : Country Dances [The Swingle Singers - Stax Rec. 1973 - Chicago]016 - The Flying Lizards : Mandelay Song [The Flying Lizards - Virgin Rec. 1979 - London]017 - Tuxedomoon : Ninotchka [Divine - Crammed Rec 1982 - SF/Bruxelles]018 - Tomita : Golliwog's Cakewalk [The Newest Sound of Debussy: Snowflakes Are Dancing - 1974 - Japan]019 - Gershon Kingsley & Leonid Hambro : Summertime [Switched-On Gershwin - 1970 - France]020 - The Pointer Sisters : That's How I Feel [The Pointer Sisters - 1973 - ]021 - Frank Zappa : Let Me Take You To The Beach [Studio Tan - 1978]022 - Laibach : Take Me To Heaven [We Come In Peace - Mute Rec 2012 - Lubjana]023 - Bud Tutmarc : My Beautiful King of Kings [Sacred Hawaiian Melodies - ? - Hawaii]024 - Kostas Bezos Hawaiian Orchestra : Ta Aspra Sta Vouna / The White Bird In The Mountains [1930 - Rembetika - Greece/Hawaii]025 - Wilmoth Houdini : Blow Wind Blow [I Dont Feel At Home In This World Anymore 1927—1948 - ?]026 - Leader Cleveland : Babylon Is Falling Down [God Give Me Light 1927-1931 - Missisipi]027 - John Lurie & Tom Waits : World of Adventure [Fishing With John - 1998]028 - Max Steiner : King Kong March [King Kong OST - 1933 - Hollywood]029 - Material feat. Killah Priest : Temple of The Mental [Intonarumori - Axiom 1999 - NY]030 - Lesego Rampolokeng & The Kalahari Surfers : End Beginnings [End Beginnnings - Reccomended Rec 1993 - Soweto]031 - Allen Ginsberg & Hal Wilner : Ode To Failure [The Lion For Real - ? ]032 - Bee Gees : Lay It On Me [Mythology -  ? ]033 - Iceberg Slim : Broadway Sam [Reflections - 1994]034 - Douglas Adams : Life Is Terribly Unfair [The Hitchhiker's Guide To The Galaxy - BBC ? - London]035 - Snakefinger : There Is No Justice In Life [Night of Desirable Objects - Ralph Rec. 1992 - SF]036 - VVV (aka Alan Vega) : Resurrection River [Resurrection River - ? - NY]037 - Tino Contreras : Santo [Astonishing Stuff! - 1966]038 - Zelwer : Evviva l'amore [The Gods Are Angry / Made to Measure vol.36 - Crammed Discs ? - Bruxelles]039 - Tin Hat Trio : Width of The World [Helium - 2000]040 - Lindsay Cooper : Stitch Goes The Needle [Rags - 1980]041 - Exuma : Seance In The Sixth Fret [Exuma - 1970 - Bahamas/NY]042 - Nurse With Wound : Black Teeth [Huffin' Rag Blues - 2008]043 - Wiseblood : Hey Bop A Ree Bop [PTTM - 1991 - NY]044 - The Church Universal and Triumphant : Invocation for judgement against and destruction of rock music [The Sounds of American Doomsday Cults - 1984 - US]045 - Snog : The New Cocksucker Blues [Babes In Consumerland - 2013 - Australia]046 - Black Flag : Family Man [Family Man - 1984 - US]047 - Banta : Banta Trance Speech 1948 [Okkulte Stimmen - Mediale Musik: Recordings Of Unseen Intelligences 1905-2007 - Ubuweb 2016 - Germany]048 - Amanda Lear : It's a Better Life [Diamonds For Breakfast - 1980 - Italia]049 - Diana Ross : No One Gets The Prize [The Boss - 1979 - US]050 - Adriano Celentano : Happy To Be Dancing With You [Geppo Il Folle - 1978 - Italia/Milano]051 - Defunkt : We All Dance Togheter [Defunkt - 1980 - NY]052 - Earth, Wind and Fire : Moment Of Truth [Earth, Wind and Fire - 1971]053 - Prince : Family Name [The Rainbow Children - Parsley Park 2001 - US]054 - James Chance & The Contortions : Dish It Out [No New York - 1978 - NY]055 - The Pop Group : We Are All Prostitutes [We Are All Prostitutes - Rough Trade 1979 - London]056 - Rip Rig & Panic : It's Always Tit For Tac You Foolish Brats [Storm The Reality Asylum - Virgin 1982 - London]057 - Kim Fowley Jr. : Fred Loves Betty [Son of Frankenstein - ]058 - Geza X and The Mommymen : We Need More Power [You Goddam Kids! - 2002 - LA]059 - Germs : What We Do Is Secret [G - 1980 - LA]060 - Bad Brains : Pay To Cum [Bad Brains - 1982 - NY]061 - King Krimson : Happy With What You Have To Be Happy With [The Power To Believe - 2003 - London]062 - Butthole Surfers : The Lord Is A Monkey [Electriclarryland - 1996 - Seattle]063 - Frank Zappa : I'm So Cute [Sheik Yerbouti - 1979 - US]064 - Captain Beefheart : Floppy Boot Stomp [Bat Chain Puller - 1976 - US]065 - Pere Ubu : Rhapsody in Pink [The Art of Walking - 1980 - NY]066 - Snakefinger : The Picture Makers vs. Children Of The Sea [Greener Postures - Ralph Rec. 1980 - SF]067 - Superspirit : We Belong To The Cosmos [Permission To Come Aboard - Tummy Touch 2009 - NY]068 - Rip Rig & Panic : Leave Your Spittle In The Pot [Storm The Reality Asylum - Virgin 1982 - London]069 - David Thrussell : Turn Muzak On It's Head [The Voices of Reason - 2001 - Australia]070 - Robert Ashley : The Bar (side B) [Perfect Lives (The Bar) - Lovely Music 1980 - NY]071 - Harry Hoogstraten : The Do-Dah [K7 Baobab Magazine issue #1 - 1978 - Italia/ ]072 - The Residents : The Moles Are Coming [Intermission - Ralph Rec. 1981 - SF]073 - Akira Mitake : Can't Touch, Even Watch [Out Of Reach - 1983 - Tokyo]074 - Eddy Detroit : Seed of The Oyster [Jungle Captive - 1997]075 - Roger Ruskin Spear : Drop Out [Trouser Freak - 1972]076 - Kim Fowley : Bubble Gum [Bubble Gum - 1967 - US]077 - Mojo Nixon & Skid Roper : This Land Is For Everyone [ - US]078 - Violent Femmes : I'm Not Done [We Can Do Anything - 2016 - US]079 - Tom Waits : Step Right Up [Small Change - 1976 - US]080 - Damon : The Road of Life [Song of A Gypsy - 2009]081 - Charles Manson : Spaceman [Commemoration - 1995 - US]082 - Danielle Dax : When I Was Young [Dark Adapted Eye - 1988 - NL]083 - Edith Piaf : Non, Je Ne Rgrette Rien [Je Ne Rgrette Rien - 2011 - France]084 - Fabrizio De Andrè : Il Gorilla [Volume 3 - 1970 - Genova]085 - Donna salentina : E Mujerima Pe La Musica Pazza Pazza [Musiche Tradizionali del Salento -  - Salento/Italia]086 - Carrettiere del Salento : Canto del Carrettiere [Musiche Tradizionali del Salento -  - Salento/Italia]087 - Men's Group From Vlore : What Have Ianina's Eyes Seen ? [Albanie: Vocal And Instrumental Polyphony - 1988 - Albania]088 - Francois Muduya : Chant Avec Cithare [Burundi : Musiques Traditionnelles Recorded by Michel Vuylsteke - 1970 - Burundi]089 - Diamanda Galas : I Put A Spell On You [ - Ellakis]090 - Nurse With Wound : Devil Is This The Night [Dark Fat - 2016 - US]091 - X-TG feat. Antony : Janitor of Lunacy [Desertshore / The Final Report - 2012 - London]092 - Lindsay Cooper : The Chartist Anthem [Rags - 1980]093 - Leonard Cohen : First We Take Manhattan [I'm Your Man - 1988 - Canada]094 - Fred Frith : Too Much Too Little [Cheap At Half The Price - Reccomended Rec 1983]095 - Brion Gysin : From Here To Go [10%: File Under Burroughs - 1996 - NY]096 - Queen : Flash [Flash Gordon OST - - London]097 - Art Bears : Freedom [The World As It Is Today - Reccomended Rec 1981]098 - Robert Wyatt : At Last I Am Free [Wanna Buy A Bridge? - Rough Trade 1980 - UK]099 - Rufus Zuphall : I'm On My Way [Phallobst - 1971 - Germany]100 - Kingdom Come Arthur Brown : Simple Man [Galactic Zoo Dossier - 1971 - US]101 - Edith Perrin : When I Die [1941 - somewhere]

[pqsounds]

Geza X & the Mommymen - Isotope Soap

[noiseartists]

Worldwide Premiere: Richard James Simpson's new single 'Half Brother, Half Clouds'

"Half Brother, Half Clouds" is the seventh track on Richard James Simpson’s "Deep Dream." The number seven is identified with something being finished, and it is the number of perfection, security, safety and rest. In this video, magical realism is used to describe a wicked reality.

Sounds, words, and images all become a message. The story of the song informs us that in our world surreal events are a norm and abusers consider themselves saviors. The world is upside down; thus, the exploited turn to anesthetization. When medicated, the population are more easily controlled. They can eat the pill, Huxley's Soma - they can eat strawberries - or they can choose to be wide awake and see what is behind the curtain.

Featuring such notable and OG punk/rock/alternative rock icons as Jill Emery (Mazzy Star, Hole); Don Bolles (The Germs); Dustin Boyer (John Cale); Paul Roessler (The Screamers, Twisted Roots, Nina Hagen); Mark Reback (Vast Asteroid); Ygarr Ygarrist (Zolar X) and Geza X (Geza X and the Mommymen, The Deadbeats), Richard James Simpson's sophomore solo album, "Deep Dream", offers ferocious, heart-wrenching songs that provide a unique sonic experience.

Formerly lead guitarist and vocalist for the alternative band Teardrain, Simpson released his debut solo album 'Sweet Birds of Youth' in 2017, getting excellent feedback on international music press.

Thank you very much to Richard and Laura (Kool Things PR, Rev Rev Rev) for the opportunity of presenting this premiere.

[onecalltocuba]

27 agosto 2020

Setlist *setlist-roteiro: a ordem das musicas em sua maioria são definidas ao vivo durante o programa e sofrem alterações de ordem Black Randy & The Metrosquad - San Francisco Mizz Nobody - Smittad The Steves - In A Room Metal Urbain - Hystérie Connective Rock Bottom and the Spys - Rich Girl The Normal - Warm Leatherette Active Ingredients - Bird On Fire Cosmic Overdose - Isolatorer Gatecrashers - Idols The Innocent Vicars - Antimatter

Moths - Magazine Look Standing Waves - Integrating Circuits Nervous Gender - Alices $ong Nervous Gender - Alien Point Of View Screamers - In a Better World Screamers - Peer Pressure Units - iNight UJ3Rk5 - The Anglican Industry - Production Goes On The Spanish Dogs - Cleveland voice farm - modern things Size - Daily matrix Last Four Digits - City Streets Adaptors - Trust In Technology Fender Buddies - Poolside The Primitive Calculators - I Can't Stop It Dow Jones and the Industrials - Dude in the Direction Field Futurisk - What We Have to Have The Deadbeats - Deadbeat Geza X and The Mommymen - We Need More Power

[parkerbombshell]

Just Another Menace Sunday w/ Josie Cotton!

Today The Menace's Attic/Just Another Menace Sunday #interview w/ Josie Cotton  6PM-8PM EST Bombshell Radio bombshellradio.com Today's Bombshell (Bombshell Radio) Repeats Sunday 6am-8am EST #BombshellRadio #melodicrock #radioshow #rock #alternative #justanothermenacesunday #dj #DennistheMenace #Synthpop #radioreplay #today, #JosieCotton This Week – Episode #815 A CONVERSATION WITH JOSIE COTTON AND HER MUSICAL SANDWICH! (10/13/2019)   Theme Song Just Another Menace Sunday Theme (Dennis The Menace) - Mighty Six Ninety Hour 1 A CONVERSATION WITH JOSIE COTTON AND HER MUSICAL SANDWICH! OPENING SONG: He Could Be The One – Josie Cotton Songs During interview: School Is In – Josie Cotton Johnny Are You Queer (Bomp 12”) – Josie Cotton Boulevard – Josie Cotton The Night Before – Josie Cotton TOP BREAD: Hi I Like You – Josie Cotton Chick Habit – April March (I Want To Live On An) Abstract Plane – Frank Black Here – Lucious Jackson Femme Fetale – Velvet Underground w/ Nico Hour 2 JOSIE COTTON PART TWO & SONGS FROM “VALLEY GIRL” Musical Sandwich Continues! Where It’s At – Back Time To Pretend – MGMT See The New Hong Kong – Josie Cotton Red Right Hand – Nick Cave & The Bad Seeds Steady As She Goes – The Raconteurs Funnel Of Love – Wanda Jackson Kung Fu Girl – Josie Cotton Tragedy – The Flettwoods E I Wanna Be Your Dog – The Stooges I Hate Punks – Geza X & The Mommymen BOTTOM BREAD: Who Killed Teddy Bear – Josie Cotton Extras: A Million Miles Away – The Plimsouls I La La La Love You – Pat Travers Time To Win – Gary Myrick Read the full article

[parkerbombshell]

Just Another Menace Sunday #815 w: Josie Cotton

Today The Menace's Attic/Just Another Menace Sunday #interview w/ Josie Cotton  6PM-8PM EST Bombshell Radio bombshellradio.com Today's Bombshell (Bombshell Radio) Repeats Sunday 6am-8am EST #BombshellRadio #melodicrock #radioshow #rock #alternative #justanothermenacesunday #dj #DennistheMenace #Synthpop #radioreplay #today, #JosieCotton This Week – Episode #815 A CONVERSATION WITH JOSIE COTTON AND HER MUSICAL SANDWICH! (10/13/2019)   Theme Song Just Another Menace Sunday Theme (Dennis The Menace) - Mighty Six Ninety Hour 1 A CONVERSATION WITH JOSIE COTTON AND HER MUSICAL SANDWICH! OPENING SONG: He Could Be The One – Josie Cotton Songs During interview: School Is In – Josie Cotton Johnny Are You Queer (Bomp 12”) – Josie Cotton Boulevard – Josie Cotton The Night Before – Josie Cotton TOP BREAD: Hi I Like You – Josie Cotton Chick Habit – April March (I Want To Live On An) Abstract Plane – Frank Black Here – Lucious Jackson Femme Fetale – Velvet Underground w/ Nico Hour 2 JOSIE COTTON PART TWO & SONGS FROM “VALLEY GIRL” Musical Sandwich Continues! Where It’s At – Back Time To Pretend – MGMT See The New Hong Kong – Josie Cotton Red Right Hand – Nick Cave & The Bad Seeds Steady As She Goes – The Raconteurs Funnel Of Love – Wanda Jackson Kung Fu Girl – Josie Cotton Tragedy – The Flettwoods E I Wanna Be Your Dog – The Stooges I Hate Punks – Geza X & The Mommymen BOTTOM BREAD: Who Killed Teddy Bear – Josie Cotton Extras: A Million Miles Away – The Plimsouls I La La La Love You – Pat Travers Time To Win – Gary Myrick Read the full article