On December 20, 2019, Marky Ramone brought his Holiday Blitzkrieg show to Gramercy Theatre in New York City. Marky was the drummer for The Ramones for 15 years after replacing Tommy Ramone in 1978. He played on nine of the band’s 15 albums and was inducted into the Rock & Roll Hall of Fame in 2002.
The group (Marky on drums, Pela on lead vocals, Martin Blitz on bass and Marcelo Gallo on guitar) played more than 30 Ramones hits including “Do you Wanna Dance,” “53rd and 3rd,” “Beat on the Brat” and of course “Blitzkrieg Bop.” They also played covers that The Ramones made popular to punk culture including Creedence Clearwater Revival’s “Have you Ever Seen the Rain” and Louis Armstrong’s “What a Wonderful World.”
Punk Rock started in New York City in the 1970s, and it remains very clear that these songs are timeless judging by the crowd getting revved up. Bodies were slamming into each other relentlessly from the start of the first song until the very end of the show. Although the songs are over 40 years old, the music is still very much alive and continues to attract new fans from the younger generation.
Unfortunately this years show could’t happen due to COVID-19 but hopefully it will return in 2021
Marky Ramone’s Holiday Blitzkrieg, Gramercy Theatre, NY, NY 12/20/19
Setlist: Do You Wanna Dance, Teenage Lobotomy, Rockaway Beach, I Don’t Care, Sheena Is A Punk Rocker, Havana Affair, Commando, I Wanna Be Your Boyfriend, Beat On The Brat, 53rd and 3rd, Now I Wanna Sniff Some Glue, Gimme Gimme Shock Treatment, Rock N Roll High School, Oh Oh I Love Her So, Let’s Dance, Surfin Bird, Judy Is A Punk, I Believe In Miracles, The KKK Took My Baby Away, Pet Sematary, Chinese Rocks, I Wanna Be Sedated, Do You Remember Rock N Roll Radio?, I Just Want To Have Something To Do, Needles And Pins, Loudmouth, Pinhead, Happy Birthday To You, Palisades Park, Glad To See You, Cretin Hop, Have You Ever Seen The Rain, Don’t Come Close, I Can’t Make It On Time, Life’s A Gas, She’s The One, Spider Man, Anxiety
Encore: R.A.M.O.N.E.S., What A Wonderful World, Merry Christmas (I Don’t Want To Fight Tonight), Blitzkrieg Bop
It’s only right for 2024 to end with a slew of high-energy concerts. On Friday, December 20, two Philadelphia based bands, City Wide and Wax Jaw, journeyed to Bowery Ballroom. The two shared similar goals: charm local New Yorkers and supportive listeners through dynamic and compelling music.
Before these two Philadelphia based bands hit the stage, the night started off with The DTs. This modern pop duo, consisting of David Cacciatore and Tom Losito, channeled a variety of sounds. Melding into rock, punk and blues, The DTs sought to bring their hometown of Jersey to the forefront. They experimented with harmonies, catchy lyrics and rockin’ guitar riffs. The DTs also performed their new single, “Cherry,” an uplifting track, with roots in adolescent memories.
Slowly as the DT’s set came to a close, more people started to trickle into the venue. Just after 9pm, Wax Jaw took center stage, ready to bring the energy. This past year, Wax Jaw has rapidly made its mark in the Philly music scene, drawing inspiration from punk and new wave genres. Evoking a sense of nostalgia while highlighting trans voices, the band is made of the singer Shane Morgan, drummer Ian DiBruno, bassist Greg Blanc, and guitarists Sean Vannata and George Fenton. Throughout this leg of the tour, Ben Manning replaced DiBruno’s spot on the drums.
Right off the bat, Fenton took over the microphone, calling out to the audience to gather close and get ready to dance. Upon hearing his words, fans pressed close to the edge of the stage, tilting their heads back and forth in tune to the music. Known for their album, Between the Teeth (2023), the band played hits such as “Be the Man,” “Mirror” and “Attitude.” Morgan kept the crowd entranced, each song more powerful than the last. With a focus on lyricism and balanced instrumentals, the driving drum beats grounded the audience. Halfway through the set, Fenton urged everyone to gather close to the ground. Reaching crescendo, band members and fans jumped up in the air, clapping hands and singing along.
Wax Jaw’s high-octane performance set the mood for the rest of the night. Fans split into groups, chattering in anticipation about the previous bands until 10:30 rolled around. At this point, the front of Bowery Ballroom was packed. City Wide entered only a few moments later, earning a roar from the crowd. Vocalist Emily Goldenberg immediately made her presence well known, her strong and captivating vocals pairing perfectly Simon Sheintoch, Evan Brink and Patrick Crosgrave. Ben Manning joined once again on the drums, sticks flying as he pounded the bass and snare.
Placed into the alternative genre, City Wide draws inspiration from classic rock and upbeat melodies seen in tracks by The Lumineers and Mt. Joy. They honed a charismatic stage presence and their hit, “Countdown” seemed to resonate with frequenters of the Ballroom. Goldenberg declared this song was meant to pay homage to the upcoming New Year, counting down from10 in the midst of the chorus. City Wide also made sure to balance out the night with some songs on the slower side, including “Higher & Higher.”
The evening concluded with City Wide returning for an encore. Each member donned Christmas themed sunglasses to cover Chuck Berry’s “Run Rudolph Run.” A whirlwind of energy overtook the room, bodies swaying in time to the rocking, fast paced rhythm. Ending 2024 right at Bowery Ballroom, both Wax Jaw and City Wide hope to play NYC once again in the coming year.
Marky Ramone, the legendary drummer of The Ramones, brought his annual Holiday Blitzkrieg tour back to New York City’s Gramercy Theatre on December 12th, delivering a high-energy night filled with punk rock classics.
This yearly December tradition sees Marky hitting the road with a rotating lineup of talented musicians, offering fans a chance to relive the sound and spirit of the iconic Ramones.
This year’s lineup featured an all-star cast. Pela Scb, a staple of Marky’s tours, took center stage as lead vocalist, injecting charisma and passion into every song. On guitar was Tommy Victor, the powerhouse musician best known as the lead singer of Prong.
Victor’s impressive résumé includes collaborations with Ministry, Danzig, and Rob Zombie, making him a perfect fit for the night’s high-octane performance. Holding down the low end was bassist Craig Setari, a hardcore legend from Sick of It All, whose credentials also include Youth of Today, Agnostic Front, and Cro-Mags.
The setlist was a dream come true for Ramones fans, featuring 40 classic tracks that spanned the band’s illustrious career. Highlights included “Do You Wanna Dance,” “Commando,” “Beat on the Brat,” “Rockaway Beach,” “Pet Cemetery,” “California Sun,” and “Rock and Roll High School.”
In the holiday spirit, the band performed “Merry Christmas (I Don’t Want to Fight Tonight),” adding a festive touch to the punk-filled evening. The night ended with the anthemic “Blitzkrieg Bop,” leaving the crowd shouting “Hey! Ho! Let’s go!” as they spilled into the Manhattan streets.
The Holiday Blitzkrieg is more than just a New York event. Marky’s December schedule also included shows at the Bearsville Theater in Woodstock, the Tropicana Showroom in Atlantic City, NJ, and Mechanicsburg, PA. For fans who missed this year’s holiday run, Marky has announced an exciting lineup of 2025 dates in South America, including stops in Argentina and Brazil:
March 29, 2025: Teatro Flores, Buenos Aires, Argentina
April 3, 2025: Toinha Brasil Show, Brasília, Brazil
April 4, 2025: Mister Rock, Belo Horizonte, Brazil
April 5, 2025: Carioca Club, São Paulo, Brazil
Marky Ramone continues to keep the punk legacy alive with his relentless touring and dedication to the music that defined a generation. For more information on upcoming shows and news, visit Marky Ramone’s official website.
The Holiday Blitzkrieg at Gramercy Theatre was a night to remember, proving once again that punk rock is far from dead. With Marky behind the drums and a stellar lineup at his side, fans were treated to a masterclass in punk history—and a reminder of why The Ramones’ music remains timeless.
Setlist: Do You Wanna Dance, Havana Affair, Teenage Lobotomy, Commando, Beat on the Brat, I Dont Care, Sheena is a Punk Rocker, Now I Wanna Sniff Some Glue, We’re A Happy Family, I Just Wanna Have Something to Do , I Wanna Be Well, Rockaway Beach, Gimme Gimmie Shock Treatment, Let’s Dance, Surfin Bird, Judy is a Punk, I Wanna Be Your Boyfriend, I Believe in Miracles, The KKK Took My Baby Away, Pet Cemetery, Needles and Pins, I Wanna Be Sedated, Chinese Rock, Oh Oh I Love Her So, She’s the One, California Sun, I Don’t Want to Walk Around You, Pinhead, Cretin Hop, R.A.M.O.N.E.S., You’re Gonna Kill That Girl, Rock and Roll High School, Chainsaw, Have You Ever Seen the Rain, Glad to See you Go, Listen to My Heart, Wonderful World, Merry Christmas (I Don’t Want to Fight Tonight), Blitzkrieg Bop
Dive bars and small clubs are generally the starting point for any fledgling band looking to make it big. Ideally, the goal is to move up to bigger and better venues eventually. Well, today, we celebrate one of the few tiny clubs that became renowned worldwide and a dream destination for any band. CBGB opened its doors 47 years ago,today, and the music world hasn’t been the same since.
Located in the heart of New York City’s Bowery district, CBGB was not always the musical Mecca it would come to be. It was previously a biker bar known as Hilly’s on the Bowery, one of two local establishments that owner Hilly Kristal managed. When his other bar was forced to close, Kristal redirected his efforts to the one left standing and made a life-altering change. On December 10, 1973, the Bowery dive bar officially became CBGB & OMFUG.
The CBGB acronym stands for Country, Bluegrass and Blues, Kristal’s initial vision for the music he wanted played there. The OMFUG supposedly stood for “Other Music For Uplifting Gormandizers.” Although a gormandizer is a term often used in reference to someone who eats food ravenously, in this case it would be the music that was being consumed. However, Legs McNeil, one of the true punk music journalists of our time and a CBGB regular in its heyday, claims the “U” in OMFUG was often left open to interpretation.
At its inception, CBGB stayed true to Kristal’s musical vision. But that would soon change, starting in February of 1974 when they booked local act Squeeze. This marked the first shift from country and bluegrass to original rock acts performing there. Another factor that led to the change in format was the nearby Mercer Arts Center burning down in August of 1973. For years, local unsigned bands of all styles had a place to play music there. Now they were in need of a new stage.
Eventually, the bookings at CBGB would lean more and more towards rock. Bands like Television, a local band at the forefront of the newly emerging punk music scene, would begin playing there. Other bands like the Patti Smith Group, Talking Heads, and Angel and the Snake (eventually renamed to Blondie) later got their start here as well. Rock legends The Ramones also played their first gig ever at CBGB in August of 1974 to a comically small crowd in hindsight.
While the early years of the club were rife with bands that would later become nationally known, CBGB was far from a financial success. Per Kristal, it was not until sometime in 1976 that the club started paying for itself. During this time, he also established two “set in stone” rules that would go on to define the ethos of this establishment. Bands had to play original material only and they had to move their own gear. In return, Kristal would allot most of the door money to the bands, encouraging them to develop a following and return.
That first year was an exercise in persistence and a trial in patience. My determination to book only musicians who played their own music instead of copying others, was indomitable. Originality (to me) was prime, technique took second place.
Hilly Kristal
Within a few years, CBGB was a known place for local artists of all kinds to experiment, play and do whatever they want – as long as it was original. It would only be a matter of time before acts based outside of New York City would begin to appear. In 1977, The Damned played a show there that marked the first time a British punk band ever played in America. Elvis Costello later opened shows there and The Police would also play their first American gigs here. As the 1980s rolled on, CBGB became primarily a haven for hardcore punk and metal acts.
With its growing success, the club was able to expand a little and a neighboring storefront soon become the CBGB Record Canteen, a record shop and cafe. In the late 80s, this was converted into an art gallery and second performance space. This would be a place for the “other” musical acts to perform, catering to fans of folk, jazz or experimental music.
Sadly, the turn of the century would begin the downfall of this iconic music venue. CBGB would soon enter into a protracted dispute over allegedly unpaid rent amounts. In 2005, atop its normally paid monthly rent of $19,000, CBGB was sued for some $90,000 in rent allegedly owed to its landlord, Bowery Residents’ Committee. Kristal claimed, and the court would later agree, that he was not properly notified about the increase in rent, marking the debt invalid. However, the two sides were unable to come terms on a new rental agreement and the soon-to-expire lease would not be renewed.
The last show at CBGB took place on October 15, 2006 and was broadcast live on Sirius Satellite Radio. Fittingly, New York City and club legend Patti Smith was the headliner, aided by Flea of the Red Hot Chili Peppers and Television’s Richard Lloyd. Smith’s rendition of “Gloria” was notably interlaced with snippets of The Ramone’s classic “Blitzkrieg Bop.” And during “Elegie,” the final encore, Smith named musicians and other music figures who had died since playing at CBGB. This marked a somewhat somber end for a venue that was undeniably full of life for decades.
Talking Heads play CBGB in 1977
Even though no more music is played here, the legacy of CBGB continues to live on. It remained open as CBGB Fashions—retail store, wholesale department, and an online store—until October 31, 2006. And in 2008, fashion designer John Varvatos opened a store there, although in tasteful fashion. Aside from a few needed upgrades, the entire interior of the club remained the same – stickers, graffiti and all – as it housed CBGB memorabilia and clothes for sale. It even has its own movie that came out in 2013.
Aside from the venue itself, CBGB Radio would later launch on the iHeartRadio platform in 2010. CBGB music festivals would later begin to sprout in 2012. And the following year, the building itself at 315 Bowery was added to the National Register of Historic Places as part of the Bowery Historic District.
CBGB was founded in 1973 on the Bowery, in a former nineteenth-century saloon on the first floor of the Palace Lodging House. The legendary music venue fostered new genres of American music, including punk and art rock, that defined the culture of downtown Manhattan in the 1970s, and that still resonate today. In this role as cultural incubator, CBGB served the same function as the theaters and concert halls of the Bowery’s storied past.
National Park Service nomination form
The spirit of CBGB and the early punk era also lives on through new forms of audio storytelling like the immersive audio walks created by arts and culture app, Gesso. Their Punks + Poets audio walk begins in Washington Square Park and ends in Tompkins Square Park, illuminating the birth of punk music in the area.
It’s truly amazing that such a small club could leave such a big impact on society. The music it inspired and the artists it gave a home to read like a Who’s Who of rock music. Kristal’s willingness to pivot from his original vision and adapt to the surge of new wave and punk rock that the 70s and 80s brought with it helped define a generation of music.
For one last look at CBGB the way it was, check out the video below.
Canadian-born Avril Lavigne is the pop-punk singer-songwriter credited for paving the way for the female-driven pop punk music that became synonymous with the early 2000s.
Ushering in the era with her “Pop-Punk Queen” moniker and skater style with her debut studio album Let Go, Lavigne quickly rose to stardom with hits such as “Complicated” and “Sk8er Boi,” charting at the top of the Billboard 200 with her first ever release.
Since then, Lavigne has released six albums, each to critical acclaim. In addition to her traditional successes, Countless artists from punk to indie rock to emo hip hop have named Lavigne as a major inspiration or influence, creating a legacy extending well beyond herself.
Avril also earned a Guinness World Record for being the youngest female solo artist to top the UK chart and saw the success of her hit “Girlfriend” emerge as the first music video to reach 100 million views on YouTube just four years after the website’s creation.
Originally announced at the beginning of the year, Lavigne has spent the majority of 2024 performing her Greatest Hits Tour across the globe.
Supporting the tour will be special guests Fefe Dobson, Simple Plan, and We The Kings- the latter two of which will perform during all New York Dates.
Avril Lavigne will grace the stages of four venues in New York, with shows in Saratoga Springs on May 27, Syracuse on May 28, Manhattan on May 30, and Bethel Woods on June 27. The full list of dates and venues is below.
For more information on the Greatest Hits Tour and all things Avril Lavigne, be sure to visit her official website here.
AVRIL LAVIGNE: THE GREATEST HITS 2025 TOUR DATES:
Sun May 18 – Moncton, NB – Avenir Centre
Tue May 20 – Halifax, NS – Scotiabank Centre
Sun May 25 – Bangor, ME – Maine Savings Amphitheatre
Tue May 27 – Saratoga Springs, NY – Broadview Stage at SPAC
Wed May 28 – Syracuse, NY – Empower Federal Credit Union Amphitheater
Fri May 30 – New York, NY – Madison Square Garden
Tue Jun 03 – London, ON – Canada Life Place
Thu Jun 05 – Niagara Falls, ON – Fallsview Casino Resort
Sat Jun 07 – Hershey, PA – Hersheypark Stadium
Sun Jun 08 – Cincinnati, OH – Riverbend Music Center
Tue Jun 10 – Noblesville, IN – Ruoff Music Center
Thu Jun 12 – St. Louis, MO – Hollywood Casino Amphitheatre – St. Louis
Tue Jun 17 – Raleigh, NC – Coastal Credit Union Music Park
Wed Jun 18 – Charleston, SC – Credit One Stadium
Fri Jun 20 – Tampa, FL – MIDFLORIDA Credit Union Amphitheatre
Sat Jun 21 – Hollywood, FL – Hard Rock Live at Seminole Hard Rock Hotel & Casino
Mon Jun 23 – Jacksonville, FL – Daily’s Place
Thu Jun 26 – Burgettstown, PA – The Pavilion at Star Lake
Fri Jun 27 – Bethel, NY – Bethel Woods Center for the Arts
Sun Jun 29 – Burls Creek, ON – Burl’s Creek Event Grounds~ (visit AllYourFriendsFestival.com for ticket details)
Sat Oct 18 – Las Vegas, NV – Las Vegas Festival Grounds~ (visit WhenWeWereYoungFestival.com for more info)
There’s something about anniversary shows that really gets a crowd going. Pressed against each other in the pit, hands swaying, chanting in time to favorite songs. What better way to celebrate 20 years of Interpol’sAntics than a 3-day sold out show at Brooklyn Steel? Longtime fans gathered for opening night on December 3. Ready to revel in the gritty, driving force of rich guitar playing and powerful lyricism.
Around since 1997, Interpol was formed under New York University doors, beginning with lead guitarist Daniel Kessler, frontman Paul Banks and drummer Greg Drudy. Their post-punk sound has become a staple amongst New Yorkers, emerging as a key rock revivalist of the early 2000s. In hopes to sound sleek and mysterious, they derived their name from The International Police Association, signing with Matador Records in 2002. Now, Interpol has played at a multitude of venues across the world, joined by Sam Fogarino on the drums.
With white sheer curtains draped across the front, a hush fell over the crowd as Interpol took stage a few minutes past 9:15pm. Opening with “Next Exit”, the band remained obscured. The crowd focused on projections of their silhouettes, jumping back and forth across the curtains. Once their second song, “Evil” reached crescendo, the lighting crew scrambled into the photo pit. The crew pulled back the expansive white sheet to reveal the band, dressed to the nines in black tailored suits.
After every song, fans whooped and hollered, dazed by the thick smoke and dramatic strobe lights. Lush storytelling balanced out catchy choruses, pairing with intricate guitar riffs to make a visually immersive performance. Their iconic color scheme of black, white and red alongside a sharp typeface held true. Non stop energy created through intriguing lighting choices and special effects.
As Interpol performed fan favorites such as “C’mere” and “Rest my Chemistry” the crowd pushed forward to the edge of the barricade, unable to peel their eyes off of the stage. By the time the 21 song setlist came to a close, the venue was absolutely packed. Reveling in the rush, fans lingered in the pit, chatting excitedly while sharing videos and treasured moments.
Interpol – Brooklyn Steel – Tuesday, December 3, 2024
Set 1 (Antics): Next Exit, Evil, Narc, Take You on a Cruise, Slow Hands, Not Even Jail, Public Pervert, C’mere, Length of Love, A Time to Be So Small Set 2: Pioneer to the Falls, No I in Threesome, The Rover, Rest My Chemistry, My Desire, Roland, Lights, All the Rage Back Home, Obstacle 1 Encore: The New, PDA
New York City based synth-rock band The FMs have released their junior album 51122, a commemorative project for their late member Frankie Rex.
Photo: Dylan Mars Greenberg
Originally a musical partnership between high school friends Matte Namer and Frankie Rex, The FMs have curated a tight-knit community over the years with their synth-infused sound, unapologetically queer narratives, and underground shows held atop a ferry boat in the industrial canals of Bushwick.
Not only did the ferry shows introduce many to the sound of The FMs, the boat provided the duo a space to record and self-produce three full-length LPs. Debuting in 2017 with Machinacene Epoch, The FMs quickly established their ethos of a rather traditional album creation process in which each release exists with its own personality and sonic statement.
PINK + BLACK, the duo’s sophomore double-LP began taking shape quickly after Machinacene Epoch’s release in 2017 and saw promising progress into 2020, amassing 2,000 hours of recording, producing, and tinkering. However, PINK + BLACK was delayed after the news of a devastating loss. Frankie Rex passed away from an overdose in 2022, understandably putting the project on pause as the loss was processed.
This was not the end for The FMs, however. Matte Namer was determined to continue Rex’s legacy and prove that not even death could stop Frankie’s voice from being heard- a sentiment that came to fruition with the posthumous release of PINK + BLACK in 2024, which was met with acclaim from critics and LGBTQ+ advocacy organizations like GLAAD.
In preparation for this new chapter of The FMs, Namer gathered Ithaca-based trans musicians Bubba Crumrine on guitars, Basim Hussain on synths and keys, and Nick Scollard on drums. Now reformed, The FMs have returned for their newest album, 51122.
The title coincides with the date of Rex’s passing, and in many ways is a simultaneous goodbye and thank you to Rex’s incredible contributions to the band and the world as an artist throughout their life and musical career. 51122 contains the last recordings of Frankie’s voice to be published ever, including in a pre-release single that came in the form of a Joy Division cover– a tribute to one of the original duo’s favorite bands and Frankie’s favorite track of theirs.
“It’s also a bit somber being the last music that I think will ever be released with Frankie’s incredible, powerful, unique voice. I think there’s something about that that makes me remember they are really gone, like an orchid blooming from a coffin nail. 51122 is the date Frankie passed away, but is also a type of symbol in a way, or perhaps a word. I’m not sure what that meaning is yet, perhaps the orchid needs to grow.”
– Matte Namer
With influences ranging from lo-fi all the way to disco, 51122 is a dreamy, gritty, synth-y collection that stands as an undeniable testament to how far the band has come while simultaneously honoring where and with whom it all began.
Tracks like “You Feel Like God” and “A Means To An End” take listeners on a guitar-infused synth adventure through space and complex interpersonal relationships, while songs like the rock-ballad “Deviant” reflect upon and reject concepts of deviance and societal other-ing over acoustic guitar and floating piano.
Photo: Dylan Mars Greenberg
“Domino” cuts to the bone with unforgettable vocals, gritty guitars, and a sharp bass line, putting what The FMs can do when they lean full-on into the punk sound on full display- and the impact is undeniably felt.
Throughout 51122, the skills of Namer, Rex, Crumrine, Hussain, and Scollard are on full display- not a moment goes by where there’s a lack of sonic interest. Whether it be a dystopic cyber-future like in “Future Pope” or the wistful nostalgia of “Record Store”, each track off of the album paints a vivid picture effortlessly. 51122 is above all a triumph- a sign that The FMs will go on, and so will Frankie Rex and their unrelenting musical spirit.
In celebration of 51122’s release, The FMs have announced a set of album release parties on November 22 and 23. On Friday the 22, the band will pay a visit to Angry Mom Records in Ithaca, and on the 23 they’ll grace the stage of Berlin in Manhattan for a joint album release party and queer rock showcase. To learn more about these shows and how to attend, check out The FMs’ tour page here.
To learn more about The FMs, listen to their past releases, and keep up to date with all of their future ventures, be sure to explore their official website here.
The first and most comprehensive history of the birthplace of punk music, CBGB, has just been re-issued by Trouser Press Books, an all-music imprint headed by veteran music journalist Ira Robbins.
A History of CBGB – by Roman Kozak
Originally published in 1988 and out of print for decades, This Ain’t No Disco: The Story of CBGB is a warts-and-all history of the legendary Bowery venue related by nearly 100 of the insiders who performed, worked and braved pre-gentrification Downtown NYC to witness the birth of punk music. Written long before the legend overtook the reality — while the club was still open and most of the principals alive — this is the real story told in gritty, outrageous and sometimes hilarious detail by onetime Billboard Magazine editor, the late Roman Kozak. The 2024 edition includes a new forward by Chris Frantz of Talking Heads, 12 pages of photos by Ebet Roberts, and a post-script by Ira Robbins that takes the story forward from 1988 to the October 2006 shuttering of the club.
Kozak’s book includes unguarded quotes from CBGB found Hilly Kristal, Joey and Dee Dee Ramone (the Ramones), Chris Stein and Clem Burke (Blondie), Richard Hell and Richard Lloyd (Television), Lenny Kaye (Patti Smith Group), Annie Golden (The Shirts), David Byrne (Talking Heads), Seymour Stein (Sire Records) and many more.
As a member of several of the more than 10,000 bands that performed at the club in its 33-year run, it was a treat to take a trip back … without having to once again experience the foul ambiance of its legendary and always-broken bathrooms!
CBGB came about when its owner, Hilly Kristal, a wannabe singer, left his former bar in the West Village for the grimy Lower East Side to escape the noise complaints of his Greenwich Village neighbors. His short-lived attempt at a country music venue, one with sure to fail breakfast time gigs, would be shelved when Tom Verlaine and Richard Lloyd of Television lied their way into a performance in March 1974. Television’s stint would shortly attract other bands, including The Ramones, the first act signed to a major label, a quartet that could crank out 20-song sets in 17 minutes or less. By the end of the year, CBGB, which would initially feature other kinds of music along with comedians, would become an all-rock venue.
The first two years of CBGB would be hand-to-mouth, with Hilly living on a cot in the back of the club and supplementing his income by buying a truck and starting a moving business, one that employed his favorite starving musicians like the members of The Shirts. Various musicians and staffers humorously relate memories of dodging the many “care packages” left on the floor by Hilly’s dog, Jonathan, and the suspect quality of Hilly’s infamous chili and hamburgers. Mink Deville claims Jonathan was the source of the crabs he got four times in the seedy but beloved club. And there is much talk in the book about the decrepit bathrooms, for their sub-Third World sanitary conditions and where the truly brave might partake in the classic drug-and-sex combo. “You could always see four feet in the bathroom stall,” said Dick Manitoba.
The book contains interesting facts about the humble and initially stumbling beginnings of the early CB’s bands who would become legends, including Blondie and Talking Heads. Elda Stiletto and busy backup singers/present-day cosmetic company giants, Tish and Snooky, tell of Blondie’s early days, the gestation in Elda’s band, and false starts as Angel and Blondie and the Banzai Babies before settling on a firm lineup anchored by drummer Clem Burke. Another memorable night was when Talking Heads and The Shirts auditioned together. Hilly loved the first because they were “neat” and carried “very little equipment.” And though they didn’t reach the commercial heights of other early CBGB bands, The Shirts would prove Kristal’s favorite. He would go on to manage them, secure their three-album deal with Capital Records, and a role for their lead singer, the now busy actress Annie Golden, in Milos Foreman’s movie version of the Broadway musical Hair.
The Dead Boys – photo by Ebet Roberts – the History of CBGB
CBGB began to pick up steam with the arrival of Patti Smith, who had a four-day-a-week, seven-week residency in Spring 1975. Kristal compares the excitement to comic Lenny Bruce’s residency at the Village Vanguard when Hilly was helping manage the club for owner Max Gordon. The two-week CBGB Rock Festival in July 1975 wouldn’t bring in a huge amount of cash, but it generated tons of press from outlets like The Soho Weekly News, Village Voice, etc. Writer Legs McNeil, the man who popularized the term “punk” appropriated from a favorite term of TV’s Kojack, called CBGB “a juvenile delinquent hangout, where everyone was equal because they were broke.” To Richard Lloyd, it gained traction because “it was a reaction to hippie stadium music.” By 1976, the club started making money, and one of the essential ingredients of success began to happen: the girls started coming in droves, according to Tish and Snooky. In July 1976, CBGB invested in a new sound system, which would be ripped off then replaced, making it the best-sounding live room in New York City and maybe the world. It became a venue that would attract artists from around the globe, including the then-unsigned Police, who played for an audience of 10 in July 1977.
There is lots of good dish on Hilly’s failed ventures, like his short-lived CBGB Theater on Second Avenue, the proposed punk rock sitcom, TVCBGB and his ill-fated management of another popular attraction, The Dead Boys. The book also relates how CBGB’s slow burn rep as the birthplace of punk was usurped a bit by the UK – the rapid rise of the Sex Pistol and the appropriation of the spiked hair and torn t-shirt originated by Richard Hell. When the club launched it was the only game in town for bands playing original music, a refuge where virtually anyone could get a shot at their Monday audition nights. But by the 1980s, CBGB would have competition from new clubs like Hurrah, The Ritz, Danceteria, The Peppermint Lounge, the Mudd Club and more. But most would not survive the decade.
But even with all this buzz, CBGB-style punk was “poison as far as record companies were concerned.” Except for Blondie, whose breakthrough came from a disco infusion in their #1 singer “Heart of Glass,” CBGB bands didn’t move platinum units of vinyl or CDs or get much radio airplay. Bands like latter-day favorites, the chainsaw-wielding, car-blowing-up Wendy Williams and her Plasmatics, had to make their living on the road.
The History of CBGB – Owner Hilly Kristal, photo by Ebet Roberts
In the mid- and late-1980s, CBGB would birth another musical genre – hardcore. It’s Sunday hardcore matinees did big business at the door but not much at the bar, as many devotees were underage or straight arrows who didn’t drink beer. One CBGB barkeep recalls: “We could make $2,000 at the door and only $200 at the bar.” Bands like Murphy’s Law, Agnostic Front, Cro-Mags, Bad Brains, The Beastie Boys, and Damage were featured; some also on cassette-only releases of live performances on a CBGB imprint created with Celluloid Records. Many of these and other new artists would have their albums featured at a new satellite, CBGB’s Record Canteen.
Kozak wraps up his history in 1988, well before the legend was glammed up via the 2013 feature film and the ridiculously “reopened CBGB” restaurant at Newark Airport. Trouser Press’s Ira Robbins provides a coda detailing Hilly’s losing battle with his landlord and the August 2006 benefit concert that attempted to save the club. (Note: this reporter did PR for that event pro-bono during his agency days. He also had his electric mandolin stolen at the club! The first gig by my long-running project, Spaghetti Eastern Music, took place at CBGB Gallery in 2003).
Kozak’s tale concludes with one of many significant observations in the book from guitarist/writer/record producer Lenny Kaye, a thought posited on the Lower East Side’s new monied residents.
“The key and glory of CBGB is that they’ve never gotten too big for their britches. They’ve never gone above their own Bowery station…even though the Bowery is above its own station now.”
SNL has officially returned, celebrating its 50th year on the air. Since its start in 1975, the show has introduced Americans to classic comedy skits, ranging from Wayne’s World to the Blues Brothers. On top of that, comedy icons like Eddie Murphy, Adam Sandler, and countless others have SNL to thank for launching their careers. But let’s not forget an often overlooked part of SNL’s history: its musical guests.
To celebrate SNL’s 50th anniversary, let’s take a look back at 50 classic performances from throughout the show’s history. In this installment, we’ll travel back to SNL of the 1980s to see some of the decade-defining acts that grace the 30 Rockefeller Plaza stage.
The B-52’s (1/26/1980)
To kick off the 1980s, New Wave icons the B-52’s performed an energetic set. Hailing from the college town of Athens, Georgia, the band was riding high after the release of their debut self-titled album. So in January, 1980, they made the trek up to New York City to soundtrack an episode hosted by the late-actress Teri Garr.
To start off their set, the band played their biggest hit at the time – “Rock Lobster.” Before the music even started, nothing stood out more than the band’s style. Their eclectic eighties meets fifties fashion was on full display. Cindy Wilson and Kate Pierson’s mile-high beehive haircuts instantly gave the audience a taste of the B-52’s ethos. They were deeply rooted in retro aesthetics, but also spearheading a New Wave of punk.
The audience did not have much time to gawk at the band’s style, because Ricky Wilson immediately fired into the iconic “Rock Lobster” riff. Alongside guitar, singer Fred Schneider played SNL’s favorite instrument – the cowbell. Throughout the song, Schneider bopped around the stage, waving his cowbell and drumstick. This dance party of a song dramatically halted at the bridge, with the band members collapsing as Schneider yells “Down! Down!” Following this, the band immediately sprung back up, whirling around the stage. Even Keyboardist Kate Pierson left her station to join in on the vortex. The B-52’s, unlike any band from that era, matched campy theatrics with a rough punk edge.
Following a number of skits, the band returned to play “Dance This Mess Around.” This track started off much differently than their opener, with harsh keyboard stabs and dissonant guitar. For this number, Schneider passed off vocals to Cindy Wilson. Her soft vocals grew into screaming as the chorus neared, with Schenider’s distinctive yelping backing joining in soon after. Throughout the song, the band all erratically danced, while somehow remaining unsettlingly still, mirroring their SNL predecessor Devo.
With this performance, the B-52’s both carried on history, and made history of their own. They brought the 1970s New Wave of Devo and Elvis Costello to a new decade. This performance, while unassuming at the time, hinted at a decade that both New Wave and the B-52s would thrive in.
Funky 4+1 (2/14/1981)
In 1981, a Bronx-based quintet made SNL history with a single performance. On Valentine’s Day, Funky 4 +1 played the first Hip-hop performance, not only on SNL, but on all of national television.
Known hip-hop aficionado Debby Harry hosted that night, and personally vouched for the band. During her work with Blondie, Harry formed a great appreciation for hip-hop. In 1981, Blondie made history with “Rapture,” becoming the first song with a rap verse to reach number one. As part of this, Harry became close friends with rap icon Fab 5 Freddy, who introduced her to Funky 4 +1.
From the first second of their SNL performance, “That’s the Joint” was a straight blast of joy. The Funky 4 all in matching red sweaters accentuate their female lead Sha-Rock. In a way, the monochrome male backers and the standout female lead vocalist wasn’t too different from Blondie itself. A sample of “Rescue Me” by A Taste of Honey propels the song forward with funky bass and horns. Over this disco beat, the five rappers pass off lines between each other, making for a great early hip-hop track.
One key member of the band wasn’t even a member, but rather a DJ. Throughout the performance, he can be seen spinning records in front of the group. This sampling-based number marks a radical shift in the style of musical performances on SNL, foregoing live instrumentation altogether. This showing also revolutionized how rap artists performed live. Rather than bopping to the beat, the band adopted fully choreographed synchronized dance moves. Drawing from older Motown acts, the band looked more akin to the Jackson 5 than the Sugarhill Gang on stage.
Only one week after Funky 4 + 1, SNL introduced a future superstar to the world. Prince, the artist formerly known as Prince, or Ƭ̵̬̊, whatever you want to call him, he made his special debut appearance on February 21st, 1981. While not the musical guest – that was rock icon Todd Rundgren – SNL invited Prince to perform one song from Dirty Mind. This performance marked the first of four guest slots Prince filled during his life.
Following two performances by Rundgren, it was Prince’s turn to perform “Partyup.” Prince and his band emerged on stage in matching trench coats. Under his trench coat, Prince wore only a bandana, short-shorts, and stockings, mirroring the cover of Dirty Mind. The performance got off to an energetic start, driven by funky synths, bass, and guitars. Throughout the funk number, Prince’s iconic falsetto vocals soared. However, one vocal line also caused controversy. Some claimed Prince sang the original lyric “Fighting war is such a f*cking bore,” violating broadcasting regulations. Prince himself, however, claims he said “Freakin.”
Funnily enough, yet another F-bomb overshadowed this performance, this time coming from cast member Charles Rocket. During the farewell, Rocket, parodying JR from Dallas, angered TV censors yet again. Turning to the camera he said “Oh man, it’s the first time I’ve ever been shot in my life. I’d like to know who f*ckin’ did it.” Needless to say, the cast and broadcast staff were all shocked, and Michaels promptly fired Rocket. This, however, was the last time anyone outshined Prince, as he would go on to dominate for the rest of the eighties.
This performance is sadly near impossible to find in its entirety online. Whether due to the multiple swears, or Prince’s estate’s strict licensing policy is unsure. It is a shame, as it is one of the best to ever grace 30 Rock. Immediately after, Jeffrey Doumanian writing for Rolling Stone said, “I was blown away, he was just the most original act I had seen in a long time.
FEAR (10/31/1981)
For one night only, the SNL stage transformed into a no-holds-bar mosh pit. That night was Halloween of 1981, when Lorne Michaels invited LA-based hardcore band FEAR onto the program. With his previous bad luck with punks *cough, cough, Elvis Costello* why would Michaels push his luck with an even rowdier crowd? The answer is pretty simple: he didn’t. In fact, it was SNL alum and notorious party animal John Belushi who pitched the idea.
John Belushi was an avid fan of all things punk rock, quickly becoming close friends with FEAR. Earlier that year, he even offered the band the opportunity to soundtrack his movie Neighbors. The studio, however, was not impressed and thought the band’s music was highly inappropriate. Belushi, being the good friend he was, offered FEAR a musical slot on SNL to make up.
Belushi’s plan, however, was much more complex than just having the band perform. He pitched Michaels his idea – to turn 30 Rock into a full-fledged punk venue with slam dancers. Then, Belushi began making calls to punks across New York and Washington DC. By Halloween night, 40 punks closed in on the SNL studio, including future Minor Threat singer Ian Mackaye. For the dress rehearsal, the punks mellowed out, lulling Michaels into a false sense of security. But when have punks ever been ones to follow the rules?
When FEAR took the stage that night, all hell broke loose. They began with “Beef Bologna,” a breakneck pace hardcore track with screamed vocals and fiery guitars. As soon as the music began, the punks in the audience showed what they were really made of. Some dove across the camera, others stormed the stage, and all of them indulged in the pure chaos. As singer Lee Ving recalled, “The real audience at Saturday Night Live was scared to death.” Luckily for everyone at 30 Rock, after the relatively short song, the crowd seemed to calm down slightly.
It wouldn’t last. Ving – the comedian he is – grabbed the mic and said, “It’s very nice to be here in New Jersey,” warranting immediate boos. This segued into their second track “New York’s Alright if You Like Saxophones.” Sonically, this song is unique among eighties hardcore, featuring dissonant saxophone at its center. The audience couldn’t savor this musical complexity, as not even two seconds into the song, the moshing resumed. In the mayhem, the mic even fell into the audience. The young DC-raised Ian Mackaye seized on this opportunity, yelling “New York Sucks,” starting a small fight.
The band’s final track was “Let’s Start a War,” which seemed like a good reflection on what they were doing in the studio. Unfortunately for FEAR, they did not have the chance to finish this performance. In fact, they didn’t even get 15 seconds in. From stage right, a man entered holding a massive pumpkin. Lumbering across the stage, he then chucked it directly at producer Dick Ebersol’s chest. In a panic, SNL cut to dead air for the first time in its history. After some hesitation, the broadcast resumed with a pre-recorded Eddie Murphy skit. As audiences watched on, cops chased the 40 punks out of the studio, restoring order to 30 Rock. Needless to say, Lorne Michaels never invited FEAR back to SNL.
Queen (9/25/1982)
SNL’s eighth season began with a performance by one of the biggest legends in rock: Queen. With SNL alum Chevy Chase hosting, the band joined to perform two songs from their 80s discography. This should have been an easy slam dunk: iconic host, equally iconic band, how could it go wrong? The issue came with Queen’s touring schedule. The SNL premiere came on the back of a 27-city US tour. The band were all exhausted, and Freddy Mercury’s booming voice was shot. Queen, however, were never a band to shy away from a challenge, and persevered. Playing sped up, more rock-edged versions of their tracks, they stunned the audience.
The first track they performed was #1 hit “Crazy Little Thing Called Love.” This performance was a much more beefed-up rock version of the hit. It began with Mercury front-and-center, surprisingly playing the acoustic guitar. Maybe it was because of his vocal limitations, or the need for the song’s iconic riff, Mercury ditched the keyboard for the guitar. Once the song started, honky tonk pianos and a jazzy electric guitar riff from Brian May joined in. Listening to the performance, you couldn’t even tell Mercury’s voice was all but destroyed from a month of touring. To close out the track, May laid down a legendary extended electric guitar solo.
Later in the episode, Queen returned to the stage to perform “Under Pressure.” Although their latest album Hot Space was a commercial disappointment, its lead single – a debut with David Bowie – was an instant classic. Prior to Mercury’s passing in 1991, “Under Pressure” was a sole Queen live track – with or without Bowie. Beginning with the song’s iconic bassline, everything started according to plan. However, when Mercury’s vocals begin, his exhaustion was much more noticeable. There was no way he would be able to hit the song’s rising vocal lines. As a result, he had to alter the melodies, allowing his more limited register to boom through the studio. Throughout the song, he confidently strutted across the stage in a leather jacket. It was clear that his voice didn’t phase him in the slightest.
This performance marks a sad moment in music history. SNL was the final performance the band ever played in the US prior to Mercury’s passing from AIDS 9 years later. Even though it was their final American show, and the band were clearly not at their highest, it was a clear show of force. They may have been exhausted and had no voice, but their musical prowess and stage presence made all of that unimportant. Watching the performance, there is no question why Queen was one of the greatest bands to ever do it.
The Replacements (1/18/1986)
Yet another punk band banned from SNL for disorderly behavior – I guess third times a charm. This story, much like Elvis Costello, began with a last-minute fill in by Lorne Michaels. Originally, SNL booked the Pointer Sisters to perform on a Harry Dean Stanton hosted episode. However, when they canceled, Lorne Michaels called in Minnesota-based alternative band The Replacements.
Riding on the success of their major label debut Tim, the Replacements’ SNL performance was a medium to prove themselves on a live stage. What better way to prepare for such a momentous occasion than partying like there’s no tomorrow. Leading up to the performance, the band made a day of binge-drinking with Harry Dean Stanton. And did they drink…and drink…and drink. When it came time to go up on stage, guitarist Bob Stinson tripped and fell, smashing his guitar.
Once a replacement guitar was given to the Replacements, they took the stage for their first song. From the first second of “Bastards of Young,” it was clear something was off. It seemed like each band member was playing in a different key. In other words, their drinking had caught up to them and the performance was a mess. Clearly, the band was already at odds with Lorne Michaels, poking fun at him during the performance. As Paul Westerberg sang, “The ones who love us least are the ones we’ll die to please,” he gave a big exaggerated wink right in Michaels’ direction.
The real trouble came right after this. Westerberg was worried that Stinson was so intoxicated that he would miss his cue for the song’s guitar solo. Taking action into his own hands, Westerberg yelled, “Come on f*cker” to cue Stinson himself. Michaels was furious, fearing backlash from network censors for this use of profanity.
Michaels, however, did let the Replacements take the stage for another song. When the band reemerged, they seemed to have swapped outfits with each other for some reason. Maybe it was the outfit change, or the extra time to sober up, but their performance of “Kiss Me on the Bus” was much more composed. The band played together, in tune, and in key. When the moment of truth came for Stinson to play his solo, he was even able to do so without any swearing needed.
This cleanup job was not enough to quell Michael’s anger however. By the time the Replacements left the stage, Michaels had banned them. For the third time in SNL’s history, a punk act’s hijinx had gotten them banned from the show. Singer Paul Westerberg, however, was allowed to return to the show seven years later as a solo act. During this performance, he even played a Replacements track – “Can’t Hardly Wait.” The band’s next performance at 30 Rock wasn’t until a 2014 appearance on Jimmy Fallon – a whopping 32 years later.
Phillip Glass (3/22/1986)
Who screams SNL musical guest more than pianist and experimental composer Phillip Glass? If you thought literally anybody else, you’d most likely be correct. However, for one special episode of SNL, Glass performed and soundtracked the whole night. This decision, while odd at first glance, makes much more sense in the greater context of the unique episode it soundtracked.
On March 22nd, 1986, filmmaker Francis Ford Coppola hosted alongside comedian George Wendt. This episode, unlike SNL’s normal skit-based format, this night had an overarching narrative arc. It followed Coppola in his quest for an Emmy award. To do this, he directed the entire episode, repeatedly misunderstanding and twisting SNL’s concept to make it more artful. This vision was put on display immediately after the cold open. In place of the show’s fun intro was a moody opening credits sequence. Glass’s track “Facades” from Glassworks substituted the usual upbeat jazz theme.
After this, the show’s skits doubled down on its concept. First came Wendt’s monologue, which Coppola repeatedly interrupted hoping to capture the perfect take. To add onto this, he even told the audience how they should laugh in response. Following the monologue was a number of experimental, esoteric, and realist sketches tackling everything from Vietnam to The Honeymooners. Coppola even recorded a number of satirical commercials to make sure every aspect of the broadcast was up to his standards.
Throughout this experiment in television broadcasting, Coppola invited the Phillip Glass Ensemble to perform twice. The first of these was “Lightning” from Glass’s 1986 album Songs from Liquid Days. This track was unlike anything 30 Rock had witnessed previously. In Glass’s normal fashion, repetitive whirling percussion and winds propelled the song forward. Minor-key keyboard stabs supplemented this, creating an almost alien atmosphere. At the center of the piece was Janis Pendarvis’ beautiful operatic vocals, performing lyrics by Suzanne Vega. This track marked one of the most accessible moments in Glass’s discography, while remaining musically complex.
Glass’s second performance was “Rubric,” an excerpt from his 1982 classical opus Glassworks. This track was much more abstract than its predecessor. Keyboard and woodwind arpeggios drove the song forward. This song was much more emblematic of Glass’s discography, being a repetitive, deeply-minimalist composition. As it went on, it grew more and more lush, adding operatic vocals on top of the mix. As the ensemble performed, clips from the experimental documentary Koyaanisqatsi overlaid the show. The excerpts, featuring nighttime timelapses of a city, only added to the monumental aura of the performance.
Due to the unorthodox one-off nature of this episode, it is unlikely that 30 Rock will witness anything else like it again. It really is too bad, as the Phillip Glass Ensemble’s appearance was one for the ages. Equal parts experimental and approachable, minimalist and lush, the performance bent the rules of what an SNL performance could really entail.
Elvis Costello (3/25/1989)
So far, Lorne Michaels has not shied away from banning anyone he disagreed with. Play a song he didn’t like – banned. Said a naughty word on air – really banned. However, on March 25th, 1989, Michaels felt in a much more forgiving mood. After a 12 year ban, SNL invited back New Wave icon Elvis Costello for a solo performance. 12 years prior, Elvis Costello and the Attractions received a “lifetime” ban for going off script. Instead of playing “Less than Zero” like planned, Costello switched into a rendition of “Radio, Radio,” which angered Michaels beyond belief. Now a solo artist, Costello returned to support his hit album Spike, playing two new songs.
In the leadup to Costello’s first song, host Mary Tyler Moore made one of the strangest performance announcements in the history of SNL. Continuing a streak of raunchy language, she told the audience “Elvis Costello’s penis is here tonight, so stick around, we’ll be right back.” After that strange introduction, Costello took the stage to perform top-20 hit “Veronica.” Co-written by Paul McCartney, the song was an upbeat pop-rock number, lacking Costello’s punk edge that got him in hot water during his first appearance. Picking up an acoustic guitar, Costello led the band, singing about a woman slowly losing her memories with old age. Despite the sad lyrics of the song, you would have no idea based on Costello’s lively energy.
Following this, Costello returned to perform “Let Him Dangle.” This track is noticeably more solemn than his opener, discussing a man preparing for the gallows. The mostly acoustic track provided a comedown from the frenetic energy of “Veronica.” Despite the more serious nature of Costello’s tracks that night, he managed to stay in Michaels’ good graces. All it took was Costello staying on script. This forgiveness appears to have lasted, with Costello making two additional guest appearances throughout the 1990s.
On top of this performance, the episode was also notable for its sketches. Following Costello’s second song, SNL debuted a new sketch. Featuring Mike Myers and Dana Carvey, it introduced the world to the Wayne’s World public access television show. The charming sketch, featuring the two loveable music nerds in Wayne’s basement, quickly became a fan-favorite. Within just four years, it became a recurring sketch, spawned two movies, and got an entire generation saying “Wayne’s World, Wayne’s World. Party time! Excellent!” This one unassuming episode not only mended SNL’s past conflicts, but also paved the way to its future.
Tom Petty (5/20/1989)
In 1989, Tom Petty arrived at 30 Rock for his third appearance on SNL. This episode, hosted by Steve Martin, however, marked Petty’s first time without the Heartbreakers backing band. His solo SNL debut was also preceded by tragedy. That night, SNL original cast member Gilda Radner passed away following a battle with ovarian cancer. In response, Petty made his performance a tribute to the legendary comedian
Petty’s first song was “Runnin’ Down a Dream.” Starting with its iconic descending riff, the song quickly jumped into an upbeat rock groove.With chugging guitars and Petty’s soft vocals, the song lilted along for a really fun two minute stretch. After this, the song erupted into a fiery guitar solo from Mike Campbell to close it out. With this amped up shredding over his usual heartland rock, Petty entered his solo career with a bang.
Prior to the episode, Petty had planned to play his hit “I Won’t Back Down,” to close his set. However, as Saturday approached, he felt it did not fit the mood of the night. Instead, he opted to play a yet-unreleased track off his new album Full Moon Fever. This track was the future megahit “Free Fallin’.” Originally, his label was unconvinced, wanting him to play his tried and tested current hit. In response, Petty told them that “Free Fallin’” was actually the late Radner’s favorite song, so they relented.
This SNL episode marked the first live performance of what many consider Petty’s signature song. Unlike the album cut, this live performance featured much more lush instrumentation, mirroring a wall of sound. In place of acoustic guitar is an immensely reverberated electric one. With synth strings, piano, and reverb vocals, the song echoed like Petty was performing in a cathedral. Aiding in this feeling were the Renaissance paintings surrounding the band on stage. To end this beautiful performance, Petty decided to make things a little awkward. As the song ended, he went to hug Howie Epstein who did not seem interested. So, they both just buffered in place awkwardly until the camera faded.
In this performance, Petty took a somber occasion and made it a celebration of life. In doing so, he not only introduced audiences to his new hit, but also his new path forward as a solo artist. Following this performance, Petty returned to 30 Rock a whopping five times as a musical guest.
Neil Young (9/30/1989)
To close out the 1980s, Lorne Michaels finally caught his white whale. For the past 10 years, SNL attempted to nab Neil Young as a musical guest. The first time they tried, SNL ended up stuck with weirdo new wavers Devo. Finally, the folk legend was in the building to perform a three song set.
At the time of this performance, Young was far from young. At the ripe age of 43, Young was still at the top of his game. When he entered 30 Rock, he sported an Elvis t-shirt, leather jacket, patched up jeans, and maple leafs gears. This outfit was equal parts cool and puzzling, but one thing for sure was that it was 100% Neil Young. In his three decades performing, Young had built up a routine for putting on amazing live shows, saving the upbeat rockers for last. After hours of building up adrenaline and intensity, he would rip out fiery guitar solos like they were nothing. For SNL he had to reach this intensity level instantly. To do this, he took up an intense training regimen, including weightlifting and calisthenics. This training paid off, as Young went on to unleash one of if not the greatest SNL performance ever.
Young’s first song was his newest hit “Rockin’ in the Free World” from 1989’s Freedom. The track kicked off with its iconic chugging guitar riff imbued with fiery distortion. As Young’s lyrics entered, they only added to the sonic intensity. The lyrics initially seem patriotic, referencing the “colors on the street, red, white, and blue.” As the song continued, Young’s lyrics transformed into an indictment of HW Bush-era America as fiery as its guitar tone. With lyrics attacking everything from drug addiction, pollution, and gun violence, the song was a scathing criticism of the US. As the song continued, Young stomped and headbanged across the stage, before erupting into a legendary guitar solo. While firing out metallic guitar bends, Young jumped on the drum kit and crashed into his bandmates. Apparently, Young’s training regimen worked, with the performance having the intensity of a grunge concert.
Following this incendiary performance, Young returned with a much more somber song. The solo acoustic rendition of “The Needle and the Damage Done” worked as a much needed comedown from the explosive energy of Young’s opener. Upon retaking the stage, Young received immediate applause. The song’s lyrics tackled the issues of heroin addiction and the overdose of Young’s Crazy Horse bandmate Danny Whitten in 1972. Following applause throughout the song, Young swapped out his acoustic guitar for an electric one to begin “No More.”
As Young swapped out his gear, his band rejoined him on stage for this last piece. Young originally wrote this track as a spiritual successor to “The Needle and the Damage Done,” and it continued many of its themes. Throughout the song, Young sang of the difficulty to kick drug addiction, accompanied by bluesy solos. Compared to “Rockin’ in the Free World,” the song was much more mellow, finding a comfortable middle ground with the rest of the set. When Young reached the repeated chorus of “no more,” harsh guitar stabs amped up the track. By the time the track ended, Young made all of Lorne Michaels’s greatest wishes come true. He had finally caught his white whale, and Young’s performance was well worth the decade-long wait.
In the fall of 2022, Timothy Waldron, lead vocalist of the emerging band Monobloc, found himself captivated by a live performance of Eric Burdon and War’s “Spill The Wine” while navigating life in a new city.
Photo Credit: Julia Tarantino
This moment of inspiration sparked the creation of their latest single, “Irish Goodbye,” which premieres a post-punk sound, explaining the pressures of being young in a new city, a topic many can relate to as it can be challenging adapting in a new place. Not to mention a situation the band has experienced, giving credibility to their point of view. Storytelling prowess and minimalist instrumentation position them as a band to watch as they carve out their own lane in NYCâs vibrant DIY landscape.
Helmed by vocalist Timothy Waldron and bassist Michael Silverglade are alongside Zach Pockrose on drums and guitarists Ben Scofield and Nina Luders, each contributing their emotionally charged sounds. The band merges pop with a gritty post-punk attitude therefore, drawing inspiration from their come up in New York’s underground scene.
Monobloc gained notable attention for creating the viral Minecraft music festival, Block by Blockwest. This innovative virtual event combined their passion for music with the popular gaming platform, allowing fans to experience live performances in a unique, immersive environment.
Their storytelling abilities shines along with their patterned instrumentals, making them stand out as an innovative force. Additionally, their distinctive talent and the success of their first two singles, “Where is My Garden,” and “I’m Just Trying To Love You,” it shows that with their irresistible catchy melodic rock sound, they are just getting into the groove of things.
Accompanied by their thoughtful narrative point of view, paired with raw, minimalist instrumentation, makes them a standout act. On the other hand, making a splash in sold-out residency at Pianos and performances at major festivals like Rock En Seine and All Points East has given them a chance to propel onto the global stage.
Live Tour Dates:
OCTOBER, 26 at United Sounds NYC Festival – Brooklyn, NY
NOVEMBER, 7 at Iceland Airways – ReykjavÃk, IS
NOVEMBER, 8 at Deaf Institute – Manchester, UK (Debut Manchester headline)
NOVEMBER, 9 at Third Man – London, UK (Debut London headline)
NOVEMBER, 19 at Corona Capital Fest – Mexico city, MX
