Tag Archives: rock and roll

Motley Crue’s The Dirt Movie is a Wild Ride

The Dirt hit Netflix several days back and it’s pretty killer. I’ve only watched it four times since then.

To say “the book was better” is pretty cliché even if it’s true, but I have to respect the process and the logistics involved in making a film of this scope. It’s difficult to fit a 428 page memoir into an hour and forty minute movie. It’s probably even harder than fitting a 20 year career (at the time of publication) into a 428 page memoire.

I have to say I didn’t have a lot of high expectations for this movie. It’s easy to be cynical. Band biographies are often hit or miss and I didn’t care for some of the updates I saw of The Dirt as it was being produced.

Upon the first viewing, my concerns were mostly squashed. It’s a fun ride through the debauchery and maturing process of one of hard rock’s most notorious and most popular bands. Aside from a few minor timeline issues and some soft-balling of major tragedies, I can’t much complain.

I can easily forgive the timeline issues, as I said above it’s a 20 year career reduced to less than two hours. What more can we expect? We’re even afforded a scene when manager Doc McGee arrives in which guitarist Mick Mars informs us it didn’t actually happen that way. The Dirt acknowledges from within that there’s only so much time to make the important points and still have an entertaining movie.

The Dirt really captures the spirit, the attitude, and more than anything the personalities and the differences between them of the members of Motley Crue as I came to understand them over the more than three decades I’ve been a fan.

We get to see Nikki Sixx (Douglas Booth) as the dark, angry, creative force that he was and to some extent still is today.

There’s Tommy Lee (Colson Baker) as the young, naive, goofy, party animal he was always known to be.

Vince Neil (Daniel Webber) is as he was the rakish, blond, southern Californian playboy.

Mick Mars (Iwan Rheon) is the older, grumpier, dry, no time for bullshit guitar slinger struggling with his crippling degenerative arthritic condition.


Highlights from The Dirt include a scene wherein the early pre-Motley Crue three-piece arrives at a party to try to recruit singer Vince Neil, and the stark contrast between the dark, grungy borderline punks, and the blond, glam rocking lady’s man is almost comedic.

Tommy Lee’s narrated scene on “a day in the life” of a drummer on tour would probably be almost unbelievable for anyone who hadn’t kept up with the reported antics of the band throughout the 80s and some of the 90s. Still, it’s among the funnier parts of the movie.

And of course, the tour with Ozzy Osbourne poolside scene when the Oz snorts a line of ants which is so infamous even The Family Guy had a segment about it is one of the more memorable and entertaining parts of the film.

However, it’s the soft-balling of two major tragic moments that bothers me the most for a movie that is supposed to be a tell-all expose of the best and worst of the Crue’s career.

For starters;
Vince Neil’s tragic car wreck that killed Hanoi Rocks’ drummer Razzle is presented in a far less incriminating light than the actual accident. In the movie it appears as if it was little more than a silly conversation that distracted Neil, causing him to drift into oncoming traffic resulting in a wreck that ended the drummer’s life and stopped Hanoi Rocks in its rise to fame. In reality Vince Neil was very drunk, speeding at 65 mph in a 25 mph zone and swerving around a fire truck when he crossed into oncoming traffic and hit two other vehicles, killing Razzle and permanently crippling the two people in the other vehicle. It was an avoidable tragedy for which Vince only spent 19 days in jail.

Secondly;
Bassist, primary songwriter and visionary of the band, Nikki Sixx’s overdose in the movie is also a gloss job. The movie doesn’t shy away in the least bit from the crippling heroin addiction that nearly killed him. Well, technically it did kill him for about two minutes, but the paramedic managed to get his heart pumping again. Missing from the story is the reportedly cavalier attitude with which he injected the deadly dose. Also missing were the other prominent actors in the scene. It’s fairly well known that Guns N’ Roses guitarist Slash and drummer Steven Adler were at the party, but the movie completely leaves this out except for a brief shot of a figure strung out on the couch who resembles Slash. It’s a significant point considering it was Slash’s girlfriend Sally McLaughlin who performed mouth-to-mouth on Sixx before the ambulance arrived. Maybe these details were left out of the movie to avoid infringing on the reputation of the other band, but their image as heavy heroin users is well established in Slash’s self-titled autobiography anyway. On top of that, The Dirt didn’t mind depicting Van Halen’s David Lee Roth using cocaine in the band’s party pad earlier in the film.

The Dirt skips almost everything regarding the Crue’s time in rehab, but I didn’t mind because as Vince Neil says in the film “you don’t want to see any of that shit.”

They also skim through the John Corabi years as if it took place over little more than a few months, but since most real Motley Crue fans don’t care much for that period it’s fine. In fact, I can’t name a single song from that album. The main problem is that The Dirt completely neglects Vince Neil’s solo career as if the only thing that happened to him during that time was the tragic death of his daughter, Skylar.

The Dirt is a great ride, and a damn good biopic. It delivers well on the best and worst of Motley Crue’s history. It touches the perspectives of all four members of the band, as well as their manager Doc McGee and it experiments with nontraditional styles of story-telling, with fourth-wall breaking segments, cross-narration, comedy, and very candid representations of some of the darkest points of the bands lives.

Any fan of band biopics should enjoy The Dirt.

Lojah on the Musician’s Guild

I was recently a guest on the Musician’s Guild, a great internet show run by Richard Dunlavy and Darryl Oehmsen in Pensacola, Florida where they discuss the local music scene and promote the various players and performers in it.

In this episode 5 of the series I was honored to be a guest on the show where I played a few tunes, talked about my musical upbringing and how and why I came to use the moniker Lojah for my music.








Pub Songs on Palafox by Jay Moody

Pub Songs on Palafox is a four song, lo-fi EP recorded in the raw as a live-air production that captures the energy and sound of a Jay Moody solo performance while busking downtown Pensacola, Florida in competition with the various sounds of a bustling city street.

Jay begins with a rowdy Irish pub tune, Dicey Reilly, about a lush of a woman who spends her life crawling from pub to pub; a sailor’s favorite. The Black Velvet Band is another classic Irish ballad about infatuation, deceit and injustice which takes us out of the pub and away from the Emerald Isle to a penal colony in Australia. Following up is Looks Like Jesus, a rockabilly-blues styled piece and a Jay Moody original tells the story illustrating the conflict between despair and ambition, shroud with esoteric imagery, set in the Southern atmosphere he calls home. Miss Constance concludes the record, a naughty Caribbean-styled tune about the perils of running with younger women.

Jay’s Creolized Swamp-Roots Music is a style deeply influenced by Caribbean rhythms, Celtic melodies, and blues.

Download Pub Songs on Palfox here.


Gene Simmons, Profile of a Rockin’ Capitalist

Gene Simmons is best known as the fire-breathing, blood spitting demonic bass player of the record breaking rock and roll band KISS.  With multiple millions of fans the world over and across no less than three generations, Gene Simmons and KISS have experienced success that far surpasses that of the majority of eccentric musical acts that sprung up throughout the 1970s. Though many rock and rollers have come and gone in the years that KISS has rocked the earth, Gene Simmons is richer and more popular now than he ever during his band’s classic era.

Rock stars are typically not the best examples of financial wisdom; in fact they are usually the worst.  The unrelated natures of musical talent and financial wisdom detract from the music business as a viable path to wealth as it is.  Couple that with the unlikelihood of success and the well known frivolous spending habits and legal antics of those in the field.  This is why I get certain skeptical looks and responses when I cite Gene Simmons as inspiration for financial strategy.

There is a distinct line between Gene Simmons and most of the rockers that came before him or have shown up since.  This line is what has kept him and his partner in KISS, Paul Stanley on top for more than three decades.  While many millionaire rock stars squandered their wealth on extravagant lifestyles, Simmons conserved his money for future investments while slowly building the phenomenon that is KISS.

gene simmons photo: Gene Simmons e8f9f32c.jpg

Until the success of his hit show Gene Simmons Family Jewels, few people have had the chance to see just how financially savvy and down to earth the legendary rocker truly is.  Having taken the time to listen to Simmons’ message and philosophies, I have no doubt that even without KISS, rock and roll or a single musical note; Gene Simmons would have become a wealthy man one way or another.

Simmons was born in Israel in 1949 as Chaim Witz to Flora Klien, a poor holocaust survivor from Hungary.  In his book Sex, Money, Kiss, Simmons recounts the experience that would set the tone for his financial future.  At the young age of five, he decided to earn some money by selling cactus fruit.  He would go into the desert and gather the fruit, wash it, chill it in ice water and remove the spines.  He would then cart it to the bus stop in time to meet the afternoon bus and sell the fruit to the workers unloading after a hard day on the job.

The future superstar came to the United States at the age of nine.  Even as an impoverished immigrant who couldn’t speak English, nothing stopped him from finding creative ways to earn an honest living.  Whether playing in local rock bands, typing term papers in college, dealing in classic comic books, or running his own science fiction fanzines, Simmons always kept his best financial interests in focus.  He avoided drugs and alcohol and all the other vices on which young people are prone to waste money.  When it came time to form KISS, Simmons and his partner Paul Stanley were financially stable enough to walk away from a deal with their band Wicked Lester in order to pursue their dream of forming the world’s most legendary rock band.

             

After achieving international fame with KISS, Simmons didn’t just revel in the spotlight.  He worked the business end of his craft to the best of his abilities.  Even with millions of dollars coming in, he budgeted, cut his expenses and planned for future opportunities or possible misfortunes.  He expanded his horizons.  He managed Liza Minelli for a time.  He acted as a talent scout, discovering Van Halen and eventually founding Simmons Records.

Gene Simmons has never stopped learning about business and building his financial future.  He has continually found new avenues to keeping KISS relevant and advancing.  He has acted in feature films such as 1984’s Runaway and in 2010 he played the voice of the Spirit Dragon in The Last Airbender.  He created the animated series My Dad the Rockstar for Nickelodeon, Mr. Romance for Oxygen, and he starred in the UK series Rock School.  The hit series Gene Simmons Family Jewels is beginning its 5th season.  Now, in 2011 Gene Simmons is a co-founder of The Cool Springs Life Equity Strategy, an estate planning service.

So how exactly does Gene Simmons represent a lesson on success?  Starting with the cactus fruit; even when he had nothing to invest, he found something he could acquire for free, and with some work others would pay him money for it.  When he had some capital to invest he pursued avenues that he was truly interested in; comic books, science fiction, rock and roll, and eventually KISS.

Even with the success of KISS, he has always kept his eye out for other opportunities to expand his business and market his brand.  Some might say that Gene Simmons’ wealth was acquired by luck.  But Gene would probably say to them “the harder I worked the luckier I got.”  As a result of his discipline and tenacity, today Gene Simmons is amongst America’s wealthiest people.

A person does not need to come from established financial means to achieve wealth.  All one needs is an economic atmosphere that encourages entrepreneurs, and the internal wealth that provides the psychological resources required to act wisely, decisively, experimentally, and consistently.  From a poor Israeli child to an American citizen in the highest tax bracket, Gene Simmons is an example of how Capitalism Saves.


The Pine Hill Haints – Ghost Music in a Punk Scene

The Pine Hill Haints

The Pine Hill Haints are a bit of a modern rockabilly jug-band mixed with a punk rock spirit.  Though singer and primary songwriter, Jamie Barrier might call it “The Spirit of 1812.”

I first saw the Haints at Sluggo’s a few years back, and they have been all over the world and accrued quite a following since their 2000 debut.  Such an innovative musical concoction as the Haints has an appeal much broader than the “folk-punk” category they are often associated with.

The Haints describe their sound as “Alabama Ghost Music.”  It’s a mixed assortment of southern roots music from bluegrass, to ragtime, rockabilly and honky-tonk, upbeat and with eerie and supernatural themes. Named after the Pine Hill Cemetery, the Haints are inspired by local Alabama legends and ghost stories. A haint is after all a particularly deep southern term for a ghost or haunt.

But the Haints aren’t dreary and gothic.  To me, they have a sound that seems to just emanate from the ground of the American South, like the past 250 years of Southern history and culture has taken the form of band.  With songs like “Whisper in the Dark,” and “Tennessee River Rambler” you get a real sense of backwoods punkabilly that would make Buddy Holly proud, while tunes like “Bordello Blackwidow” and “Walking Talking Dead Man” could be Calypso numbers straight from the repertoire of the Mighty Sparrow.

A PHH show is a hootenanny, rowdy and with an anachronistic flair, with lead singer and guitarist Jamie Barrier energetically jumping and jiving behind a handmade wooden mic stand reminiscent of the Grand Ole Opry.

           

The whole show is reminiscent to a bygone era with an unmistakably modern twist. The sound texture developed by the hodgepodge of Jamie’s guitar, Matt Bakula’s washtub bass and banjo, Ben Rhyne’s snare drum, Katie Barrier’s mandolin and washboard can’t help but make you feel like you’re witnessing an old rock and roll show just upon the invention of electric amplification.

The Haints are a band to see, and hear with wide appeal and a timeless sound that can be appreciated by punk rockers and hillbillies alike, between the ages of 5 and 105.  They are one of those few musical acts that can truly bring different genres, generations and social groups together.