Artist

Armed with a hard, aggressive melodic arsenal and thought provoking lyrics, JuiceheaD defines the new breed of American punk rock. Their music is infectious, contagious and packs enough punch to satisfy most old school punk rock fans, while simultaneously delivering a universal sound that any enlightened music fan will truly appreciate.

Formed in late 2003, JuiceheaD forged from the ashes of several local punk bands and fused a unique union of skilled playing and solid song writing. Rob Vannice had been active in the Chicago underground since 2000 in various bands, but found a secret weapon in Tommy Kloss, a classically trained guitarist turned bass player with who he had been honing the JuiceheaD sound. With the addition of Mike Garelli on drums, the three-piece catapulted into ear bleeding abandon and reached the next level. JuiceheaD has since toured across North America including the Misfits Records’ Fiend Fest tour, several regional and national treks with surf-punk pioneers Agent Orange, nationwide touring with UK punk staples the Adicts, and multiple nationwide tours as primary support for the legendary Misfits.

Two songs from JuiceheaD’s all-new, full-length, breakthrough studio album “How to Sail a Sinking Ship” have been chumming the water via a Ltd Ed. vinyl 7-inch single with free Digital Download card. The single, now in its (nearly sold out), 2nd pressing, showcases the band’s ability to combine a diverse range of musical styles & influences into their own blistering blend of punk rock-as does the entire album. JuiceheaD encouraged music fans to support local indie record shops by offering the first pressing of the single in an ultra-limited, Record Store Day exclusive 7- inch vinyl color-way, which quickly sold out.

The first track from the single, “Rotting from the Inside”, debuted at #40 and eventually climbed to #33 on the Alternative Specialty Radio Charts with consistent spins on both college and commercial radio nationwide. Track two, “Death of Democracy” also surfaced on air nationwide and continues to spin in heavy rotation on Sirius XM’s Faction channel on a daily basis.

“How to Sail a Sinking Ship” is produced by longtime Misfits & Ramones collaborator John Cafiero. Known for chart topping releases, Producer/Osaka Popstar frontman Cafiero also appears on guest backing vocals for “Rotting from the Inside”.

Additional guest appearances on “How to Sail a Sinking Ship” include Melora Creager (Nirvana, Rasputina) on cello for the punk-goth ballad “Black Roses”, and The Punk Pipers (consisting of NYC Firefighters) adding a traditional bagpipe flavor to the melodic track “When I Fall From Grace”.
The cover and interior art showcases illustrations by Joe King (Crooks N Castles, Billabong, and Obey Giant). Iconic artist Shepard Fairy personally recommended King for the project to Cafiero.

JuiceheaD has authentic old school punk sensibilities with a crossover appeal reminiscent of forefathers like The Clash. Recorded at Bennett Studios (owned and operated by the legendary crooner and his family), nearly every song on the album has hit single potential-without compromise-as does the band itself to grow into becoming the next Green Day, Rancid or Social Distortion for a new generation.

JuiceheaD’s “How to Sail a Sinking Ship” featuring 20 tracks with over an hour of new-music, casts off on October 4th, along with a nationwide tour of North American as direct support for the legendary Misfits through Dec. 2011.

The NEW Greg Kihn Band consists of Greg Kihn on lead vocals/guitar, Greg’s son Ry Kihn on lead guitar/vocals, Robert Berry on bass/vocals, and David Lauser on drums. Fans who see the band live will really appreciate the NEW 90 minute set consisting of all Greg Kihn material: like the big hits “Jeopardy” and “Break Up Song”, fan favorites such as “Happy Man” and “Can’t Stop Hurtin’ Myself” as well as new material from his unreleased “ReKihndled” album.

The Exploited are punk rock…
But maybe we should put that into context since it means so many different things. It’s early 1980 and ‘entertainment’ on a Saturday night (or any other night of the week) consists of sitting around at home watching crap on TV or sitting around in a bus shelter drinking cider or sniffing glue. Unless, of course, you’re old enough to drink in the same pub as your dad. Oh the thrill of it all! Punk rock is all you have. It’s your lifeblood, the only thing that makes sense and the only thing to look forward to in a world with ‘no future’. And it’s fucking exciting! The next single, the next gig, the volume coursing through your veins to remind you that you’re alive. Punk rock is a dangerous business. The mere act of looking like a punk will earn you a night in casualty if you’re not careful, and getting to and from one of the few venues that will let punk bands play can literally be a matter of life and death. So, you can cop out and be a part time punk (flatten your hair down for school, work or more likely the dole queue) or follow whatever trend you’re told is ‘in’ this week. The other option, the only other option, is to give to punk rock what it has given to you… everything! If you’re going to be unemployed, then be unemployable! If you’re going to get beaten up, then go down fighting! If you’ve got something to say, then shout it!

And most of all, if you’re going to be in an obnoxious punk rock band, then be in a really obnoxious punk band!
This was the route chosen by ex-squaddie Wattie Buchan (vocals), Big John Duncan (guitar), Dru Stix (drums) and Gary McCormack (bass). Right from the start (early 1980, if you were paying attention) there was no toning these Edinburgh punks down, no diluting their music for public consumption. The Exploited were punk rock.

Released just one year later on the Secret label, their debut album was as much a rallying battle cry as a record. It was called ‘Punk’s Not Dead’ and went on to become the number one independent album of 1981 (before most of the Indies were just majors in disguise), reaching number 20 in the national charts and selling 150,000 copies. Which kind of proved the point. If punk was dead, no one had told the Exploited’s rapidly growing ‘barmy army’. And while admittedly, ‘Punk’s Not Dead’ wasn’t the greatest record ever made, as an opening gambit it was unbeatable and live, the band were nothing short of incredible. The long hot summer of ’81 saw the whole country going up in flames. Real anarchy in the UK as city after city, town after town exploded! A perfect time for the Exploited to co-headline the legendary ‘Apocalypse Now’ tour with fellow punk giants, Discharge. The sell out London show (at the Lyceum Ballroom) took place just one day after the Brixton riots. Talk about an electric atmosphere!

By October that year The Exploited were in the singles charts with the violently evocative ‘Dead Cities’, leading to arguably the most ferocious performance ever seen on Top Of The Pops (yeah, you read that right! And yes, there were numerous complaints) and another massive UK tour.

If memory serves correctly, this was the one where Black Flag supported them, the one that ended in a full-scale riot at the Rainbow in Finsbury Park. Or maybe that was another time; certainly it was snowing in the Capital the night and ever demented front man Wattie declared war on the Mods (some idiot had booked the Jam to play just up the road), resulting in a pitched battle outside the venue.
1982 saw the release of the Exploited’s first genuine classic album ‘Troops Of Tomorrow’ (number 17 in the charts), which ten years later was to see tracks (most notably ‘UK82’ changed to ‘LA92’) covered by Slayer for the ‘Judgement Night’ soundtrack. More proof, if it were needed, that without the likes of Exploited, Discharge and GBH there would be no thrash metal and thus, no Metallica, Slayer or Slipknot. It has even been noted that those punk bands influenced such varied acts as Queens Of The Stoneage (whom Wattie presented with a ‘Best International Newcomers’ gong at the Kerrang Awards in 2000) and Atari Teenage Riot, Nirvana (Ex-Exploited guitarist Big John even played for them briefly) and Massive Attack.

In over two decades The Exploited have been tear gassed by German cops, banned from Holland, arrested in Spain, declared that the Falklands are British forever whilst on stage in Argentina and have caused more carnage than a multi-car pile up on the M1. Throughout that time they have remained steadfastly true to their roots, never selling out, never splitting up (despite numerous line-up changes) and never bowing down. They’ve been accused of being dumb (yes, sometimes, but wilfully so) and causing trouble (guilty again, but smashing stuff is fun and punks are supposed to be obnoxious).

But The Exploited are also fiercely (not to mention bluntly) socially and politically aware, covering everything from the Criminal Justice Act to the increasing use of Big Brother CCTV and never wavering from their anti-authoritarian, anti-war stance. And while a critic once suggested they were stating the obvious (politicians are liars and war is bad), someone is still voting for the fuckers and we seem to be on the brink of World War Three. Someone should be shouting about it for Christ’s sake! And no one shouts louder than The Exploited! Who else would have the nerve to drown a Tory politician in their video (for the title track of their ’96 masterpiece ‘Beat The Bastards’) or repeatedly refer to Maggie Thatcher as a “fucking cunt!” (‘Maggie’).
So we face the start of another New Year and nothing has changed. The country’s still fucked and on the brink of war as America’s lapdog, bored kids still wander the streets (smack and designer labels having replaced glue and cider) and The Exploited are just as relevant today as they were in 1980. Punk rock has come to mean so many different things to so many different people. Like an incurable virus the genre has infected the whole world, evolving, mutating (often beyond recognition) and contaminating everything that gets in its path. Fashion, art, comedy, politics and of course, music have all been irrevocably altered by punk rock. Christ, even football got in on the act… a mohican haircut we’re told, is now called a Beckham.

Not bad for something that has been pronounced dead more times than Dracula. But to The Exploited punk rock still means everything.
“Fuck The System’ their eighth studio album sees the band on more explosive form than ever, riotous, unrepentant and wholly uncompromising. Tracks like ‘Never Sell Out’ and ‘Chaos Is My Life’ (both self-explanatory) are as brutally heavy as anything bands half their age have to offer and prove beyond doubt that, not only is there life in the old dog yet, but the fucker’s got rabies! ‘Fuck The System’ isn’t just an album title; it’s a statement of intent. But then, it is a punk rock album, and make no mistake.

The Exploited are punk rock!

Written by Morat. January 2003.

Peters was one of the very first high profile skaters to embrace punk rock, cutting his hair short and narrowing his jeans when most skaters were still wearing 1970s fashions. As shown on an Eye on LA television segment, Duane left the punk rock movement for the softer sound of “New Romantic/White Funk” music; even forming a band by the name of Tan-Dane.

Peters was named Transworld Skateboarding’s “Legend” in 2003. He is a professional skateboarder who rides for Pocket Pistols Skates. In May 2005, Black Label Skateboards released a biographic film, entitled Who Cares: The Duane Peters Story,.[4] A second documentary, planned by havocTV, and intended to focus on the supposed path to sobriety of Peters and then-wife Corey Parks, was publicised but failed to appear.[5] In 2006, a sober Peters, had a cameo in the Joan Jett video Androgynous, directed by Morgan Higby Night.

Along with skateboarding, Peters is a well-known punk rock singer. He has formed bands such as the US Bombs, Political Crap, Die’ Hunns (also known as Duane Peters and The Hunns), Duane Peters Gunfight, and Exploding Fuckdolls. He was formerly connected with two defunct record labels: Disaster Records,[6] (owned by Patrick Boissel of Alive Records), and – later – Indian Recordings (owned by Ponk Media).

In 2000, Peters formed Duane Peters and The Hunns with Rob Milucky (previously of The Grabbers and The Pushers fame.) Within two years, the band released three full-length albums and undertook both national and European tours. At a The Damned show in 2002, Peters met future wife Corey Parks, who had just left her previous band, Nashville Pussy. Parks joined Duane Peters and the Hunns on bass guitar and soon the band changed their name to Die Hunns, recorded a fourth full-length album entitled Long Legs, Die’ Hunns, and embarked on another tour.

Don Dokken has always had a love of music. In the late 1970’s, he was playing in a band called Airborn, and had the opportunity to nail down a record deal in Germany. After seeing the band Xciter, and future bandmates George Lynch and Mick Brown, he knew that they would complete the band that would land the deal. Although Lynch and Brown weren’t interested in joining forces with him when he first contacted them, he went ahead to Germany. Don must have had a premonition that the three of them would eventually end up working together, because, with the help of one of Xciter’s songs, he did get the deal. He finally convinced Lynch and Brown, along with bassist Juan Crouchier, to join him in Dokken soon after he received the German deal.

In 1983, America saw the release of the first Dokken album, “Breaking the Chains,” but it wasn’t until their sophomore release, “Tooth and Nail,” that people began to take notice. Don’s strong vocals, coupled with Lynch’s blazing guitar playing and the steady rhythm section of Brown and their new bassist, Jeff Pilson, guided Dokken to imminent fame as one of the biggest rock bands of the 80’s.

Unfortunately, things were not always peaceful in the Dokken camp. The well publicized rumors about Don and George Lynch’s dislike for each other took their toll on the band. In 1988, after the Monsters of Rock Tour and a multiplatinum album, Dokken decided to call it quits. Many fans saw that breakup as the end, but it turned out only to be part of the beginning.
Don Dokken continued on as a solo artist, playing with a band made up of guitarists John Norum and Billy White, bassist Peter Baltes and drummer Mickey Dee. He also spent time as a producer for the band XYZ. Around late 1993, Don started to talk with Mick Brown, who had recently left Lynch Mob. They joined up with Jeff Pilson, and started to write songs. In 1994, they sent what they had written to George Lynch, who was impressed with the material. Together, they decided to reform and record a new Dokken album.

Since 1994, Dokken has released three studio albums, two live CDs, a Greatest Hits album, as well as their first two DVDs. Dokken also lost George Lynch, gained Reb Beach, and is now kicking off a new era with guitarist John Norum after the recent departure of Reb. One thing has remained constant over the years – there is never a dull moment when Dokken is involved.

Many fans of the 80’s metal scene applauded Dokken for rejoining and putting out a new album when the music scene was so saturated with “Modern Rock.” Don has been adamant about bringing hard rock music back from the grave that so many had believed it to be buried. When Don Dokken sings, people listen. When he gets up on the stage, people support him. Don is a musician that has come a long way from those days with Airborn.

He has demonstrated to all of us what can be acheived when you stay true to yourself and your dreams. His belief is that rock will rise again, and he can take pride in the fact that he and Dokken will have helped pave the way.

Discography Solo

Studio Albums

1990 – Up from the Ashes
2008 – Solitary

Ever since the break-up of the Ramones, the Dickies hold the title of being the oldest active punk band in the land. These guys have released records and played punk shows in FOUR different decades. Yowzers! The band’s epic career is matched only by their wacky high-octane live performances. With Stan Lee’s buzzsaw guitar and frontman Leonard’s demented dance moves, the Dickies remain as one of the most rockin’ bands around today. No fire-breathing or acrobatic posturing for these veterans; Leonard’s repertoire consists of inflatable dolls, scuba gear, and a large penis puppet named Stewart. Now that’s entertainment!

The story of how the Dickies came to be on Fat Wreck Chords is a modern-day punk rock fable of fate. Fat Wreck prez Fat Mike got his portly paws on a four song demo in 1996 and contacted the Dickies in hopes of releasing a full length. Upon receiving the first call from Fat Mike, Stan had this to say: “Who?” Stan then called up Leonard in hopes that he could enlighten him about this mythical Fat recording company. Leonard responded in kind with a “Fat what?” Someone in the Dickies camp knew what’s what however, and encouraged the band to work with Fat Mike. So not long after Stan explained to Mike that they “have a whole record worth of shit.” Now you may be wondering why it is that the full length was not released until 2001. Well folks, Stan lied. But hey, all’s well that ends well!

Their legacy of recorded works (ahem, trying not to get too carried away here) includes the groundbreaking (sure, why not?) Incredibly Shrinking Dickies, the sophomore(ic) Dawn of the Dickies, the indie-punk classic Stukas Over Disneyland, the prophetic Second Coming, the EP built around their theme song to the cult-hit movie Killer Klowns from Outer Space, and the long player Idjit Savant. Then came Dogs From the Hare That Bit Us, an all-covers collection. It was in 1996 that the Dickies met up with Fat Mike and agreed to release the 7″, My Pop the Cop on Fat Wreck Chords. This led to the inevitable release of their latest and greatest full length, All This And Puppet Stew. It is reasonably safe to say that the Dickies are perennial favorites the world over, adored by fans ranging from grizzled geez-punks to kids not yet born when the Dickies were first incredibly shrinking.

The release of All This And Puppet Stew will surely breathe some life into the lungs of the Dickies and the punk scene. These furious fogeys may be old, but they tour like young’uns! They can still pull full U.S. tours and have been to both Europe and Japan in the last year. Catch the Dickies on tour and in your pants soon, and be on the look out for Leonard and his maniacal stage props!