DERKETA – From Tape Trading To Unwillingly Writing History

Tags

Acrostichon, Angela Gossow, Arch Enemy, Carcass, Cattle Decapitation, Creation is Crucifixion, Darkness Fades Life, Decibel Magazine, Derketa, Don Crotsley, Funerus, Goreguts, Grave, Holy Moses, In Death We Meet, Mary Bielich, Mike Laughlin, Mind Cure Records, Morbid Vision, Noisem, Nun Slaughter, Ola Lindgren, Pittsburgh, Robin Mazen, Rock Goddess, Sepultura, Sharon Bascovsky, Studio Soulless, Terri Heggen, The Black Dahlia Murder, The Pleasure Seekers, The Runaways, Troops of Doom

As unintended as the fact of being the first ever all-female Death Doom Metal band to grind down the face of the earth, as great the effect was and still is of DERKETA forming in the late 80s. Far from any gender related clichés and whatnot, the Pittsburgh-based four piece managed to stick to their own selves and finally reformed in 2006 after disbanding in 1991. Keeping alive their original sound, DERKETA are currently working on new material and tomorrow night will join in the ongoing Decibel Magazine Tour featuring NOISEM, GOREGUTS, THE BLACK DAHLIA MURDER and some old friends of DERKETA’s – CARCASS.

Thus its about time to have some serious talk with vocalist/guitarist and founding member Sharon Bascovsky.

DERKETA 2014: Mike Laughlin on drums, Sharon Bascovsky, Robin Mazen on bass & Mary Bielich on guitars

You started as an all female band back in 1988, when both Death and Doom were in an infant state – how did the members of DERKETA get into that kind of sound?

It was a natural progression from Classic Rock, to Heavy Metal, to Thrash Metal, then to Death and Doom Metal. Our friends would have parties and people would bring along cassettes from tape trading and that is how we got exposed to it all. Once I heard doom and death metal, that is the genre that grabbed my attention and started my passion for it.

Having only female musicians was that something that just happened or was it an actual decision?

It just happened that way. I started playing guitar in 1985 and got bored with learning song covers and started writing my own music. I met Terri, who later became the drummer, at a party and her and I became friends. I had mentioned to her that I was thinking of starting a band and she said she wanted to do the same. She bought a drum set and took some lessons, then we started jamming together just as friends and did some recordings. It wasn’t until people started to ask us to play out live is when we started looking for other members and once we started asking our friends if they knew of anyone, they would refer other females that they knew played. It was more of our friends liking the idea of us being an all female band and the way we saw it, it was whoever was willing and able to do it. It wasn’t that we specifically wanted females to join. At one point Don Crotsley, the singer of NUN SLAUGHTER, was playing bass with us. He had met Mary Bielich at a party, found out she was going to college for bass, and suggested that we replace him with her because she is an amazing bassist. Throughout the years I’ve worked with both males and females, but originally it was just me and Terri so we became known as the first all female Death Metal band. We eventually reformed the original lineup in 2006 to work on recording “In Death We Meet” but since then Terri quit due to time restraints. We now have Mike Laughlin on drums, he’s played with CATTLE DECIPATIATION and CREATION IS CRUCIFIXION, and that has been going well. He’s been with us for about 2 years now.

How would you depict the ups and downs of being a bunch of girls in a very much male dominated environment, has that ever make you doubt about “doing the right thing”?

We’ve only encountered the negative “female band” thing outside of Pittsburgh. Here, it is very common for women to be involved in extreme metal, ever since the 80’s, so we were never treated strange or looked down on here. Once we became in contact with people all around the world, we did encounter some “odd” behavior from the guys, either thinking we were just doing it to meet guys or just plain insults that we were women and didn’t belong in the Death Metal scene. There wasn’t a lot of it, most of our peers were into it, but there were some and ive become numb towards negative opinions. In the early days it would bother me cause I didn’t understand what their problem was about it. I mean, it’s just a band, ya know? And a guy doing Death Metal vocals is just as strange as a female doing it. Now I can care less and am not fazed by it. If you like us, then fine. If you don’t, that’s fine too. I’m too old to care what others think of me or the band. We’re having fun and that’s all that matters. But in all honesty, we’ve taken more heat from girls versus the guys mainly cutting down our looks, which is weird. Posting their opinions on how ugly they think we are, or starting strange rumors. Don’t get me wrong, we still get that from guys too but girls can be vicious and catty. After 26 years of various insults, I’m numb to that as well as ive never defined myself on my looks and that’s not what this band is about. Those would be the “downs” of being a female into Metal, the almighty judgment. The “ups” would just be the people that could give a shit that we’re female and shown us respect as a band/musician. The only benefit that I can see is people being curious on the female factor and they may have checked us out because of that. I’ve never had any doubts though; im doing what comes naturally to me and what I want to do.

Sharon – vocals & guitars

Sharon, you told me before that DERKETA hasn’t played outside the US up to this point – what are the reasons for that, specially with loads of people from overseas taken an interest in the band?

Well, we’re not sure how the interest would be for us over there. We self release our recordings and we simply can’t afford to travel too far away on our own unless a promoter pays for our expenses to do so. Trust me, we want to and we’re hoping that a promoter will have faith in us to bring us over while we’re still able to do it. We’re not getting any younger, not that age worries us, it’s the health problems that are bound to happen with aging…and of course, death. We are doing a 4 date tour in Mexico this September and we’re all extremely excited about that. We have some diehard fans there and we’re looking forward to meeting and performing for them. The other thing I worry about is keeping everyone’s drive up to continue. We’ve gotten good reviews and have just about sold out of the first pressing of “In Death We Meet”, merch sales have been good for us, so that has helped to keep our drive going for regular rehearsals and not be so casual about it all. Maybe in 2015 some overseas promoters will bring us over. I think playing some Euro fests would be the wise move as we’re not sure how well we’re known over there to do an actual tour on our own just yet.

Your full-length debut “In Death We Meet” was released in 2012. How soon can we expect a successor coming up?

We just recorded 2 songs for a 7” on Mind Cure Records, which is a local Pittsburgh record store. Theyre releasing a local band a month and I believe our release date is the end of May. The conditions to the 7” were one original song, which is called “Darkness Fades Life” and a cover song. We covered Sepultura’s “Troops of Doom” (MORBID VISION version).

We also had Ola Lindgren from GRAVE remix “In Death We Meet” because there were some things that I wasn’t 100% happy with and I wanted to fix them for the vinyl version. The remix is complete, Ola did a FANTASTIC job, exactly what I was looking for, so the vinyl should be released this summer, as well as a CD version since were almost sold out of the original pressing. There is no sense in repressing the original when the remix completely blows it away. We took our time on the remix, worked in between our schedules so it allowed us to give our ears a break which was a definite bonus.

I’m in the process of writing for our next full length album; which were hoping to record the end of this year, but its all about creativity and ideas so it all depends on how that goes. Its something that I can’t force to happen but I work on the songs daily. We’ve taken a step back from playing too many live shows this year so that I can focus on it. And of course, Ola will mix it at his Studio Soulless as he is the only Studio Engineer that I will work with from now on. It’s not that the other engineers ive worked with were bad in any way, it’s just that im particular on sounds and tones and not everybody agrees with me. Ola “gets” the sound and feel that im trying to accomplish with our songs and is extremely easy to work with. He also mixed our “Darkness Fades Life” 7”, and even played on it. As he was mixing, he was hearing some guitar notes in his head and asked if he could try them out on the recording. Those notes really enhanced the song and im excited for people to hear it. I highly recommend bands to work with him as he does have a true talent and they wont be disappointed with his work. I’ve heard other bands that he’s worked with that have a different style than Derketa so he is able to bring out bands in the way they need to be heard. I’m looking forward to working with him on our next recording and that has helped my drive to get the new material written.

What do you think of bands like ARCH ENEMY, HOLY MOSES or the likes with female vocalists?

As weird as it may sound, I don’t really put a focus on bands that have female musicians or vocalists. I guess since im a female, I don’t see it as weird or anything special, they’re just bands to me. I don’t have any desire to compete with any band/person, musically or vocally, so I don’t keep up with it all. I’ve heard a song from ARCH ENEMY and they’re too technical musically so im not really into them. I thought Angela’s vocals sounded too processed or something and think it would have been better if she went naturally as she does have a strong voice. But that’s just my vocal preference. When I perform, I don’t even want echo on my vocals, volume is the only thing I want to keep it raw and natural. I’ve heard of HOLY MOSES but have not actually heard their music. There are too many bands to keep up with so im sure im missing out on a lot. I’m am friends and a fan of FUNERUS and ACROSTICHON, both having female fronted members, I’m really into what they’re all about and doing but id like their music just the same if they were males. They both do a great job. I’m very picky about vocals in general, I don’t like the barking death metal vocals; I like words to be distinguishable.

Have you been inspired by any of the early all-girl groups such as THE PLEASURE SEEKERS, ROCK GODDESS or the famous RUNANWAYS?

No, it was never my intention to have an all female band, it just turned out that way because of a friendship, so there wasn’t any inspiration for that direction. In fact, I was a little turned off by some of the all female bands in the 80’s because of the glam era and members trying to look sexy and glamorous. I didn’t relate to that at all, it wasn’t and isn’t my personality. That goes for the guys that got dolled up too! My inspiration came from various bands growing up, the 70’s and 80’s era, just bands that wrote good music that captured me in some way. I was never a girly girl and always felt more like a peer to the boys, and when I would hear a song on the radio or see a concert, I knew that its something that I wanted to do and it had nothing to do with any female influence. I mean, I love Joan Jett, but if she didn’t exist, I still would be doing what im doing. Its not like a saw a female do it and then thought that if she can do it, I can do it too. You know? There have been lots of things that have inspired me throughout the years but none of it is gender related.

DERKETA live in 2013

On April 07 you will join in some old friends on stage for the ongoing Decibel Magazine tour – how do you feel about it?

Nervous and excited at the same time! Its going to be fun finally sharing a stage with CARCASS but I’m always a little nervous until we hit the stage and start playing. This is a great opportunity for us as we’ll be playing in front of a larger local crowd and we’re hoping that it will bring some awareness that Pittsburgh does have a local metal band scene.

And how come you didn’t jump onboard for the entire tour circle?

We weren’t asked to. Decibel Magazine selected a few cities to have a local opener and we were lucky to be one of the cities/bands that were asked.

Last but not least, is there anything else you’d like to share with the world, maybe some words for aspiring young lasses who’d like to kick some major arse the way you do?

Thank you for taking the time to send me this interview, I really enjoyed your questions! If people are interested in keeping up with what were doing, find us on Facebook as we update that regularly. As far as advice, don’t let guys or girls intimidate you in an attempt to prevent what you want to do. At some point, you will encounter it but you are only on this earth once. Those people don’t matter. Stay true to yourself, don’t try to compete with others, and do what comes naturally. You will not fail.

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DERKETA Homepage

DERKETA Facebook Page

DERKETA Big Cartel Page

FANNY – The Godmothers Of Chick Rock

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Addie Clement, Alice de Buhr, Arista Records, Arlene Quatro, BBC Radio 1, Billboard Single Charts, Brie Berry, Butter Boy, California Girls, Casablanca Records, Charity Ball, David Bowie, Deep Purple, Fanny, Fanny Hill, George Harrison, Harry Nilsson, Jean Millington, Joe Cocker, June Millington, Kim Fowley, L.A. All-Stars, Mother’s Pride, Musicians’ Referral Service, Nancy Quatro, Nickey Barclay, Patti Quatro, Reprise Records, Richard Perry, Ringo Starr, Rock And Roll Survivors, Rod Stewart, Rodney Bingenheimer, Suzi Quatro, The Kinks, The Pleasure Seekers, The Rolling Stones, The Runaways, The Svelts, The Who, Todd Rundgren, Whisky-a-Go-Go, Wild Honey

June Millington, born April 14, 1948 and her sister Jean Millington, born May 25, 1950, both in Manila, Philippines started making music in their childhood years, playing a rather traditional island instrument: the ukulele. The two are most renowned for founding Fany, one of the very first all-female Rockbands to be signed by a major record label, but this part of Rock history was still several steps away. Upon moving to Sacramento, California in 1961 they got touch with the contemporary folk sounds. Music is what kept their spirit high, being surrounded by strangers in a strange country. Thus they began performing as an acoustic duo in High School.

Jean & June performing with their acoustic bass and guitar

Having put aside acoustic instruments, their first band prior to Fanny was called The Svelts, featuring drummer Brie Berry, who temporary left but would later join Fanny. In 1968 by guitarist Addie Clement (former member of the California Girls) and drummer Alice de Buhr, who had moved from Mason City, Iowa to California at the age of seventeen in search of the proverbial fame and fortune. The four girls toured around the west in a pimped bus, mainly playing cover versions. Later on in 1968 Addie and Alice pursued their own vision and formed the all-girl band Wild Honey. Without anyone have seen OR heard them, Wild Honey got signed to WB subsidiary Reprise Records. In search for a keyboarder, Wild Honey had to face quite a struggle, as in the late 60s most girls would prefer the piano or church-organ over a Rockband – finally at the backstage area of the Whisky-a-Go-Go, June came in touch with Kim Fowley. He had an artist agent called Musicians’ Referral Service. A sort of agency that helps people finding each other. He helped Nickey Barclay find the musicians of Wild Honey, as he would later do for his most famous find The Runaways.

The Svelts

Over several lineup shifts and changes, Wild Honey had June on guitar and Nickey rejoined after touring with the Joe Cocker Band, pretty much on advice of Mr. Cocker himself. The release of the first album was imminent and arouse the question of a new name – by the four musicians themselves, by their producer Richard Perry, by their label and by their management, the Blue peacock Company. Everyone agreed upon it ought to be a woman’s name, something short, memorable and at once feminine and bold. After considering a series of suggestions the band settled on the name Fanny, and the rest was history.

Fanny Reprise Promo

Admired and promoted by fellow musicians and so-to-speak scene makers like George Harrison, David Bowie, Deep Purple, The Rolling Stones, The Who, The Kinks, Rod Stewart, Ringo Starr, Harry Nilsson, Rodney Bingenheimer and Kim Fowley – even before their self titled debut was published – the media wasn’t too much interested in Fanny, accusing them for trying too hard. By now they had become one of the favourite bands to play at Whisky-a-Go-Go – they were booked there so often that it was effectively a residency for them. Despite all criticism, Fanny would stand their ground and pave way for many all-girl groups to come in the cause of history. Finally with their second output, 1971’s ‘Charity Ball’ was well-received by both critics and the public, it’s title track hit the singles charts in the US, peaking at number 40 on the Billboard singles charts in November, and Fanny toured extensively to support the breakthrough.

FANNY playing at Whiskey-a-Go-Go

1972 and 1973 saw the publication of Fanny albums three – ‘Fanny Hill’ – and four – ‘Mother’s Pride’, produced by Todd Rundgren – working their way to become a respected live act and kicking doors open for female musicians, Fanny was no longer laughed at. They even passed the rock-cred “test of fire” by having one of their singles, Young and Dumb, banned by BBC Radio 1 (and by being banned from playing live at the Albert Hall – for being “too provocative”!). Living up to the expectations of being both women and rock musicians took its toll and Fanny and caused a temporary brake-up, resulting in both Alice and June. Alice was replaced by Brie Berry, former drummer of The Svelts while June’s shoes were filled by none other than Patti Quatro, best known as a member of The Pleasure Seekers with her sisters Suzi, Nancy and Arlene. This new line-up recorded the final Fanny album with the meaningful title ‘Rock And Roll Survivors’, published via Casablanca Records. The single ‘Butter Boy’ entered the Billboard singles charts in February, 1975 at number 29 – but by than Fanny had disbanded. A final effort in the spring of that very year found sisters June and Jean together again, accompanied by June’s friend Patti Macheta on percussion and vocals and Wendy Haas, wife of Martin Mull and an old friend of the original Fanny band members, on keyboards and vocals.

At the end of their career, Fanny discontinued the use of the band name and referred to themselves as the L.A. All-Stars. Refusing to act as Fanny again, the band even turned down a possible deal with Arista Records in early 1976.

Inspired by:

Fanny Rock

June Millington

Metal Maidens

THE PLEASURE SEEKERS – Sisterhood Of Strings

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Alice Cooper, Arlene Quatro, Art Quatro, Bob Seger, Cradle, Darline Arnone, Diane Baker, Leo Fenn, Mary Lou Ball, Nancy Ball, Nancy Quatro, Patti Quatro, Sherilynn Fenn, Suzi Quatro, Ted Nugent, The Pleasure Seekers, Unzipped

The Pleasure Seekers was a 1960s-era, all-female garage rock band from Detroit, Michigan. The band morphed into Cradle, changing direction musically. They are known due in large part to the later prominence of bandmember Suzi Quatro. According to Suzi Quatro in her memoir ‘Unzipped’, the sisters searched through the dictionary for a name for their band and on coming across “hedonist” used the definition “pleasure seeker” to come up with “The Pleasure Seekers”.

Patti Quatro (born 1948, Detroit, Michigan, USA) formed The Pleasure Seekers in 1964, and they were Suzi Quatro’s first band. After a few weeks practice, Patti dared Dave Leone to give them a slot at his popular teen night club, The Hideout in Detroit. He put them on stage two weeks later, and they never looked back, becoming well known and gaining momentum in the burgeoning and exploding Detroit music community, playing concerts and teen clubs with Alice Cooper, Ted Nugent, Bob Seger, and others.

The original band included Suzi Quatro and Patti Quatro, Nancy Ball (drums), Mary Lou Ball (guitar), and Diane Baker, whose father was in Art Quatro’s band, on piano. Later on Arlene Quatro replaced Diane on the piano. Nan Ball played drums until late 1965 when Darline Arnone joined the band and stayed until late 1969. Arlene Quatro’s husband, Leo Fenn, managed the band.

The band had their first record out in 1964, when Suzi Quatro and her sister Patti Quatro were 15 and 17 years old, respectively, on the Hideout label. Both sides of their first single – ‘Never Thought You’d Leave Me’ b/w ‘What a Way to Die’ – have some prominence; the first is included on ‘Highs in the Mid-Sixties, Volume 6’, while the other was featured in the cult film Blood Orgy of the Leather Girls (1988). Both songs (lyrics by Dave Leone) are included on the compilation album ‘Friday at the Hideout’, which offers a retrospective of Hideout Records, and charted regionally for the band.

In 1968, they were one of the earliest all girl rock group to be signed to a major label, Mercury Records. They released a second single, ‘Light of Love’ b/w ‘Good Kind of Hurt’, with both singles charting. The group matured into a dynamic show band and, using Detroit as home base, toured the U.S. Their show featured an entire Sgt. Pepper/Magical Mystery Tour revue, as well as a Motown sound revue, and everything in between, as well as featuring one of the earliest known light shows for their act.

In 1969, The Pleasure Seekers morphed into Cradle, changing direction musically in writing heavier original material and touring throughout the U.S. Arlene was now manager and sister Nancy Quatro had joined as vocalist and percussionist. The group toured vigorously, playing concerts and pop festivals throughout the U.S. with popular bands of the day, ending with a tour of Vietnam. In 1971, Suzi was signed by producer Mickie Most to his RAK Records label, leaving for England and solo fame as Suzi Quatro. Patti continued with sister Nancy in Cradle, then joined brother Mike’s MQ Jam Band, co-producing and recording an album, Look Deeply Into the Mirror.

The Quatro sisters have reunited for special TV and concert projects through the years, reminiscent of the early Pleasure Seekers days.

Patti currently runs Cradle Rocks Publishing with sister Nancy, and is involved in restoring the original, never released catalogue of Pleasure Seekers and Cradle music. ‘The History’, a newly remastered album of music from Cradle was released in 2010. ‘What a Way to Die’, a newly remastered album of music from The Pleasure Seekers was released in 2011.

Arlene Quatro and Leo Fenn are married and have a daughter, actress Sherilynn Fenn. Arlene Quatro left the music business, authoring a book on health and becoming involved in environmental issues.

Nancy Quatro turned to music management, forming N. Glass Management and managing the band Overscene.

In 1974, Patti Quatro joined Fanny, appearing on their ‘Rock and Roll Survivors’ album and two singles, ‘I’ve Had It’ and ‘Butter Boy’, which reached #29 nationally. Patti left Fanny in 1975. She continued to pursue studio work on several albums, musical side projects (through many years), and modeling.

Suzi Quatro became very popular in Europe, enjoying a successful and long lasting music career. She sold over 55 million records and is still active as a touring and recording artist. She also branched out as a TV actress, stage actress, radio D.J. and author. She is well known for her role as Leather Tuscadero in the popular TV show Happy Days.

Inspiration:

1960s Garage Bands

Quatro Rock