Obscure Sisterhood – Lucifer

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AC DC, California Son, Century Media, Danzig, Deep Purple, Dreamer, Guns N' Roses, huck Berry, Johanna Sadonis, Little Richard, Lucifer, Metallica, Nicke Andersson, Ramones, Roxy Music, Run DMC, Scorpions, Screamin J Hawkins, The Oath, The Runaways, The Velvet Underground, ZZ Top

When a certain female-only duo stepped onto the rock-infused limelight, I was very unimpressed. Specially with the vocals of one Johanna Sadonis. Not even their stage attire in all its resemlence to The Runaways caught my attention in a good way. Fast forward to the present and the new incarnation of Lucifer, I am proud to call myself a fan of this female musician, who clearly is so much more than “just a singer”. Still patiently waiting for a full-length European headline tour and my chance to finally see her live on stage, this has been a most pleasuerable interview in the making. Enjoy – I do!

How and when have you been first introduced into the world of Rockmusic? (I know you gave a very nice insight in a previous interview with Rock Hard, but since that one is currently unavailable, I’d be happy to learn about this as well)

Music has always been around me when I was a child. My mother was a classical trained piano player and listened a lot to classical music and rock. I was raised on the Stones. My parents also loved bands like Deep Purple, ZZ Top, AC DC, Roxy Music, The Velvet Underground and a lot of 50s rock and roll like Chuck Berry, Screamin J Hawkins, Little Richard etc. My older brother, who I am very close with, was a punk. It was the 80s. He made me mixtapes with all kinds of stuff spanning from Ramones to Run DMC. When I was coming of age my natural rebellion was lying in Heavy Metal which soon turned towards extreme metal.

Speaking of which: Who inspired you the most to start making music yourself??

Hard to say. In elementery school I started in to sing along to everything and was in my first band at the age of 13. First guitar, then vocals, which I stuck to. Around that time Danzig had a huge influence on me. The first three albums. But also early Metallica and Guns N Roses.

Most people know you from your former band The Oath, but you have quite the history of work to your name – is there any band/collaboration or project that you regret or might even be ashamed of?

No, everything lead up to who I am today.

dances with the devil

Have you ever felt less of a musician, being „just“ a singer on stage?

I am a singer but also a songwriter and write 50% of the songs and all lyrics in Lucifer,  not even mentioning all other creative and managing processes concerning Lucifer that spring from my head. Lucifer is my creation, vision and concept. However, there are many “just” singers, as you put it, out there that get a complete song with lyrics thrown at them and I don’t think there is any shame in that either. One wouldn’t ask a guitarist how it feels to be “just” a guitar player.

Being in a band is much like a relationship and in fact your husband is also part of the second coming of Lucifer – what are the advantages and disadvantages of making music with someone your that close to?

I feel extremely lucky. To love each other, be best friends and play music together is the ultimate goal for us. We are both sort of introverts and have a very special and sacred relationship, nothing I have ever experienced before. We do everything together, so it’s a blessing for us that we get to go on the road together too and share this journey as well. Living out in the Swedish countryside away from people with our own studio, we get to completely immerse ourselves into what we love doing the most – music. Discussing ideas and music is never ego driven for us, it’s rather an excitement towards the greater good – to make the best song possible. That is our goal and ideology. We have a lot of fun with it all because this is what we both want out of life. It’s a satisfying thing!

On that note „Lucifer II“ sees a whole new lineup, apart from yourself of course – if you (would ever) compare it with the debut, how do you feel about the development, of you as a musician, the band and the music itself?

With every album there is a growth as a musician and human being. I am very proud of  “Lucifer I” but “Lucifer II” is certainly a notch up. The sound is more organic and diverse with catchier crafted songs. I feel I have grown quite a bit as a musician but also us, as a band, especially live. Lucifer is a very energetic live band now, which has a lot to do with the great chemistry within the band. We are a very passionate group of friends, minus the toxic ego bullshit that can haunt a band. We all just wanna play and enjoy the ride. Being in the middle of the writing and recording process of “Lucifer III” and can already say, that we will continue the spirit of “Lucifer II”, possibly a notch up once again. Watch out!

top notch on stage and off

Do you think that your moving to Sweden will have an influence on the future sound of Lucifer?

Music springs from within one but yes, it’s a blessing to have left city life behind. I lived in huge cities most of my life. Berlin, LA, London. I can tell you that I am relieved to be away from crowded places. Now I have the luxuary of not working a regular job and being able to focus solely on being creative and letting my mind roam free as an artist. And to write for Lucifer together with Nicke, who absolutely shares my musical vision, has already had a big influence on Lucifer’s sound with the second album.

How much of your actual persona can we find in your music? – or to put is this way: are Lucifer & Johanna the same person?

Yes, Lucifer is one very big part of me. Of course there is a whole personal universe outside of the band but I pour my very heart into Lucifer. The lyrics are all very personal, even if metaphoric at times.

Have you ever felt or might even been told that there are certain things you couldn’t (or shouldn’t) do because you are a woman?

Never felt but have been told many times. Of course, I never listened!

What are your thoughts on feminism and do you consider yourself a feminist?

It’s a sad thing this even needs to be talked about but it is very important. I am certainly with feminism. I am woman and have faced sexism in various forms since I walk the earth, like all of us. I take every opportunity to speak up, when I detect the slightest form of patriarchry. May it be just underlying, hidden or being even catered to by other women. It is a very frustrating and unfair thing, so deeply rooted in our society and it is very important to sharpen one’s sensibilty and raise awareness. Take no shit, girls! I am allergic however to the misuse of this whole debacle towards men and to preachery. Speak when it’s necessary!

Aside from sharing the magic on stage, you are also a fan and a Djane – what do you enjoy the most when it comes to music worship?

Oh yes, I am a huge music fan, DJ, record collector and supporter. I love going to shows. I used to put on shows myself, run my own metal club night for nine years. and worked a variety of jobs in the music industry myself. Almost all my friends play music. Music is all I want to be surrounded by ever since. The best is when you put on a record and hear a song that touches you so profoundly or pierces your heart in a way you have to listen to it over again. Or being at a show and it get’s to you so hard, you can’t help but actually shed some tears, yes!

music worship pro level

So much about Lucifer has a great vintage vibe, but your also very active on facebook, instagram etc. what is your personal take on social media?

Actually I recently deactivated my Facebook because it just became too much. I do see social media as a practical tool to get the word out, get to know what’s fresh but mostly to stay in touch with my friends, family and peers all over the world. The down side is being so approachable. I just don’t have time for it, so Facebook had to go!

And finally: Is there anything you’d like to tell the world, specially all the girls out there who are into the dark side of music, like an advice or maybe even „warning“ before they start dancing with the devil?

I encourage you to dance with the devil! It’s been the dance of my life!

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LUCIFER on Facebook

LUCIFER on Instagram

LUCIFER on Twitter

DERKETA – From Tape Trading To Unwillingly Writing History

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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

ROCK GODDESS – Heavy Metal Rock’n’Roll

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Aki Shibahara, Becky Axten, Braindance, Chris Tsangarides, Dee O’Malley, Def Leppard, Denise Dufort, Donnica Colman, Fastway, Gary Glitter, Gavin Taylor, Girlschool, Hard Rock Hell, Hell Hath No Fury, I Didn’t Know I Loved You Till I Saw You Rock And Roll, Ice Age, Iron Maidon, Izabella Fronzoni, Jackie Apperley, JID, Jody Turner, John Turner, Judas Priest, Julia Longman, Julie Turner, Kat Burbella, Kelly Johnson, Love Has Passed Me By, Mammoth, Mick Tukker, Nicola Shaw, No More, Paul Samson, PDQ, Phil Manley-Reeve, Reading Festival, Rock Goddess, Samurai, Saxon, Seen It All Before, She, Sisterhood, Spider, Tank, The Jody Turner Band, The Runaways, This Means War, Thomas O’Becket, Tracey Lamb, Turner, White Spirit, Y&T.A&M, Young And Free

As much as previous generations of musicians are an inspiration to current young bands, this has been the case at a time where many of todays’ Rockers haven’t even been born yet. When in the late 70s a British girl by the name of Jody Turner took her admiration of the very successful The Runaways, it took but a day to start a band of her own, recruiting her sister Julie as member number two. This was the Birth of Rock Goddess.

As another addition school friend Tracey Lamb joined in on bass guitar, Donnica Colman on keyboards and Jackie Apperley on rhythm guitar to complete the first line-up. The girls rehearsed intensively and, through a friend, managed to place a track on a sampler album, which circulated in the London music underground. Meanwhile, John Turner, Jody and Julie’s father, who ran a record store and was managing the band used his connections to get the band their first gigs. Finally, after the production of a four tracks demo tape and an appearance at the Reading Festival in 1982, the band obtained a record deal with A&M.

However, after the release of the album, Julie’s finally allowed to go on tour and the band tours as support act of Def Leppard. Another black page in their history is the departure of Tracey Lamb. But before Tracey quits the band, they decide to hire a fourth member to fill up the sound a bit. Her name’s Kat Burbella and she’s the second guitar player. After the tour with Def Leppard, Rock Goddess gets the chance to do a tour with Fastaway. Tracey decides to stay until the tour is over, but the Turner sisters have to find a replacement soon, because they’re planning a second album. However, Tracey Lamb doesn’t disappear from the scene long. Her departure was forced due to musical differences, so the story goes. Colman’s substitute Tracey Lamb (along with second guitarist Kat Burbella, with whom she formed the band She) finally leaves the band on ending up on the Girlschool roster.

The band shows up with ‘stand in’ bassplayer Kelly Johnson of Girlschool during a German TV appearance. In ’83 tho’, Rock Goddess present Dee O’Malley as Tracy’s replacement. It’s also Dee, who handles the bass on their second album, called ‘Hell Hath No Fury’, produced by Chris Tsangarides (Judas Priest). The LP was released with two different covers. One with a band photo and another one with a drawing on the cover sleeve. Also the songs are slightly different. ‘Hell Hath No Fury’ and the Gary Glitter cover ‘I Didn’t Know I Loved You Till I Saw You Rock And Roll’ are on the American version, whereas on the European pressing (with the drawing) these songs are being replaced by ‘No More’ and ‘Seen It All Before’. The Gary Glitter cover is the first single taken off the album c/w ‘Hell Hath No Fury’.

The promotional tour for ‘Hell Hath No Fury’ brings the girls on the road along side Y&T and IRON MAIDEN. The same year, Jody Turner is to be heard as a background vocalist on the Tank LP ‘This Means War’, together with Mick Tukker (White Spirit) and Denise Dufort (Girlschool). In ’84 and ’85, they recorded some songs; first with Chris Tsangarides (who also played keyboards on ‘Hell Hath No Fury’) and next with Paul Samson. Unfortunately, none of these recordings have ever been released on vinyl. In France however, the band is still very popular and they support Spider and Saxon in ’84. Dark clouds pack together for the Turner sisters in ’86. Their deal with A&M expires. Also, bass player Dee O’Malley gets pregnant and she leaves the band to become a full-time mother. Then in ’87, the French label JID brings out the ’85 sessions the band did with Paul Samson. The album’s called ‘Young And Free’ and it’s released in France only. The only single from the album, ‘Love Has Passed Me By’ c/w ‘Just In’ was already released in ’86. It shows us a very commercial sounding Rock Goddess.

As die-hard fans grave to own the album, it is but a glimpse of a once successful band. With the release of ‘Young And Free’, Rock Goddess support Samurai in the UK, but they get almost yelled away for the commercial songs they’re playing from their new album. After the departure of Dee O’Malley, the band finds a new bassplayer in Julia Longman (ex-PDQ) and keyboard player Becky Axten is added to the band as well. After a tour of nearly half a year, in the fall of ’87, the story of Rock Goddess ends abruptly, when the band gets disbanded.

In ’88, Jody Turner returns with sister Julie under the name of The Jody Tunrer Band. However, this time it’s not an all-female outfit. The band is completed with Phil Manley-Reeve on bass and Ex-Mammoth bassplayer Gavin Taylor. Live, they play songs like ‘Kiss Yourself Goodbye’, ‘The Game Is Up’, ‘I’m No Angel’ and ‘The Blonde Is Dead’ (a tribute to Marylin Monroe) and the only Rock Goddess song, ‘Will You Take Me Home Tonight?’. They change their name into Turner, but the band disappears very quickly. Until somewhere in ’94, when we see Rock Goddess in a comeback line-up. Of course Jody Turner sings and plays guitar, but Julie is the missing link. The band is completed by Aki Shibahara (bass), Nicola Shaw (drums; formerly Sisterhood) and Izabella Fronzoni (guitar; formerly Ice Age). The last thing, we can track down, is this line-up changed their name in ’95 into Braindance (UK). After a name change, the group disbanded again in 1995, after playing their last gig at the Thomas O’Becket public house. They reformed in 2009 to play the Hard Rock Hell music festival in Prestatyn, Wales, but split before they had a chance to perform.

Inspired by Metal Maidens, Metaladies and Decibel Magazine.

THE ORCHIDS – Late Bloomers Withering Too Soon

Tags

Baby Roulette And The Rave Ons, Backstage Pass, Blame It All On The Night, Bomp! Records, Che Zuro, Get Crazy, Hollywood Confidential, Hollywood Heartbeat, Jan King, Kim Fowley, Laurie Bell, Laurie McAllister, Lost in the Grooves, MCA Records, Mystery Records, Puss n Boots, Spectropop, Stingray and The Wads, Sunbie Harrel, Tantrum, the Bangles, the Go-Gos, The Orchids, The Runaways, Tony Sclafani, Vampires From Outer Space, Vicki Blue, Wendy Wu, When Does Love Turn Out Right?

As I was actually getting into my research on The Runaways I – more or less accidentally – got hold of yet another, to me previously unknown female Rockband: The Orchids.

To be precise, since there is or has been more than one Band using this name in the course of history, I stumbled upon the late 70s/early 80s group who were supposed to fill the shoes (or rather boots) The Runaways once put on very successfully. The band featured former Runaways member Laurie McAllister, but this for sure was no guarantee for The Orchids’ hit potential.

“Lightning doesn’t usually strike twice. So it’s no surprise that when rock impresario Kim Fowley tried to replicate the success of his all-girl band The Runaways with another all-girl ensemble, the results fizzled instead of sizzled.That’s a shame because the group in question, The Orchids, released a pretty good album in 1980. The self-titled release eschews The Runaways overdrive sound in favor of girl-group melodicism and snappy new wave tempos. Producer Fowley (who also takes credit as “director”) wrote or co-wrote almost all the songs on this LP, and while there are no flashes of brilliance, it’s consistently listenable and enjoyable.

Lead vocalist Jan King (not the author of the same name!) shows a lot of range, coasting through the ballads, rockers and mid-tempo numbers with ease. A few years after The Orchids came and went, several all-women bands like The Go-Go’s and The Bangles reaped lots of commercial success with similar sounds.

The Orchids LP doesn’t touch the best work of either of those bands, but is definitely worth hearing, especially if you’re a fan of obscure new wave acts.”

Text excerpt from Lost in the Grooves, submitted by Tony Sclafani

An all girl pop/rock band verging slightly on New Wave, The Orchids were created and managed by Kim Fowley  and featured bassist Laurie McAllister who had replaced Vicki Blue in The Runaways for a short period before they fragmented.

The Orchids were formed rather ironically from two Bomp Records Kim was producing at the time, Vampires From Outer Space and Hollywood Confidential. Blonde bombshell drummer Laurie Bell had recorded the track ‘If You’re Gonna Change Your Heart’ for Vampires. The album also featured Laurie McAllister playing bass and singing lead in the group Baby Roulette And The Rave Ons on a tune entitled ‘Black Orchids’. Laurie McAllister was also featured as lead vocalist on a tune called ‘On Suburban Lawns’ on Hollywood Confidential, that was billed as The Runaways. Laurie Bell had actually worked with Fowley previously on his Sunset Blvd album, appearing on the improvised title track. Joining forces with Laurie Bell and Laurie McAllister were vocalist / guitarist Jan King (from Stingray and The Wads) and guitarists Sunbie Harrel and Che Zuro, who Fowley recruited from Backstage Pass.

The Orchids as they became known, released an EP on Kim Fowley’s Mystery Records and signed to MCA Records for self-titled album in 1980. One single was released entitled ‘When Does Love Turn Out Right?’. A promotional video of ‘Blame It All On The Night’ aired one time on the pre-MTV video program called ‘Hollywood Heartbeat’ in the summer of 1980. The final Orchids gig was in December of 1980 in the San Fernando Valley.

Shortly after The Orchids break-up Laurie Bell formed the short-lived all girl metal band Tantrum. Jan and Che recorded a demo under the name Valentine and soon after Che Zuro flew off to the UK to replace singer Wendy Wu in The Photos. When the label passed on the demos that were recorded, Che returned to Los Angeles. Laurie Bell and Che Zuro both appeared in the 1984 film ‘Get Crazy’ and shortly thereafter formed ‘Puss n Boots’ with singer Jan King. Both Jan and Che have continued music careers, Che in the Los Angeles area and Jan in Chicago.

Information taken from The Orchids’ MySpace Page

There was also a British Girl Group called The Orchids, that was active in the 60s. Find out more about them on Spectropop!

This concludes my little collection on The Orchids and to give a some further impression, here are more pictures I found of them – enjoy!

 

GOLDIE AND THE GINGERBREADS – Femmes Entering The Major League

Tags

60s, Ahmet Ertegun, All-Girl, Atlantic Records, Can’t you Hear My Heartbeat?, Carol MacDonald, Debby Hastings, Female Musicians, Genya Ravan, Ginger Bianco, Goldie & The Gingerbreads, Goldie And The Gingerbreads, Goldie Zelkowitz, Luscious Jackson, Margo Lewis, Rock'n'Roll, the Bangles, the Go-Gos, The Hollies, The Kinks, The Rolling Stones, The Runaways, The Yardbirds, Women in Rock

Formed in 1962 Goldie And The Gingerbreads were the first all-female rock band signed to a major record label. The quartet of Ginger Bianco, Margo Lewis, Carol MacDonald and Goldie Zelkowitz (later known as Genya Ravan) were among the first to break into this male domain. Signed to Atlantic Records in 1964 by visionary Ahmet Ertegun, the group toured throughout Europe with The Rolling Stones, The Kinks, The Yardbirds, and The Hollies, among others. Their first single, “Can’t you Hear My Heartbeat?,” enjoyed weeks at the top of the charts in the UK in 1965 before Hermans’s Hermits recorded their version for the American market.

Goldie and The Gingerbreads blazed the trail for countless of female musicians including the Go-Gos, the Bangles, The Runaways, and Luscious Jackson. Over time, the group has been immortalized in various rock music anthologies and most recently in The Rolling Stone Book of Women In Rock (Random House, 1997). Fellar musicians and journalist gave their appreciation for these ladies that paved the way for generations to come.

“Ginger is one of the best female drummers in America!” -Teen Trend,1966

“They’re great!” -Ringo Starr

“They’re Fab!” -Brian Jones

The band broke up over the course of 1967 and 1968 mainly due to Genya Ravan’s strong personality and forceful leadership of the band, Frustration about making little profit from their record releases may also have been an issue. On November 13, 1997, the Gingerbreads performed once more to mark their 30th anniversary and to commemorate the release of The Rolling Stone Book of Women in Rock. Accompanying Genya, Ginger and Margo was Debby Hastings on bass and Diane Scanlon on guitar. Shortly afterwards, on February 3, 1998, Goldie And The Gingerbreads were presented with a Touchstone Award from NY based Women in Music, presented to each member of the group by music legend Ahmet Ertegun.

Goldie And The Gingerbreads on Facebook (ISIS)

Goldie And The Gingerbreads on Facebook (Fanpage)

Inspiration: Genya Ravan Homepage