Arquivo do mês: março 2010

Tem a moral? (resposta)

Marcelo Gomes, Dude e Franco foram bem. É mesmo o lendário baixista Louichi Mayorga trajando a jaqueta 77 (numeração mais do que adequada, por sinal), como um dos jogadores do Santa Mônica High Vikings.

A foto abaixo é de 1978, tempo em que fazer um barulho desgraçado em uma banda, muito provavelmente, era apenas uma piração adolescente para o cabeludinho.

E se tem mais gente famosa na pose do post anterior, fico devendo…

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Tem a moral?

Esse desafio é nervoso. Que integrante (ou ex) do Suicidal está no meio dessa turma de futebol americano em Santa Mônica?

(Clique na foto para ampliar)

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Black contra bonézinho do Pirates

Os videos abaixo são apenas para seguir na onda do saudoso Rocky George (nunca é demais). Trata-se de uma entrevista bem recente, do último dia 22, na qual ele trata de guitarras e do Fishbone, sua atual banda.

Não há qualquer menção aos tempos de Suicidal.  Mas vale para termos a exata noção do quão arrojado está o visual do guitarrista. De fato, fica impraticável meter um bonézinho do Pirates no topo desse black.

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Rocky George na Guitar World

Passeando pelo fórum do Suicidal me deparei com uma entrevista do Rocky George a Guitar World, publicada no último dia 17. Como todos sabem, aguardo as respostas do ex-guitarrista do ST para uma conversa com o blog já há algum tempo (recentemente, ele me disse que não havia esquecido).

George em ação com o Fishbone.

Basicamente, são as mesmas perguntas. Apesar disso, como aqui não há espaço para vaidade, reproduzo parte do material (excelente) da revista abaixo, enquanto sigo na expectativa de um retorno definitivo de Rocky.

GUITAR WORLD How did you hook up with Suicidal? You were in the band fairly early, and from what I understand, the guitarist on the first album, Grant Estes, was a fill-in guy.

ROCKY GEORGE Yeah, he wasn’t in the band that long. The guy before me didn’t last that long either. I joined in ’84. Amery [Smith, Suicidal drummer] was my connection. I met him through another guy that used to play guitar in Suicidal. I starting jamming with some people, and Amery was one of the guys I was jamming with then. Not too long after I started jamming with these guys, the guitar position opened up and Amery suggested me to audition. In fact, I was the only guy they auditioned.

GW Even on the first album Suicidal had guitar solos, which was verboten in punk at the time.

GEORGE That’s one of the things I liked was the fact there was space to play some solos. At that time, it was different for that genre of music. I know it pissed a lot of people off, but you can’t please everybody.

GW So did you feel the band was going for something different or had more vision than other hardcore bands?

GEORGE Yeah, definitely. There didn’t seem to be many restrictions. It wasn’t like, “We have to do this format.” Later on, when Robert [Trujillo] came on, he brought in another element from another musical direction, and that started changing things too. It wasn’t on purpose—it was a natural evolution. We never had an agenda,like, “we’re gonna go out and do this.” It was like putting seeds in the ground and seeing what will happen. The band was a complete democracy as far as decisions went and everyone had an equal input.

GW Why do you feel Suicidal was willing to do things differently when a lot of bands weren’t?

GEORGE I think it had a lot to do with the mindset of everybody. Maybe where we come from, too, and not conforming. I remember we were really proud of looking at old pictures. There weren’t too many pictures where we looked at and went, “oh my God, I can’t believe what I’m wearing.” That goes for the music too. We were just naturally doing what we wanted to do, what we felt like doing. I can’t see how you can be ashamed of something when you’re doing what you want to do.

GW The first Suicidal album is considered an important album in the metal/punk crossover. Did you feel it was a natural evolution that those genres would come together?

GEORGE I never really thought about it back then. I don’t really remember a drastic overnight change. I think it was gradual enough, because even in the early days we had a mixed crowd. In the mosh pit there were people with long hair, some mohawks, some skinheads and people with bandanas. I guess in some aspects it was good, because it seemed like the audience was getting bigger. There was a point, I think after we did that tour in ’91 with Queensryche, when it started boosting a little more with the metal people.

GW The song “Institutionalized” was popular on underground radio, and the video got a lot of play on cable. Did you ever think that song would be a hit?

GEORGE No [laughs]. Like I was saying about back then in ’84, there were a lot of different kinds of people at the shows, especially in different cities. There would be a completely different type of crowd in every city and it had a lot to do with the video being played in clubs. In ’84, ’85, maybe a little in ’86, a lot of videos they were playing on MTV were being played in dance clubs and bars and a lot of people were turned on to the band from seeing the video there. A lot of the videos we did were requested a lot, but MTV had a problem playing us. Someone there didn’t like the name of the band so we were pushed to only a certain time of the day. We didn’t break into the prime-time afternoon rotation. But I don’t think we expected to be embraced by MTV that much at the time. Later on in the ‘90’s we asked, “what do we have to do?” I forgot what video it was, but there was one we tried to obey their rules.

GW Did it work?

GEORGE No [laughs]. Most of our videos were interesting. We got good directors for all of ‘em.

GW Tom Araya has a brief appearance in the “Institutionalized” video.

GEORGE Kerry’s in there just for a quick second as well. You see him in the back.

GW During your years in Suicidal you were always seen wearing a Pirates cap. I would assume were a fan of the team.

GEORGE You know, it’s funny, I used to be, back in the [Hall of Fame hitter] Willie Stargell days when they actually wore those hats. I used to wear that hat going to school then I stopped caring about baseball–I got sidetracked into other stuff. I still had the hats, and I liked the hat, so I wore it one day for a photo session. Our manager thought it was cool so I kept wearing it. Next thing I know, it became a thing. I can’t even wear them anymore.

GW Because your hair’s too big?

GEORGE Yeah [laughs]. Not possible. I’ve still got some Pirates hats though. They would get a little sweaty after a while and I’d have to retire them. I actually had a guy search the country for some of the suppliers and I got a box of those fitted hats for my size. I’m slowly going through that box. I’ve still got a few left but I can’t put ‘em on!

GW For a long time, Suicidal had a hard time getting gigs in L.A. because people were afraid of crowd violence.

GEORGE Yeah, it was paranoia. The promoters were scared and the people who had to insure the shows were scared. They were afraid of something happening but nothing’s ever happened. I forgot what show it was but someone had an issue at a show somewhere, and they were like, see what happens?” It got tied to us, like they’re the same kind of crowd that would do this. It just kept mushrooming, and next thing you know, we could play anywhere but L.A. We would tell them, “we’ve played here, here, and here…”, and they’d say, “but your audience isn’t there.” How could you be worried about something that never happens? I could understand their paranoia if they had an incident that happened, but it never did.

GW At the time, the only place Suicidal played in L.A. was a pretty infamous venue, The Balboa Theater. I never went there, but I heard it was a scary place because of the neighborhood.

GEORGE Yeah, it was a scary place. I don’t remember what it looked like inside but I remember how horrible it was outside. I remember that neighborhood–it was not a good place to go. I’m sure it had something to do with [the owners] not really caring about the building as long as they got paid. A lot of the nice places didn’t want that kind of stuff going on in there. I think somebody told me it was going to be fucked up but taking it in once you actually saw it, it was like, “wow.” What could we do? We already agreed to play [laughs]. [Ed Note–The Balboa Theater was located in South Central L.A. and it sporadically booked shows with bands such as Possessed, D.R.I., Corrosion of Conformity, Hirax, Cryptic Slaughter, and others until it closed in early 1989.]

GW By the early ‘90’s Suicidal played a big show at Irvine Meadows that went fine, then you were playing L.A. regularly after that.

GEORGE It got to the point where we were selling a good number of records and making good crowds in some of these others cities. We were playing San Francisco a lot and promoters saw, “okay, we can make some money.” I guess it was a matter of finding the right venue for people to realize it wasn’t going to be a problem.

GW So how did it feel to play L.A. after all that time?

GEORGE It was nice. It was good.

GW After your first album with Suicidal, Join the Army, the band moved up to a major label with How Will I Laugh Tomorrow. When did the majors first show interest in the band?

GEORGE They were interested when we did Join the Army. Labels actually offered us a deal but they wanted us to change our name, so we put out Join the Army through Caroline. Then Epic came along but they didn’t want us to change our name. They came to our shows, they saw that we had good audiences and that we sold a lot of merchandise. Epic let us do our thing. They didn’t try to twist things one way or the other.

GW It felt like there was a big improvement from Join the Army to How Will Laugh. The songs and production were a lot stronger. Did you feel you went a step up when you signed with Epic?

GEORGE Oh definitely. Everything in every way got better. We were put on salary and we had better touring conditions.

GW Before the majors came knocking, did you feel the band could go to the next level?

GEORGE I kinda wasn’t expecting it to get where it did. I didn’t have that kind of foresight. It’s not like I didn’t think we could. I just wasn’t thinking about it. It was like climbing a ladder and it happened at a good pace. We didn’t do it too fast. We did small steps, little by little.

GW What was your favorite album you did with Suicidal, and what were your favorite guitar solos you laid down with the band?

GEORGE There’s something about Suicidal For Life… We had so much control on that record because we co-produced it and there was a lot of collaboration. Sometimes when you go back and listen to something you didn’t want to do, maybe it’s because you change your feeling about it later on, but you still remember, “I wish I did it this way.” There was none of that on that record. At the same time, now as I step away from it for a while, I look back at Lights, Camera, Revolution and that was a fun album to record. I would say those two were probably my favorites as far as the recording and the finished product. I like the “How Will I Laugh” solo. I did it at, must have been, three o’clock in the morning. I remember Mark Dodson the engineer was laying on the couch, falling asleep, with the remote next to the couch. I was all wide-awake and excited. It wasn’t that I tried a bunch of takes. I felt like trying it at that time because I felt good. “Let me try it, put that song up,” and everyone there was fading. It turned out really good. When we did The Art of Rebellion, the solo on “Nobody Hears”, I remembered doing a solo and I liked it, and Peter Collins, the producer, said, “you can do better.” “But I like this one.” I kept doing another one, another one… I liked every solo that I was doing. He would say, “Think like this, think like this…” So I tried to think what he was thinking, and I did a blend of what I was doing and what he was thinking, and it worked. At the time I was like, “ehhhh.” Then I went back and listened to it, and I liked that solo. There’s a singing aspect to it that’s cool.

GW Did you work out your solos, or did you improv them?

GEORGE They were all improv’d. I’m sure there’s a couple of solos over the years that I’ve actually worked out. Sometimes I’d think I had a take I wanted, then I’d come back the next day and give it another shot anyways, just to see if I could beat that one. It depends on how I’d feel at the time. If I felt good when I was playing, I’d get good stuff recorded. Unfortunately, you can’t always feel good, but I’d try to. I remember one time I was doing the beginning of “You Can’t Bring Me Down”. That clean part… I had a problem getting that working. I went to go play ice hockey, I came back to the studio, and it went like that. I felt great when I came back, and everything just went boom, boom, boom.

GW When Robert Trujillo came in as Suicidal’s bassist, how do you feel the band evolved with a new musical element?

GEORGE I knew Robert for a long time and I knew what he could do. At first, I was wondering if we could actually show what he could do, then when he actually started doing it, it was like, “this is perfect,” and we tried opening the door even more. It was cool and I’m glad it worked. I wasn’t thinking about it changing the band that much but it did. It was just a matter of talking him into it because he was into a whole different style of music at the time. He liked really heavy bass dance music and hard rock wasn’t quite up his alley at that point, even though he’d been in a band that played Led Zeppelin and Black Sabbath covers.

GW Were you able to do any of that with Suicidal?

GEORGE Every time I had the opportunity to play a non-barre chord I would. I still try to do a lot of chord stuff if I can squeeze it in somewhere. I still practice a lot. I still feel like there’s a lot to learn.

GW You joined the band after the first album came out, but with the Still Cyco album you were able to revisit those songs and play on them. What was that experience like for you?

GEORGE To be honest, I really wasn’t interested in doing it that much. I thought it was something that was done. It had already been stated. There were other reasons behind doing that, I can understand why, but it wasn’t something I wanted to do. [Editor’s Note – Suicidal reportedly re-recorded their first album because they weren’t getting royalties from the original recording.]

GW At the same time, do you feel if you had played on the first album you would have approached the songs the same way?

GEORGE Yeah. It would be interesting to see how I would approach it now. That would be a whole other thing right now. If you keep developing, you should be approaching the same scenarios a little differently.

GW When Seattle became the big thing in the early ‘90’s, did it affect Suicidal at all?

GEORGE Yeah, that affected us. Pearl Jam were our label-mates and, all of a sudden all Epic cared about was Pearl Jam. For the Suicidal For Life album, we were on tour with Metallica playing sheds and big crowds. People would come up after the shows and ask, “when’s the new album coming out?,” and we were like, “it’s out.” Someone wasn’t doing what they should have been doing. It should have been on all the promos for the show and there wasn’t any effort into promoting the album. I really think we could have gone a lot further. We had a lot left in us and we didn’t split up because of a lack of internal energy. We had a lot of ideas we could have explore, and we could have been influential in the coming years after with the way things shifted musically in the mainstream. We agreed to break up after that tour in ’94. The best thing we decided to do then was split up because we were still under contract with Epic and they weren’t doing anything for us. Why keep putting effort into this thing when they’re just gonna sit on their hands and not do anything? In hindsight, it would have been a good idea to go on hiatus but it didn’t even come up during the meeting.

GW Did you ever think about going back, or by that point you wanted to do something different?

GEORGE I felt like it was time to do something else, but I haven’t thought about going back much. Fishbone and Infectious Grooves played a show together and I hadn’t seen them in thirteen years. Mike’s doing his thing right now and the Suicidal that’s there is a different band. I’m not ragging on them since they’re all good players. They’ve got a great drummer. It’s just different. We played with Suicidal in L.A. too, and it was just weird being there because I hadn’t seen Suicidal play [in a long time]. Hearing it, it just seemed different. I started doing a lot of different things and I still do them. I do a lot of writing at home and recording on a computer. I did some cues on some TV shows and I’d love to do a movie. I have a whole thing of music that I haven’t gotten out and I’d like to do that. I still feel like I haven’t showed myself to the world yet, really. The package hasn’t been completely opened.

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Le Suicidê Tendenciê

Primeiramente, quero agradecer as mensagens de apoio no último post. Valeu, Cycos! Deu tudo certo na cirurgia, agora é esperar pela recuperação. Depois, este é um retorno “meia-vida”. Como só consigo escrever com uma mão, o blog vai ficar meio devagar por um tempo.

Volto com um showzinho fresco do ST, realizado na última quinta-feira, em Paris. Material de primeira. Gravação próxima do palco, bem filmada, com som bom e a opção de assistir em HD numa imagem grande.

Da performance não há o que falar, é a de sempre. Destaque para o corte estilo Édson Arantes do Nascimento do batera Eric Moore, a belíssima camiseta Dogtown Skates do Muir e a participação de um moleque no backing vocal de Pledge Your Aleggiance.

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Rapaziada, estou indo pra mesa de cirurgia de novo (segunda de manhã), pra dar um jeito definitivo no bracelete esquerdo!

Logo tô de volta.

Sigam firmes por aí.

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Parceria Vans/Suicidal

Já há algum tempo quero falar da parceria entre a marca de skate Vans e o Suicidal. Iniciada com a série Syndicate, essa relação voltou às lojas recentemente, com uma nova coleção igualmente bacana e mais recheada.

Pena que os fãs brasileiros ficam para trás nessa. Não sei como rola em São Paulo, mas aqui por Curitiba nem sinal dos produtos. O jeito é comprar em uma viagem aos Estados Unidos, já que pelo correio (se é que a Vans entrega no Brasil) pode sair caríssimo caso caia nas mãos da Receita Federal.

Assim, só nos resta curtir pela internet. E perguntar… se fosse para escolher apenas duas peças, o que você levaria? Eu ficaria com o tênis azul, cano baixo, da coleção nova, e a camiseta com a bigodeira histórica do Muir. Coisa fina!

Coleção Syndicate Era

Coleção Nova




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Flashing Pictures – 21

Já apresentei por aqui o trabalho de alguns fotógrafos que captaram o Suicidal em suas lentes, como Glen Friedman, Ed Arnaud, Pep Williams e Chirs Cuffaro — entre outros que, infelizmente, as fotos circulam na internet sem créditos.

Desta vez, o trabalho é de um americano chamado Ross Halfin. O cara tem um portfolio violento. É mais fácil falar quais bandas ele não fotografou. Abaixo, alguns registros do ST em estúdio e ao vivo. Como vocês verão, são todos do início dos anos 90.

Mais vocês podem acessar AQUI.

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E aí… vai encarar? (resposta)

Franco, Gomez e Dude acertaram 66% do “desafio” (e o Folloni precisa beber menos nos encontros da rapaziada em Venice). Faltou uma pessoa que era a “Pegadinha do Mallandro” da parada…

Do lado direito do Mike Clark está o Ric Clayton, o responsável por definir a identidade gráfica do Suicidal, nas letras da marca da banda e nas camisetas da molecada. Além dos dois, apenas para confirmar, está o Louichi com a camisa do Beowulf, outra banda clássica da área.


Não vou chamar de desafio pois a resposta está muito mole. Em todo caso, nesta foto recente temos três personagens fundamentais da história do ST reunidos para uma festinha em Venice… quem são eles?

Fiquem à la vontê para responder e acrescentar informações…

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Brother Clark no Myspace

O Myspace do Suicidal publicou hoje uma entrevista com o “vice-presidente” Mike Clark. Um papo excelente que tratou do futuro do grupo e  recuperou algumas curiosidades do passado.

Selecionei algumas passagens, especialmente sobre os velhos tempos. A íntegra você pode ler AQUI.

Metal Rich- Do you still own that blue Jackson dinky guitar with the skull that you are using in the ‘Waking the Dead’ and ‘You Can’t Bring Me Down’ videos?

Mike Clark- Yeah! Actually it’s a BC Rich Gunslinger and yea I still got it, I love that guitar. It’s in my storage unit, that thing is bad ass. It was like the last era of BC Rich when they were still in El Monte ya know East LA of whatever and Vick Thurf or Vick um I forgot his last name he used to run the place he was a big old kinna like a ex-ese kind of dude but he was cool as hell man and those guys made me that guitar dude and it was one of the most happiest days in my life (laughs) it’s bad ass man and I can tell they put a lot of care into it and I appreciated it big time. I’ve held on to that baby and it’s like my favorite guitar still.

Metal Rich – So it still works?
Mike Clark- It’s a BC Rich man I can pull it out of it’s case right now and actually I am gonna on the next states thing I’m not taking it to Europe because I don’t wanna risk loosing it but the next states thing I’m bringing it back out, start playing it again, it needs to come out and play it’s been sitting around too long, it’s probably getting pissed. (laughs).

Metal Rich- Mike Muir and yourself took part in the Chi Cheng benefit show at the Avalon Theatre in Hollywood. It was a special night because not only did many musicians get together to raise money for Chi Cheng of the Deftones but the night also saw a reunion of a classic Suicidal Tendencies line-up with you, Muir, Rocky George and Robert Trujillo performing ‘War Inside My Head’. How was it sharing the stage again with your former band members after all these years?
Mike Clark- Oh it was great man, I love those guys. You know any chance I get I’d love to do it again. Those guys are like my brothers ya know I was really happy, it was fun, it brought back a lot of memories and it was like ya know, those are my boys so it was good times and then also the tribute for Chi who’s also like a good friend of mine and whom I love very deeply, such a great person man it’s such a sad thing that happen to him ya know. I’d do anything like in a drop of a dime ya know.

Metal Rich- The original version of ‘Institutionalized’ appears in the blockbuster movie Iron Man, what was your reaction when you found out that a Suicidal song was used in a big budget Hollywood film?
Mike Clark- I was very captured about it and I know the reason why because Robert Downey Jr. went to the same high school as Mike and myself for awhile, I know back in the day he was really into the band so I know that was his call so, the guy is still like backing it up. More than it just being in the movie for me it was cooler that he made it happen so, big props to Robert.

Metal Rich- How did John Cusack end up being involved and appearing in the ‘Trip at the Brain’ video?

Mike Clark- Oh, we did a video for ‘Join The Army’ way back in the day and what happened is that video turned into a big old gang fight. Some people I’m not gonna mention and just everything went wrong but John Cusack had a part in that video and then when we did ‘Trip At The Brain’ we transferred his part into that (laughs) so we already had it, his part in the can so to speak but since the ‘Join The Army’ video didn’t work out we used him in ‘Trip At The Brain’. It was a weird kind of trip anyways because there’s so many weird shit going on in the video ya know and then he kind of pops up (laughs). He’s trippin’ trippin’ trip at the brain. There’s John Cusack in Trip at the Brain, what’s up?! (laughs)

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