Originally printed in Boston's Weekly Dig circa 2001(ish?)
Dedicated to Nikki Kulund, a true rock n roll prince, RIP.
Death To The Boston Glam Mafia: Bloodshot
"Fuck humility, we’re awesome" - Veruca Salt
"Not sounding gay is kind of important in this band." - Tim Catz
The hustle is on.
I dragged the cleverly initialed Tim Catz out at 9 in the morning to get the Bloodshot story. I Don’t remember where we went, but Guns n'Roses blared in the background and the scribblings of mental patients adorned the walls.
Roadsaw — what happened?
Hard to say. The love is still there, but without the cash to massage our egos with, the trip to the top gets rough.
Honeyglazed — what happened?
Too much too soon…like shooting stars, they burn bright, but fade fast.
I think it’s ridiculous that you guys broke up.
Well, let’s put it this way — I never had anybody cry at rehearsal before.
Yeh, time to explore my softer side…it was in Europe, actually. See, here’s my theory on stoner rock. All the people I know that really like stoner rock also listen to Neil Young, T Rex, and Pink Floyd. Even on Roadsaw’s ‘Rawk and Roll’ record, I tried to get a keyboard player in to make it more Deep Purpley. I just figured that all these bands started to sound the same, and nobody was taking any risks, so we decided to try something different. I went up to New Hampshire all by myself and wrote 20 songs. I brought a 4 track, guitar, and a drum machine. I pretty much spent the whole summer smoking pot, swimming, canoeing, and writing. I’d just gotten off the road from Europe, and I had to get out of the city. It was the best summer of my life. It sure beat being in Allston, sweating my balls off and looking for something to do. And when I came back, I put Bloodshot together.
Bloodshot comes with a theme, a look, a vision…
I’ve always said, if you’re gonna steal, steal from the best. Gerry Raferty, Gary Glitter, Don Kirshner, and Kris Kristofferson from ‘A Star is Born’…. what we do in Bloodshot is something we did off and on in Roadsaw and tried to do in Honeyglazed; coordinate what we wear and put on a whole show.
It was pretty half assed, though. For example, I don’t think that flannel and leather pants go together.
Right. The sound is pretty different too.
I think people are expecting a Roadsaw kind of Rawk sound. And it’s not.
I guess it is… It’s ‘Home Sweet Home’ by Motley Crue, basically.
You know what it reminds me of? With the hooky pop choruses? Everclear.
Dude, I hate Everclear.
Motherfucker, nobody hates Everclear.
You know what Hari calls that shit? Secretary rock. Like there’s all these chicks in their late 20’s who can’t listen to anything but WBOS at the office, and they go and buy Lenny Kravitz records, and watch VH1.
The ones that aren’t married yet, yeh.
That’s the real question, Tim. That’s what it’s really all about. Does Bloodshot get the ladies?
Get them drunk? Yes. Get them to see the real man behind the mirrored shades, the tender heart behind the rhinestone studded denim jackets, to understand my pain when the stage lights go down? Well, that’s a whole other matter.
Well, as Axl once asked, where do we go now?
Seven figure record deal, separate tour busses and frequent trips to Japan, where we are huge. Oh, and new livers when they start cloning them. Really, I just want to age gracefully.
(Note: Bloodshot broke up, or turned into Quitter, or wandered off to LA, however you want to look at it.)
Sunday, February 17, 2013
Monday, February 04, 2013
Judging by the cartoonish cover art I was expecting something along the lines of the sleazy n’ greasy Dead Boys-meets-AC/DC buzzsaw garage assault of Electric Frankenstein. Take a listen though and it becomes apparent that Voodoo Vegas’ have both feet planted firmly in the classic rock camp with little or no punk rock in the mix. There’s a little bit of early 80s flash, a tad of late 80s LA sleaze metal, and a large helping of rootsy 1970s rock. Think Marshall plexis turned up to eleven and a lead singer laying down the law on hot chicks, good times, and bad deals.
Opener ‘King Without A Crown’ is promising, but the band really hit their stride on the next couple of numbers, ‘Bullet’ and ‘No More’, which blend the 70s and 80s influences really well. The rest of the album follows a similar blueprint but mixes it up enough that Voodoo Vegas never repeat themselves. There’s some good acoustic moments on here too which give the album a good dynamic. The weakest moment is probably ‘Mary Jane’, whilst not bad, suffers a little from being a tad too clichéd for its own good, and nothing like as cool as Love/Hate’s song of the same title. Overall though it’s a solid debut and demands to be turned up loud. Let there be rock!
- Alex Eruptor