Favorite Chain Of Strength 7" poll results

Curtis, Alex and Frosty at City Gardens, Trenton NJ, 1990, Photo: Ken Salerno

Chain Of Strength aren't the "heaviest" hardcore band, they don't have traditional NY-inspired mosh parts, and the songs aren't that complex or technically ridiculous.

They are, however, what I would consider to be one of the most powerful hardcore bands to have existed. Power...

True Till Death is a raw, practically unmixed, in your face recording that is really just a vocals-low-in-the-mix demo, and yet it captures the band in a way so few recordings actually do - it's that perfect mix of aggression, urgency, and proficiency, a band being captured while they have a comfort with their songs, but not so much that it feels rehearsed or staged (ahem, cue comments about staged photos). Plus, it sounds like they are playing in a small room with good acoustics, and you are standing there getting your motherfucking brains blown out while you try to dodge guitars, a bass, and flying drum equipment. Oh did I mention these are probably the best Straight Edge Hardcore lyrics, set to the best Straight Edge Hardcore songs ever written? Do me a favor.....

Forget about it. (Credit due to Ed McKirdy for that one).


Chris Bratton with Chain Of Strength at Spanky's, Riverside CA, Photo: Dave Sine

What Holds Us Apart is probably the best example of natural progression over the course of 1.5 years a no-frills hardcore band can make without becoming too daring, too ambiguous, or too "over it." There's more precision, more depth, more overall influence and drive, and yet never is it at the expense of POWER. It has a touch more DC, a touch more Brian Baker, and a touch more 1989-while-wearing-Stussy-tanktops-and-hanging-in-Cali...but never so much as to pull away from the hardcore Chain sound, and never is there any second guessing who these songs were written by.

I could go on for days - one of my favorite bands hands down. For me, True Till Death three times out of five. But those other two times, What Holds Us Apart is even better.

If you don't like Chain Of Strength, it's gonna cause problems. That simple. -Gordo DCXX


Chain Of Strength at the Country Club in Reseda CA, Photo: Dave Sine

There's not a whole lot left for me to say that Gordo hasn't said already. Anybody that knows me, knows just how much I bow to the alter of the almighty Chain. The True Till Death 7" is… yeah, I can say this with confidence, my favorite hardcore 7" ever... point blank. Flawless from start to finish, musically, lyrically and aesthetically, perfection. Are the vocals a little low? Yeah, a tad, but it's nothing that even bothers me a little bit.

As for the What Holds Us Apart 7", it is total greatness and an unquestionable favorite, but will always take the back seat to the True Till Death 7" for me.

Like Gordo, I as well could go on for days about how mind blowing, life altering and phenomenal both of these records are, but we'll save something up for future entries. And yes, expect many, many more Chain entries. -Tim DCXX


Chain Of Strength with that desperate tone, Photo: Dave Sine

Chain Of Strength - True Till Death - 185
Chain Of Strength - What Holds Us Apart - 136


Alex Pain with Chain at Spanky's, Photo: Dave Sine

An intro to the photography of Mikey "Fast Break" Garceau

A very early Outspoken show at Spanky's Cafe, Riverside CA, Photo: Mikey Garceau

Before there was a band called Fastbreak, there was a fanzine out of Huntington Beach, California called Fast Break and it was done by a guy named Mikey Garceau. Like a lot of zinesters at the time, Mikey shot most of his own photos that would end up in the zines. Eventually Mikey released an all photo issues called Fast Break Photozine.

Mikey recently got in touch with me and told me that he had discovered piles of his old negatives and asked if I would be interested in using any for DCXX, of course I said yes. From there I decided to shoot some questions Mikey's way and next week we'll start dropping segments of that interview. For now, here's a sample of what's to come. -Tim DCXX


Pushed Aside at Spanky's, Photo: Mikey Garceau


Roger Lambert with some major air during Up Front at Gilman St, Photo: Mikey Garceau


The first Inside Out show at Spanky's Cafe, Photo: Mikey Garceau


Zack De La Rocha with Hard Stance, Photo: Mikey Garceau

Jon Biviano Part II

Biv with Supertouch at the Majestic Theater, East Hampton MA, Summer 1992, Photo: David Sine

More Biv, and plenty more to come... -Gordo DCXX

After discovering AC/DC at the age of 10, my taste in music just seemed to get heavier and heavier. I had a handful of friends in my town who were always in tune with what was new in Rock and this new thing called Metal. So, there was Judas Priest, Iron Maiden, Motorhead, Black Sabbath, etc...

In 1982, one of my friends found this great radio show coming out of Montclair State College, in New Jersey. It was on Saturday nights and was hosted by a student named Gene Khoury. This guy would play all brand new Metal from Europe and the US. Now I was hearing bands like Venom, Raven, Accept, Mercyful Fate, and Metallica on a weekly basis. In fact, Gene Khoury was playing Metallica demos long before WSOU (Seton Hall) came along.

So I was pretty much a metalhead from 1980 until 1984, when I met Mark Ryan. He was two years older than me and a senior in my high school when I was a sophomore. I had heard some punk bands along the way, but never really started listening until I was hanging out with Mark. He made me a bunch of tapes, which I still have today. The first one had Corrosion of Conformity, Crucifix, and a sound board of the Cro-Mags at CBGB. This tape was awesome and it redirected my taste in music.


Mark Ryan and Biv gettin' down, Photo: Eric Fennell

I still liked a lot of the new underground metal coming out, like Slayer and Exodus, but these hardcore bands Mark was introducing me to were just as powerful, fast, and heavy. Minor Threat, SSD, DYS, Agnostic Front, COC...just too many to mention, but I loved all of it and still do.

The first show I saw at CBGB was COC, Articles Of Faith, and LeeWay in January 1985. I then saw the Cro-Mags, Violent Children, The Unwanted and No Remorse at CB's in February of 1985. What was great about this club was that these were Sunday matinees which were usually finished by 7 or 8pm. I could get home in good time without Big Daddy giving me a hard time. Haha!


Jon Biv up close and personal, Photo: Eric Fennell

Walter Schreifels

Walter and Alex Brown with a cold hard chill session, Photo: Wataru Umeda

The cool thing with a guy like Walter is that his resume is so strong and diverse that there's really endless questions you could throw his way. GB, YOT, Warzone, Supertouch (he played bass for a show!), Project X, Moondog, Quicksand, CIV, Rival Schools...to quote Bas Rutten, "I've been around." So here's 5 randoms with Walter, hopefully the start to a regular feature here. -Gordo DCXX

First, what are you up to most recently and what's in the near future?

I'm getting ready for a solo tour of Japan that starts next week. The day I get back I'm playing the Brooklyn Vegan show for CMJ with my band. Both my solo album and the Rival Schools album are finished and ready for release early next year. I'm also a Dad, which keeps me busy.


Wally with the resurrected Gorilla Biscuits, Photo: Wataru Umeda

A few years back the Moondog material got a re-issue of sorts. I recall reading some press where you detailed some recording memories for that project. What was the chemistry like with you, Tom, Luke, Howie, etc? Would there ever be a chance of some type of one-off Moondog show or is that to never resurface?

I finally caved on releasing the Moondog tape. I was never happy with it because of the vocals and too much time had passed to fix it. Anthology made it very easy for me to just get it out there as is, so I did that. I would like to have a vinyl or cd release with nice packaging but it's on the back burner for the moment. If I could get that together I would be into playing those songs around the time of the release. The recording was done with just Luke and I and we work great together. Tom, Howie and Armand played live and it was just fun really, very light.

Youth Of Today was one of, if not the first straight edge hardcore band to tour Europe. You would return in different bands many times afterwards. What were some shellshocking positives and negatives you recall from that first YOT tour in 1989?

The tour in Europe was absolutely great. There was adversity for sure, I think we were totally ripped off financially by the label and by the organizers of the tour for example. We didn't eat or sleep well. There were violent confrontations with punks on the left and skinheads on the right. We were often misunderstood. Lethal Aggression, the police raiding our squat in Copenhagen, Ray trying to convert us to Hare Krishna...none of that was bad. We played amazing everynight, I thought we were the best HC band going. When we broke up at the end of it I was sad but I thought it was also kind of poetic.


Civ, Alex and Walter on tour with GB, Photo: Wataru Umeda

Quicksand played a ton of shows for the better part of a decade. Is there one particular stretch of time where it really seemed more special than at other times?

I had the most fun when the Rev 7" came out, before I started playing guitar in the band. I don't think those were the best songs but I felt we were very focused and unique and I liked just running around screaming my head off without having to worry about my guitar being in tune. I started to play guitar to fill out our sound live but I've always had a soft spot for my lead singing days.

Start Today is regarded by thousands of fans as one of the greatest hardcore records of all time. If you were able to go back in time, would there be anything you would change to the whole record?

I'm totally happy with Start Today, I wouldn't change a thing...more harmonica.


Old style GB with Mark "Helmet" Hayworth, Photo: Snagola

Love Seat issue 1

Love Seat issue 1 cover

Last week a regular poster on the Livewire Board named Mickey Nolan posted saying that he was selling his copy of Love Seat #1. Perhaps the only person I'm aware of who actually even owns a copy of Alex Brown's pre-Schism, Iowa-based fanzine from 1986, Mickey is selling a piece of HC collector's gold, and we had to bring it to the attention of the DCXX readership. After it is sold, we'll be running some scans of the zine for all to view. In the meantime, check the auction:

eBay Link

And for our own purposes of excessive factual detail and general completeness, here's the full backstory from Mickey:

A few years ago my friend and mentor Greg Thompson came to stay with me in Chicago for a show. Greg sang for Iowa/Illinois area bands Butt Lynt and Crosscheck and has been dedicated to hardcore and punk since the mid-80s.



Around the time that Greg came to visit, Bridge 9 Records had released the Schism Fanzine anthology. Greg told me he had a present for me and was clearly excited when he handed me a folded over 8x11 sized fanzine with a red cover. It took a second for me to realize the significance of this zine. Loveseat #1 was scrawled across the red cardstock cover. Loveseat...Loveseat...I wracked my brain and then it dawned on me. This was the zine that turned into Schism.

I was moved, and grateful, to receive such a gift. I read it once, put it in a bag and stored it. Over the years I thought about scanning it, but not having a scanner I never got around to it.

Earlier this year I decided to sell my record collection. With a couple of non-critical health issues going on, I knew the extra income would help. I've since sold the majority of my records and have gotten down to a few remaining items. When it came time to think about selling my copy of Loveseat #1 I gave Greg a call and asked his permission. He was supportive.


Love seat issue 1 back cover

Here's Greg on how he acquired his copy of Loveseat #1:

I do not remember the date exactly, it was only the second DIY show ever held in the Quad Cities. It was late '85 or early '86. The show was at the Col Ballroom. The only bands I remember being on the bill were Welfare Skate and A Child's Trust In God. Both bands were from Des Moines, IA and played super fast hardcore. I had read MRR for a couple years, but had never gotten a zine done by a kid. I bought it because I enjoyed reading MRR. It ended up being the first of hundreds of zines I have read over the years.

I have to say that a printed zine is one of my favorite aspects of the punk/hardcore community. I would read them all the time to find out about new bands and to see what kids did in different citites. Long before the internet, zines were the way kids learned about bands, scenes, tape trading, etc. Now any shit band can get a MySpace page and put up just as shitty songs. The printed zine is now pretty much a thing of the past, and it sucks!!! It is for sure a medium that I wish would make a comeback!

The winding down of the Rev files

You know the photo, you know where it's from and what it's been used on, here's the original, Photo: Tim DCXX

Time for one last dip into the Rev files. If I'm lucky I'll be able to squeeze one more entry out of what I have left, but it's really starting to dry up at this point. Either way, this has been a fun string of entries and the response has been positive, so I'm stoked this is something we've been able to deliver. Again, big thanks to Jordan and Igby for letting me sift through all this stuff over at the Rev HQ. Without any further ado, I bring you more from the star. -Tim DCXX


GB, JUDGE and BOLD original promo photos, Photo: Tim DCXX


Original photo of Cappo from the last Fender's YOT show. Photo used for Shelter record, posters and shirts, original photo taken by local NJ HC/Photo guy, Ethan Glading, Photo: Tim DCXX


I'm pretty sure this is the Shelter mock up for the old original CD packaging of the late 80's / early 90's, Photo: Tim DCXX


A random Chain from City Gardens photo I found in the Chain Of Strength folder that must have been sent in to Rev from another local NJ HC/Photo guy, Kevin Anglim, Photo: Tim DCXX


I posted this hand drawn Violent Children logo before, but this pic has two random VC photos that I thought were pretty damn cool. Cappo on drums in the upper left and Porcell on guitar lower right, Photo: Tim DCXX

Crushing The Demoniac - Analyzing Side B of Cro-Mags "Best Wishes"

Harley fronting the Cro-Mags, Photo: Ed Esposito

Ok, back here to dissect side B. If you missed my piece on side A, check it out here:
Cro-Mags Best Wishes Side A

Side B of this 8 song LP opens as strong as it possibly could, with the hellraising fireball, "Crush The Demoniac." Perhaps one of the best if not the very best song on here, it's common knowledge that this song was written right around the time of Age Of Quarrel and was often the band's set closer during their '86/'87 tours. Harley has revealed that while his lyrics to this are significantly different from whatever John Joseph's lyrics were (Harley says he has no idea what John was singing live), musically it was recorded pretty much true to its original form.


Best Wishes era Cro-Mags, Photo: Ed Esposito

The song opens and immediately puts you up against the ropes - I've always loved how it kicks off (although I will say that I wish they opened the song on the record in the exact same way they did often live in '86/'87 with a slightly different notes/accenting after the first few crashes - the best example of this is on that Live At Wellington's recording). The main riff of the verse is said to have been written by Doug Holland, and was the first riff he contributed to the band (which I found pretty surprising, although I guess AOQ was already written by the time he joined up). You'll also note the similarity to Maiden's "Aces High" in this riff. Great stuff.

At 2:02 Holland (and I'm guessing it is him since he played it live) takes off with one of the best solos on the album, his shredding getting fiercer as the energy builds. The video of him playing this at the Ritz is one of the best things ever captured on film and audio - it just sounds demented - John even talked about this in his book I believe. If I ever won the powerball and had limitless time and money to devote to anything I wanted, I would pay someone to give me the ability to play this part and I would just walk around all day playing it in people's faces.


A shredding Parris Mayhew with the Cro-Mags, Photo: Ed Esposito

At 2:25 the solo ends and it goes back to just rhythm shredding and fast picking, like an eighteen wheeler blasting down the high way at 100mph with no brakes, and it's filled with fireworks. There's more great riffage at 2:50 for a few seconds, and then BOOOM! - yep, you're moshing. They could have just ended the song and it would have been more than adequate, but no. Instead they drop a siiiiick mid-tempo mosh part that further explodes at 3:36 for the perfect set closer/outro feel. Because of that, it almost seems like this is the song that should end the album...it just goes out on such a peak.

Nonetheless, there's still three more songs, as "Fugitive" kicks things off next. While I had never heard of the Mags playing this song in '86/'87 with John in the band, Harley has said it was written during that time period by Parris with some of Harley's own riff ideas. It definitely is more melodic and "soulful" (did I just call a Cro-Mags song soulful?) than most of the other songs on here, although the choruses aggro out quite a bit.


Harley Mags, Photo: Ed Esposito

I love Harley's bass work on this...as I think I mentioned before, he has such an evil bass sound on this, I feel like he has a stack of cabs the size of The Green Monster, all cranked on 11 and he is playing in an airport hangar. It sounds huge, overdriven, and live, but I'm no bass player so I'm sure my tech talk could be way off. I wish Pincus got this same sound from Normandy on Bringin' It Down, but that's a different story.

Anyways, around 2:55 Harley's playing really takes off as he throws in a lot of cool little runs and fills that really beef the song up and show that he was/is a legit player (something I don't think is mentioned enough). The rest of the song has a good sense of urgency, like it is really gonna take off...but then it just kinda dies out and ends with a big drum roll/rock crescendo ending. It's a good song, but has always felt like it had untapped potential.


Doug Holland and Parris, Photo: Ed Esposito

"Then And Now" kicks off a great Seinfeld episode where Jerry and Kram- ummm...I mean, the songs kicks off with some busy bass work into straight metal riffing. Harley has said the bass intro was his version of "The Exorcist" done in a harder metal style...but I still always hear "Seinfeld bass" when it comes on. I like the idea, but the whole way the song takes off is my least favorite opening to any song here, it's a little too daring a little too metal for me. How the song starts though is actually a total pump fake, because shit busts open at :53 with some great ring out chords and strong energy straight into the chorus. I love the mosh teaser at 1:24 where they let up and slow it down for a moment, and just when you start to do the face-rake, it's back to thrashing. I always wish they extended that and rocked it out, but I guess the brevity of it is what makes it fast and cool.

Harley again kills it with sick bass lines (of course nobody here is a slouch when it comes to ability). It should again be noted that while seeing Mackie off of this record is a bummer, Pete Hines is unstoppable. Lots of tricky time signatures and changes, simply put there's nothing novice about his skills on da traps. While the song generally is solid and has some rager moments, it still gets a little ADD, jams out towards the end, ditches the vocals and solos, and then just wraps up. Like "Fugitive," I feel like the potential for this song is in fact a bit untapped.


Harley rocks the Raiders, Photo: Ed Esposito

Last but not least: "Age Of Quarrel." I'm not sure the whole intro is as much an intro as it is a notice of your upcoming beheading. It's not the first mosh part I think of when I think of the Cro-Mags, but it's still a hell of a mosh part - military drum roll, death knell bass strumming, funeral procession guitar work...heavy. It builds up perfectly into the verse where Harley starts singing. The stop/start tempo around the 1:58 mark lasts just long enough before building up again, and then it's basically back and forth riffing until finally at 3:37 they are just like "ok, everyone...kill each other, NOW."

Fittingly so, things close out on a very dark note. After all, the song is called "Age Of Quarrel" and I think we all know the underlying message here. If this record came out after Goodfellas (1990), an appropriate soundclip right after the music ends would have been the voice of Vinnie when Tommy gets whacked that says, "And that's that."


Parris with the Mags and a great Best Wishes shirt, Photo: Ed Esposito

In general, it's also worth noting again how blatantly Krishna-fueled this whole record is, from the cover artwork to the lyrics...I mean, it's super heavy and nothing about it is subtle. The cover art (Lord Nrsimhadeva killing the Demon Hiranyakasipu) is so brutal and fitting...I've never really dabbled with the KC stuff too extensively but that image makes me want to shave up and chant 16 rounds immediately.

Also, considering the Bloodclot departure and the metal alliances, one would expect these would just be songs on standard metal topics - NOT vegetarianism, reincarnation, extreme spiritual devotion, and escaping the material world. A band like Shelter may have brought prasadam and beads to every young HC kid in the country in the early 90s, but the Cro-Mags basically wrote a thrashing metal record with direct, no compromise, in-your-face lyrical inspiration from the Gita. Pretty wild.


More Harley, More Raiders, Photo: Ed Esposito

Musically, there are parts here that drag a bit, some aspects that could have used some more thought and production, and some general metal influence that maybe didn't gel perfectly, but the overall end result to me is in fact a pretty relentless metal record with a LES hardcore backbone covered in tattoos. "Death Camps" and "Crush The Demoniac" on their own are better than 97.8% of all recorded music ever, so it's kinda tough to be too critical when I really stop and think about it.

Then again I also like Near Death Experience and Alpha Omega to varying degrees as well, so maybe I'm not the proper authority.

Either way...they came, they saw, they conquered. The Cro-Mags.

Best Wishes,
Gordo DCXX


Harley with some pre set prep Cro-Mags style, Photo: Ed Esposito