Sunday 30 June 2019

Damn Yankees: I Talk To Jack Blades & Ted Nugent About "Don't Tread." Guess Which One Warns Me About Raccoons!

Originally published in American Music Press (March 1993)
By Devorah Ostrov

Damn Yankees pose for a Kerrang! centerfold
The Damn Yankees have just finished storming through Japan in support of their new album, Don't Tread, making sure each and every concert attendee got hit over the head with a hearty dose of American spirit.

Now the guys are back home, taking a brief respite before picking up the US leg of the tour where they left off. I spoke with guitarist/vocalist Ted Nugent and bassist/vocalist Jack Blades (ex-Night Ranger; this something of a supergroup also includes guitarist/vocalist Tommy Shaw from Styx and drummer Michael Cartellone).

My backstage pass for Damn Yankees at the
San Jose Events Center Arena - February 21, 1993
Jack was relaxing at his Sonoma County farmhouse, reflecting on the mudslide that had recently wiped out his vegetable garden and tennis court.

"There's like two-feet of mud on my tennis court right now," he tells me. "It kinda flowed all the way down the hill. It was pretty awesome. That stuff's powerful! The ground was so soaked it just gave way."

Meanwhile... Ted could be found on his 1,400 acres of Michigan swampland, pursuing his well-known animal-whacking/nature-balancing crusade — which became personal when I mentioned Rocky, the adorable raccoon setting up house on the roof outside my bedroom window. (I damn well knew I was baiting the trap, so to speak.)

"God bless 'em, they're cute!" Nugent enthused, much to my momentary amazement. "Until they bite your kid. You've gotta be careful 'cause they develop rabies real easy, and there's no control factor other than squashing 'em on the road. There's gotta be a balance. And concrete doesn't quite do the balancing act."

Don't Tread (Warner Bros. Records, 1992)
Now he'd returned to form and was on a roll. "It's like California banned mountain lion hunting. Well, they shot more mountain lions in California last year than ever before. But instead of hunters and sportsmen killing 'em they had to have law enforcement people kill 'em, 'cause there's too fucking many. They're out of balance. Kids were chased home from the school bus in rural California last year. People's dogs and cats were being eaten by mountain lions 'cause they're out of control."

He wasn't done yet, although his spiel did go off the rails a bit as it wound down. "That's a perfect example of what we're trying to fight through my organization, Ted Nugent World Bow Hunters. It's a conservation/hunting organization that embraces and nurtures and guards over the spirit of the wild, very much in the same balanced lifestyle of the native American Indians. And those of us who refuse to turn our backs on nature, like a bunch of city geeks, are crusading to pass this on to young people who are mindlessly drooling on themselves in the malls and street corners of the crack cocaine hellzones. We teach 'em hands-on about how they can be responsible, accountable members of society."

Good thing I didn't tell him about all the peanut butter cookies I've been giving Rocky.

* * *

My friend Greg Langston & I meet the Damn Yankees!
I opt (as if there was a choice) to let Ted begin the interview.

Ted: Devorah, have you ever seen us in concert?

AMP: I saw you in concert in the '70s, but I haven't seen Damn Yankees yet.

Ted: We're pretty cool.

AMP: So I hear. I want to ask you about your recent shows in Japan. All the shows were sold out, which I thought was curious because the band and its music seem so truly American.

Ted: You noticed. Yeah, we reek of American attitude and spirit! And I think that's why we go over. We just exude an exuberance and a spirit of shit-kickerness that the Japanese really relate to. For example, one of the guys translated an article about me over there that said I was the John Wayne of rock 'n' roll!

Jack: Yeah, they love it! One of the biggest songs we play over there is "(You Can Still) Rock in America" from my Night Ranger days. The flag comes down, and people go ape shit! They get up and cheer and jump and yell and scream! It's so funny, 'cause you'll finish a song and they'll go "WHOOO!!!" for about two seconds and then stop, and it'll be dead quiet. It's very bizarre.

AMP: Do they understand the lyrics?

Damn Yankees (publicity photo)
L-R: Tommy Shaw, Ted Nugent, Jack Blades, Michael Cartellone
Ted: I doubt it. They kind of mutilate and bastardize our colloquialisms. It's the spirit and the energy of the show that blows their minds.

AMP: Do you include any other Night Ranger, Styx, or Nugent songs in your set?

Ted: Sure! Yeah! One of the reasons I was excited about playing with Tommy and Jack was because both of them had songs that I knew I would love to perform myself — "Blue Collar Man," "Don't Tell Me You Love Me," "Renegade"... We do all those songs. And we do "Cat Scratch Fever" and "Free for All."

Jack Blades & Tommy Shaw in an advert
for GHS guitar strings
AMP: Were you guys friends before forming the band?

Jack: I didn't know Ted or Tommy very well. Night Ranger had played some outdoor festivals with Ted in the mid-'80s, like Texxas Jam and the Iowa Jam. And I'd met Tommy at the American Music Awards in '84 or '85.

AMP: So, did someone put you guys together?

Ted: Yeah, John Kolodner [from Geffen Records] initiated the first cattle-prodding between Tommy and me. He said, "You guys keep talking about jamming. Just do it already!" So, I went to New York and we jammed. Within a month or so, Jack became available because Night Ranger had broken up, and John Kolodner said, "Hey, you gotta get Jack in there too."

Jack: I got a phone call from John saying, "I have Tommy Shaw and Ted Nugent in New York doing some songs." I said, "Man, that sounds wild!" He said, "Why don't you go check 'em out? See what you think." So, I flew to New York literally five days after Night Ranger had broken up, and we all got together over a weekend. Michael had played with Tommy on a solo tour, so he was there too. And the four of us just started writing all these songs. We've been the Damn Yankees ever since.

AMP: And how does the "gonzo rocker" feel about being back in a band situation?

Ted: I've always considered myself just a member of a band. Sometimes the band is called the Amboy Dukes, sometimes it's the Ted Nugent band, and sometimes it's the Damn Yankees. But I've always considered myself a team player.

Gig advert for Damn Yankees in Japan
AMP: Do you get three distinct types of fans coming to see their favorite band member?

Ted: I can't tell about distinction because there's such a vast, diverse wad of humanity at every show. You've got some Amboy Dukes fans out there that have to be wheeled in. And then you've got a bunch of Damn Yankees fans that are pre-pubescent.

AMP: Amboy Dukes fans still follow you?

Ted: Yeah, it's great! I did an autograph the other day for a guy who had a picture of me signed "Ted Nugent 1967."

AMP: I've heard the band wasn't completely happy with the first Damn Yankees' album. What was it that you guys didn't like?

Ted: I think the first album was a fantastic album! My only real complaint about it is the overall mix. I thought it was mixed real blandly. I don't think the drums had any punch. I don't think the guitars had any twang to 'em. I thought it was done real disrespectful to our R&B pulse.

AMP: And did you have more of a say with Don't Tread?

Ted: I raised a big, greasy, toxic red flag and said, "Hey, goddammit, I played some sexy fuckin' rhythm guitar parts! If they're not on there, I'm gonna gut you with a rusty spoon!" And Jack and Tommy went, "Y'know, he's right." And Michael said, "Yeah, I'm glad somebody fuckin' said something 'cause there's no vibrancy to the blend of the music." And I think we got it this time. I'm confident that we did.

Damn Yankees (publicity photo)
L-R: Jack Blades, Ted Nugent, Tommy Shaw, Michael Cartellone
AMP: I'd like to ask you about some of the songs on Don't Tread. Firstly, congratulations on "Mr. Please" going to #1!

Ted: The number one rock track in America! Thank you very much!

Jack: That's not the pop/Garth Brooks chart. We're talking about rock 'n' roll charts. It's really cool!

AMP: The title track, "Don't Tread on Me"...

Ted Nugent on the cover of Creem magazine
May 1978
Ted: Great song! It's about independence. It's about people in the left lane — y'know, if you wanna go 55 get the hell outta my lane. If you wanna be gay, just don't come near me. I don't give a shit. I think it's weird, but I'm not gonna punch ya.

AMP: Uhmm... OK. What I really wanted to ask about was the use of the song during the US Olympics.

Jack: That was pretty bitchin'! They played one video a night for every 16 days of the Olympics, and it was cool that they wanted us to be the rock 'n' roll band. They wanted real American rock 'n' roll, and the one thing we are is a no-holds-barred, straight-ahead, dyed-in-the-wool American rock 'n' roll band.

AMP: I noticed that the Tower of Power horn section play on "Dirty Dog." How did that come about?

Jack: I've been a fan since... Y'know, I'm from the Bay Area. I've lived here since 1975. I was in this band called Rubicon when I was like 19, and Tower of Power were my idols. That and Sly and the Family Stone. That's the kind of music I loved. So, it was really neat that when we needed horns, I said, "How about Tower of Power?"

AMP: Do you have a horn section when you play live?

Jack: No... We don't play that song live.

Damn Yankees & Jackyl at the
McNichols Arena in Denver, Colorado
AMP: Another song I really like is "This Side of Hell"...

Jack: "This Side of Hell" is killer! That's my favorite song to play live. We just kill that tune. We absolutely kill it!

AMP: It's a great anthem to teenage lust! I guess I shouldn't be surprised that you're still writing lyrics about getting/not getting laid. But you are married with a teenage son of your own.

Jack: Yeah, I have a 13-year-old and a 10-year-old. I don't look at 'em as teenage-lust songs. I just look at 'em as lust period. And they just happen to have a good, strong groove happening. People might choose to call 'em adolescent or teenage or whatever... But that's just the fire I have inside of me, and when that burns out, I might as well fucking quit. I mean, the reason most musicians get into this business is to meet babes.

AMP: Do your sons like the Damn Yankees?

Jack: Oh, yeah! They think its killer! They dig rock 'n' roll. They're not into that rap shit. I'm so fucking sick of that rap garbage. On MTV, you see gangs walking around with guns; they should be shot themselves.

Ted: God damn carjacking, purse-snatching, rap pieces of shit!

AMP: Ted, the one song you sing on Don't Tread is "Uprising." You might think I'm crazy...

Ted: I already think that.

AMP: ...but the general idea of what you're saying in the lyrics reminds me of the Amboy Dukes' song "Get Yer Guns."

Ted: Yes, ma'am! You're right on the money! It's about standing up and defending what you believe in. And it's about trying to change ugliness: "Another night of horror/ The streets are living hell/The gangland has no honor/Just that dying smell/Where is the vigilante?/He's better than the knave/Life's a penny-ante/I refuse to be a slave." Y'know, I keep seeing these reports on television — the left-wing, liberal pieces of shit media that say, "Oh, he took the law into his own hands." What're you supposed to do? Stand there and watch someone kill your family? Of course, you take the law into your own hands!

AMP: Would that be your defense in court?

Ted: There's a more important law than what's in the books, and that's your instinct to protect yourself and your family. I mean, my God, it's insane. I'd love to have been that cab driver [the taxi driver who was sued for using "excessive force" when he trapped a mugger by pinning him against a wall with his cab], except I wouldn't have just pinned him against the wall. I would've run over his fucking head 'till there was nothing left but a skidmark. Things are so fucked up! It's the same mentality that tried to put me in jail in Cincinnati.

Night Ranger with Jack Blades second from left
AMP: I heard something about that. What happened?

Ted: I shot a flaming arrow into my guitar like I do every night, and the Fire Marshall had a hard-on. I think he was a gay vegetarian from Cuba. No offense to Cubans.

Jack: There's some antiquated rule in Cincinnati where you're not allowed to have an open flame. It's like when kids light [cigarette] lighters during the show, the cops fine 'em $50. We didn't know about this. Nobody told us. So, we did our show like we do every night, and after the show the whole dressing room filled up with cops! They took Ted away in handcuffs!

Q: Did you have to pay a fine?

Ted Nugent in an advert for PRS guitars
Jack: The judge was such an asshole. He said, "Did you know about this ordinance?" Ted said, "Absolutely not! Had I known it was against the law, I wouldn't have done it." The judge says, "I don't know who you think you are, but the fine is $1,000 and three days in jail." We were like, "What the fuck?" The radio station in town paid the fine, and they waived the three days. It was kinda stupid.

AMP: Wasn't the singer from Jackyl [the support band] arrested at the same time for mooning the audience?

Jack: Yeah, he was standing in line behind Ted, and the judge said, "Next!" Jesse stood up and said, "Not guilty." They put his trial off 'till next week 'cause this judge was out to get everybody. The guy would've hung Jesse by his balls.

AMP: Ted, I can't end the interview without asking about your commercial for Energizer batteries...

Ted: Kinda cute, huh? They wanted me to shoot that fucking rabbit, but I told 'em I only shoot something I'm gonna eat. And I'm not gonna shoot a pink rabbit from California.

AMP: It's such a classic!

Ted: That's why I did it. I get a lotta offers for stuff like that, but it's gotta really be out of the ordinary and something I consider to be classic.

Damn Yankees (publicity photo)
AMP: And I loved your performance on Miami Vice!

Ted: Did you see that one? It was the #2 rated Miami Vice of all time. I thought I died like a champ.

AMP: Would you like to do more acting in the future?

Ted: Y'know, I'd like to, but Jesus Christ, there's only 24 hours in a day and seven days in a week. It pisses me off! I need at least 50 hours a day and probably 20 days a week and about 150 weeks in a year. I'm just too damn busy. If I get a little break, and I'm still able to three or four years down the road, I'm sure I will. It's fun! And I'm good at it 'cause I've got a lotta attitude!

* * *

In case you missed it during its original run, here's Ted Nugent's advert for Energizer batteries. Enjoy!


Wednesday 19 June 2019

Dramarama: The 1991 Gavin Convention Provides A Perfect Opportunity To Interview The Band

Originally published in American Music Press (1991) 
By Devorah Ostrov

Dramarama (publicity photo)
The name Dramarama always makes me think of a pretentious English synth band. And if there's one thing I hate, it's pretentious English synth bands. "Not so!" their publicist assures me when he calls with an offer to interview the group. Apparently, they just happen to be in San Francisco promoting Vinyl (their new CD on Chameleon Records) during the Gavin convention.

The publicist also notes that although they're LA-based these days, the guys originally hail from New Jersey and that "their sound can be compared to the Replacements and the Beatles." Now there's a helluva claim to live up to!

Vinyl (Chameleon Records - 1991)
It's Dramarama's affable John Easdale who greets me and my friend Michelle at the hotel.

"So, what do you do?" asks Michelle, as Easdale settles himself on the bed and lights a cigarette.

"I sing, I play a little guitar, I write the songs..."

"That make the whole world sing," mumbles Michelle. This is why I always bring her along to interviews!

The Dramarama story began several years ago when Easdale, bassist Chris Carter and guitarists Mark Englert and Peter Wood were attending high school in Wayne, New Jersey.

"We all grew up together," reflects Easdale, "and we started the band after high school. We weren't all gonna be college graduates, so we decided to become a band instead. First, we put out a 45 ["You Drive Me" b/w "A Fine Example" and a cover of "Femme Fatale"] and a 12-inch five-song EP ["Comedy"] on our own Questionmark Records. We got reviewed in Trouser Press and started corresponding with a French DJ who read the review. The record got to be No. 1 on this guy's radio show, and through that, we got a contract with [French indie label] New Rose Records for our first album [Cinéma Vérité]."

Dramarama pose in front of the Gem Spa à la the New York Dolls.
Back cover photo of the "Anything, Anything" 45 (New Rose - 1989) 
Legendary Los Angeles DJ Rodney Bingenheimer gave the group its big break in America and turned their song "Anything, Anything (I'll Give You)" into something of a hit.

Easdale resumes the story: "Rodney started playing it — it had a picture of Edie Sedgwick on the cover, I guess that's why he picked it up. So, he played it a lot. He said we were from France. He pronounced our name, Dream-a-rama."

"Rodney's coming," interrupts Wood, who had entered the room a short time earlier and stood shyly against a wall. "I think he was on the plane behind us."

Before I can ask about "Anything, Anything" being used in one of the Nightmare on Elm Street movies, Chris Carter — all black hair and shades — bursts through the door. Someone's told him about our mutual love of old Creem magazines (really good publicist!), and he drops a dozen issues sealed in plastic on the bed.

Dramarama at the time of this interview
with drummer Clem Burke in the center (publicity photo)
"I didn't know how much of a collection you guys had," he offers. "So, I just brought some interesting ones."

I motion for Easdale to continue talking while Michelle and I try to discretely remove the protective plastic from issues featuring Kiss comics and Alice Cooper beer recipes. However, the singer has become distracted and is also making a grab at the magazines.

Easdale: I didn't see that. What's that one?

Carter: Kordosh [J. Kordosh, former Creem editor] gave it to me. I was gonna bring my Boy Howdy! beer can...

Cinéma Vérité (New Rose - 1985)
Easdale: He has a Boy Howdy! can. Plus, he has the actual sticker on the sheet so you can make your own can of Boy Howdy! But it doesn't work on today's cans. Back then, beer cans were bigger, and they had that bar down the side.

The liner notes to Vinyl pay further tribute to the group's fave magazine (and throw any chance of a favorable record review from the current edition out the window): Creem's old issues are listed under special thanks, while capital letters proclaim "NEW CREEM SUCKS!"

The liner notes also mention two guest artists of some renown. One is keyboardist Benmont Tench from Tom Petty & the Heartbreakers, who dropped by to play on a couple of tracks and stayed for a total of five. "A magnificently amazing musician like that guy — everything he does adds something to the record," states Easdale. "So, if he wants to do it, I mean, geez..."

The other name that stands out is guitarist Mick Taylor who lends slide to the anti-classic rock radio treatise "Classic Rot." How did the ex-Rolling Stone get involved with Dramarama, I wonder? "We went to see the Replacements," explains Easdale, "and they said, 'Do you have any songs on your new album that Mick Taylor could play on?'"

Dramarama
Photo: David Perry
Having only had a chance to listen to Vinyl a couple of times prior to the interview, I compliment the one tune that has been stuck in my head all day and make a faux pas by referring to "What Are We Gonna Do?" as the "Earth Day song."

"It's not really an Earth Day song," points out Easdale with such exasperation I'm guessing I'm not the first one to call it that. "We were playing at the 20th anniversary of Earth Day up here, out at Golden Gate Park. And I was thinking about the irony of it being the 20th anniversary, but the 17th and the 15th and the 13th anniversaries had gone pretty much unnoticed — at least where I was living at the time. I don't know how it was in the Bay Area, but there was none of this ecological jazz going on from 1970-1990. All of a sudden, it's the 20th anniversary and it's like, 'Wake up! It's Earth Day again!' That's what the song is about."

Meanwhile, Michelle has been glancing at the press release for Vinyl. "You do 'Memo from Turner.' That's a good choice for a cover," she tells the band.

The (not-so-helpful as it turns out) press release also describes the song "Train Going Backwards" as being "Neil Young and Crazy Horse inspired."

"Everyone says that," grumbles Easdale.

Perhaps, it's suggested, everyone says it because it's written in the press release.

"What Are We Gonna Do?" CD single
 (Chameleon - 1991)
"I never listened to Neil Young while I was growing up," he insists. "I hated him! He was a hippie! There were all these flannel-shirted hippies in my school, all these burnouts. They sat on the lawn and sang Neil Young songs with their acoustic guitars. I never even heard Neil Young sing half of these songs, but I just knew them. Songs like [whines] 'Old man...'"

"Down by the river..." whines Wood. "They played that one for years."

So, you might ask (as I did), what was Easdale listening to in the '70s?

"T. Rex, Mott the Hoople, David Bowie, Roxy Music, Beatles solo albums... I know there was one summer where I listened to Yes and ELP, which I sometimes forget."

"He doesn't like to talk about that," laughs Wood.

"And then punk — some of it anyway. The Clash and the Sex Pistols were all right. I had a couple of Stranglers' records... Patti Smith... Dictators always! I saw a show where Styx opened for the Dictators and BeBop Deluxe!"

Advert for the "Anything, Anything" single
As luck would have it, Dramarama have their own strangely-billed gig to talk about — and it even involves a pretentious English synth band!

"We opened for Erasure," says Easdale. "It was the most ridiculous show I've ever seen. They gave us the space of about the width of this [twin] bed to set up in, and the rest of the stage behind us was all these gigantic..."

"...mushrooms and snails," fills in Wood. "And they had a chorus line of men wearing sequined G-strings. It was like..."

But wait! Easdale never finished telling us about Dramarama's history. We know about high school, the French record label, and Rodney Bingenheimer picked up their record because it had Edie on the cover... Then what?

"We'd heard of Rodney, so we said, 'Let's go to LA for a vacation.' And we just ended up staying. So, we moved here and made albums and we've had a million drummers."

Which brings us more or less up to date. Ex-Blondie drummer Clem Burke is the latest addition to Dramarama's lineup (although he was too late to play on Vinyl, that honor goes to Wire Train's Brian MacLeod). How did they secure his services?

"Rodney hooked us up with Clem," says Easdale. "At first, we were kind of nervous because it was Clem Burke. But we got over it. Just the fact that he was interested in the band at all was pretty flattering. He's the best drummer in the world!"

Two posters for recent Dramarama shows featuring 
Gerard Malanga's iconic photo of Edie Sedgwick