Paramore: Getting to the Top the Old Fashion Way?

Ever since the “unforeseen” success of their headlining single “Misery Business” from their album “Riot!”. Is Paramore here to remind us the “good old days” of punk rock and getting famous the old fashion way?


By: Vanessa Uy


Ever since their MTV debut via the single “Misery Business” aired on our local MTV affiliate, I thought that our local MTV Asia affiliate had mistakenly aired a circa 1989 power pop / punk video of a talented young band. I thought good bands like Paramore only exists15 to 20 years ago. Maybe I’m listening to 24 bit 192 KHz sampled Punk Rock reissues for far too long. Now that almost all of the under 25 “punk rockers” already knew them (I just turned 11 and I only discovered Paramore back in August 2007), here’s a much needed refresher course for the uninitiated. Named after a friend of the band mother’s maiden name Paramore is a Pop Punk (Power Pop?) band which hails from Franklin, Tennessee. Also after finding out that Paramore means “secret lover”, the band chose it. The band’s vocalist and primary center of attention is Haley Williams. Their current line-up by this time of writing includes lead guitarist Josh Farro and his brother Zac Farro on drums and bassist Jeremy Davis. Since today’s MTV – based music is primarily a visual medium the other members of Paramore can only be appreciated by ear because of the band’s “hot” vocalist.

Paramore was already busy “paying their dues” in the touring circuit since 2005. By April 2005, the band already signed to a record label. Then Paramore released their debut “All We Know Is Falling” in July 24, 2005 reaching #30 on Billboard’s Heatseekers Chart. Later in that year, Paramore was featured on the Shira Girl Stage of the 2005 Warped Tour. In 2006, Paramore released an EP titled “The Summer Tick”. Their first night on the Main Stage was at their hometown show of Nashville. Paramore’s first US headlining tour began on August 2, 2006 to a sold-out audience with support from This Providence. With this under their belts, Paramore was voted “Best New Band” by the readers’ poll of “Kerrang!” magazine.

By the start of 2007, Paramore was named by NME (is this the same NME circa-1980?) as one of ten bands to watch out for in the magazine’s “New Noise 2007” feature (the band Girlschool used to be on that list back in 1980!). In addition to this accolade, the band played an acoustic set for the grand opening of a “Warped Tour” exhibit at the Rock n’ Roll Hall of Fame that opened in January. The dress worn by Paramore’s vocalist Haley Williams for the “Emergency” music video was also put into the exhibit (Queer Eye alert!). And by the recording and release of “Riot!” around June 2007, Paramore already mastered the ropes of studio and live- gigs. By December 7, 2007 CNN ran a news feature about next years Grammy nominees lists Paramore as one of the Best New Artists.

To me, it seems like new bands that seek fame and recognition via the old fashion way i.e. “paying their dues” on the touring circuit and in the studio seems to scare the hell out of MTV’s current incarnation – or is this just endemic in MTV’s ASEAN franchise? Aspiring bands should be exposed to young and gifted talents like the band Paramore in order to end this endemic batch of major label crap (and surprisingly young “talent”) that only current “Media Pirates” seem to cherish because they can earn money from it.

Remembering Lucky Dube

A singer / performer with enough clout to temporarily stop on – going civil conflicts, the world and Reggae fans now mourn the passing of Lucky Dube.


By: Vanessa Uy


When the Reggae star Lucky Dube was shot in front of his children on October 18, 2007 after an attempted carjacking, the ongoing epidemic of violent crime in South Africa gained worldwide attention. This incident even casts doubts on South African government’s ability to keep peace and order on the coming 2010 World Cup. Despite meeting an untimely end, Lucky Dube lived a life that’s way more interesting than his death.

With a music career that spans 25 years, Lucky Dube has recorded 20 albums. He sang in Africaan, Zulu and English. Strangely though, he is more famous overseas than in his homeland of South Africa. During the 1980’s Apartheid-era South Africa, Lucky Dube used his music to inspire Black South Africans for a non- violent struggle against Apartheid rule.

Lucky Dube’s finest hour came during the 1990’s when his fame had earned him enough clout to temporarily suspend on-going battles in African conflict zones like Liberia and the Democratic Republic of Congo. In June 1999, Lucky Dube performed one of his famed 3-hour long shows in Monrovia, Liberia where the said show allowed a cessation of hostilities between the warring factions. The warring factions are willing to temporarily suspend their fighting just to attend a Lucky Dube concert. These fighters really are dedicated fans. Lucky Dube is also big in the US. He frequently played venues in Miami, Florida and in Atlanta, Georgia.

Despite being regarded as the current “gold standard” when it comes to Reggae music, and Lucky’s fans swear that he’s the spiritual heir of the Reggae legend Bob Marley. Lucky Dube’s allegiance to the Rastafarian faith was more academic than spiritual because in interviews he says he doesn’t use marijuana / cannabis. To the uninitiated, the spiritual side of the Rastafarian faith revolves around Emperor Haile Selassie of Ethiopia (the one deposed from power on September 12, 1974) and the Emperors lineage to King Solomon and the Queen of Sheba plus the “Lion of Judah” references.

Ever since releasing his debut album “Rastas Never Die”, Lucky Dube has indeed come a long way. When he played in the Live 8 Concert in Johannesburg, South Africa, Lucky Dube indeed took Reggae music back to Africa – the music’s spiritual homeland. I just hope that his latest album “Soul Taker” won’t be used by Lucky Dube’s fans as an epitaph of his music career but rather a celebration of his artistry and his quest for a better world. The official Lucky Dube Website is at www.luckydubemusic.com .

Lunachicks: The Epitome of Punk Rock Creativity?

During this age of “same-sounding-Billboard-chart-downloaded-to-iPod” phase of pop music, one wonders of the existence of an active government conspiracy 10 years ago – a la X-Files – bent on keeping the band Lunachicks in relative obscurity?


By: Vanessa Uy


The first time I listened to Lunachicks was during a point in my life that could be considered “musically” tumultuous. I was 8 at the time when I knew that achieving Joe Satriani like levels of guitar virtuosity is second nature to me. Avril Lavigne’s debut album was conquering the local airwaves unabated when I’m starting to wonder if my newly found virtuosity will only be in vogue in classical music circles (or 1980’s hair metal bands). My guitar skills will always be a legal way for me to achieve easy money by being a session musician, but it’s only fair to thank the band Lunachicks for keeping me sane during this past few years.

First formed way back in 1987 Lunachiks were said to be discovered by Kim Gordon and Thurston Moore of Sonic Youth at their second gig. The two members of Sonic Youth thought that Lunachicks were a “noise band” – but in actuality- Lunachicks hadn’t learned how to play their instruments yet at the time. A few years later –in 1990 – Lunachicks released their debut album titled “Baby Sitters on Acid” on the record label Blast First. Baby Sitters on Acid “is” the only Lunachicks album that I haven’t heard or owned yet (CD or LP only offers please).

The principal members of Lunachicks are: Theo on lead vocals full name Theo Kogan, stands a full 6 feet and extensively works as a model in the NYC area. Gina (full name Gina Volpe) on guitars and vocals. Squid (Sydney Silver), on bass guitar and vocal duties. Becky Wreck a.k.a. Susan Rebecca Lloyd was their drummer during their first two albums. Chip, (Chip English) replaced Becky about the time when Lunachicks signed up with Go-Kart records – a legendary New York based independent music record label. Sindi, (Sindi Benezra Valsamis) served as the bands other guitarist from 1987 but she’s no longer with the band during the 1998 leg of their tour. Helen Destroy served as the band’s drummer from 2000 to 2001.

After achieving a substantial cult following and critical acclaim from their Baby Sitters on Acid album, Lunachicks released “Binge and Purge” on the Safe House record label in 1992. The album served as a creative template for the succeeding Lunachicks albums. With songs about female masturbation whose lyrical descriptions rival those of Jonathan Swift’s literary description of defecation on his book “Gulliver’s Travels.” As a Punk Rock band, Lunachicks’ uniqueness is the result of their unabashed use of “technical” guitar playing which is the preserve of 1980’s “hair metal” bands.

Lunachicks came into their own when they signed up with Go-Kart records. A friend of Greg Ross once told him to sign Lunachicks because they are NYC’s most popular “indie” band. Around 1995, Go-Kart was still a fledgling record label but as luck would have it Lunachicks signed up with Go-Kart. In May 1, 1995, Go-Kart released Lunachicks’ third full-length album – “Jerk of all Trades.” Because of their popularity, Lunachicks single-handedly became the label’s financial bread-and-butter. During the later half of 1995, Lunachicks toured with “alternative / indie” bands made famous by MTV circa 1995 like Offspring, Marilyn Manson, Luscious Jackson, Rancid, and Reverend Horton Heat.

In February 18,1997, Lunachicks released “Pretty Ugly” on Go-Kart. It’s rare for them to retain the same record label in releasing a new album, but they might have been satisfied on what Go-Kart records did to the band’s career. A quirk about this album is the title track –“Pretty Ugly” was released on a Go-Kart records compilation titled “GO-KART VS. THE CORPORATE GIANT”. Production value-wise, “Pretty Ugly” is somewhat too bass heavy a recording for a Punk Rock band. Either they are following a trend – Massive Attack, Portishead and Trent Reznor / Nine-Inch-Nails - at the time were releasing albums with ridiculous amounts of bass which were selling like hotcakes- or experimenting. Back then, a friend of mine damaged his US$1,500 Velodyne sub woofer during the song “What’s Left” when he played the song at unamplified-drum-kit-sound-pressure-levels. Mind you his audio rig easily passed muster playing other well-recorded drum kit recordings at their natural/unamplified sound pressure levels (105-110 dB SPL). Remember, at that level of loudness the stereo set up should make the recorded sound of the drum kit sound like a real drum kit the way God and Her infinite wisdom intended to sound in nature.

In 1998, Lunachicks released “Drop Dead Live” which to me is probably the best Live Rock Concert album of all time in sound quality terms. Rivaling that of Kiss’ “Alive” and Cheap Trick’s “Live at Budokan”. This is where –as a live band – Lunachicks’ performance rivals that of Iron Maiden circa 1984. This just proves that independent labels –like Go-Kart – good sound quality comes naturally.

In 1999 while still with Go-Kart records, Lunachicks released “Luxury Problem”. I think –as epitomes of the Punk Rock ideal – Lunachicks became somewhat “uncomfortable” with their popularity in the audiophile community chose to record their “Luxury Problem” album with heavy amounts of audio compression and “dry” i.e. no reverb. But the resulting sound quality made the recording sound as if Lunachicks are playing in the cramped confines of a typical Punk Rock venue in New York City like CBGB’s. Are they trying to mimic the godfathers of Punk – The Ramones – on this recording? The tattoo art world / culture references are still present though.

From 2001 onwards, the band’s tour itinerary has gone from few to nonexistent. The band’s members are busy with their “other jobs.” Gina is now the lead singer and guitarist of the band Bantam. Theo now play’s with Theo and the Skyscrapers. Theo also appeared in the movie Zoolander, you know, the tattooed woman in Hansel’s loft. Becky was the drummer for the Blair Bitch Project back in 2000. Helen Destroy plays drums in the all-female Led Zeppelin tribute band Lez Zeppelin (The Lesbian Led Zeppelin?). Squid is currently working as a tattoo artist. I wonder if Squid did Theo’s tattoos?

Despite of their album’s quirks sound quality wise, it’s really hard to pick a single favorite album from Lunachicks. It’s like picking a best Mark Levinson amplifier. To me, Lunachicks’ influence reached beyond the confines of Punk Rock. Theo grazed the cover of Tattoo Magazine’s international edition and probably influenced a generation of women on their taste in fashion. They made some “conventional guys” that I know into loyal fans even though these guys are Soldier of Fortune types who helped Zimbabwe to become independent back in 1980 even though the country has bee going to hell recently. Some used to roam downtown Grozny, Chechnya with Kalashnikovs back in 1992. They don’t care about the “Brickface and Stucco” connotations, to them it’s all about the music and one’s “preferences” is his or her own business not the Government or the Church or whatever.

The songs that stuck on me are “FDS” from Jerk, which sounds like a Broadway show tune Punk Metal hybrid. I also like “Bitterness Barbie” for reasons that might result in me writing a 250 page Doctoral Thesis about what is wrong with George W. Bush and his neo-conservatives. “Spoilt” for it’s critique on Capitol Hill / Wall Street Imperialism that required the sacrifice of working class American blood in running it. And who could forget “Fallopian Rhapsody”, the Roe v Wade question that nobody seems to care or the American women whose voices are silenced by the Moral Majority / Right Wing Christian extremists. Remember the January 16, 1997 Sandy Springs incident?

To me, Lunachicks deserve multi-platinum status. Their drummer Chip’s been playing like they already had one. When the Suicide Girls appeared in Jerry Bruckheimer’s CSI New York, I thought would an appearance by Lunachicks be not far behind? Or is that prospect as viable as a Henry Rollins – Black Flag reunion tour?

Lately, a new band called Paramore whose promotional DVD was given to me from a sympathethic friend who works our local Kuwait Fund facility. To me Paramore's artistry could well rival that of Lunachicks, but it's too soon to tell.

Celebrating the Best of Osibisa

Here’s a band whose mission is to tell everyone there’s more to continental Africa than wars and despotic leaders.


By: Vanessa Uy


For all it’s worth, almost everyone I knew has a certain ignorant-leaning pre-conception about African music. Most of them conjure up sounds and images of 1930’s Johnny Weissmöler –era Tarzan. But lets face it, those of us who are “in the know” knew that it’s more than that.

Recently, all that we seem to hear about Africa is the crisis in the Darfur Region, “conflict diamonds” or what kind of atrocities the Zimbabwe strongman Robert Mugabe has inflicted upon his political rivals. Even one of the most trusted names in journalism, the BBC seems to have a fixation on the ugly facets of Africa. Well, as always, I’ve put it upon myself to explore what might have been to me an artistic expression that extols this continent’s rich cultural heritage: African Music.

The first time I heard “Celebration-The Best of Osibisa”, I was transported into a parallel universe: A universe were the Catholic Church gained enlightenment the same time Michaelangelo finished his paintings on the Sistine Chapel. A Catholic Church that learned the true meaning of “self-determination” and “human rights”; a universe were slavery was resolved in continental Africa without the European and American powers becoming entangled in its evil rigmarole. You know: an Africa whose art and culture was evolved by people who benefited from self-determination. We’re allowed to dream, aren’t we?

Osibisa are one of those bands that helped launch a new style of music back in 1970 called "Afro-Rock." Osibisa’s fusion of African music and Rock laid the groundwork for succeeding generations of African musicians to benefit the growing worldwide interest in African music. Witness the success of Paul Simon’s “Graceland” album whose roster of South African musicians gave them global exposure.

Osibisa, whose core members hailed from Ghana in West Africa, were catapulted to stardom on their gig in London back in 1970. Their albums became Afro-Rock classics like “Osibisa”, ”Wo Ya Ya”, ”Heads”, ”Superfly”, ”Welcome Home”, ”Ojah Awake” and “Mystic Energy” which collectively sold over 8 million copies-a feat no other African band has ever came close to.

Although passed over somewhat by the 1990’s World Music phenomenon that catapulted Nusrat Fateh Ali Khan to crossover stardom in the MTV circuit and specifically, the ascent to stardom of Siphó Gumede and Moses Taiwa Molelekwa at that time. Osibisa created more than any other band, the groundwork for the entire African Rock Music movement to become the vibrantly flourishing culture today.

“Celebration-The Best of Osibisa” is their greatest hits compilation. For the benefit of those who heard them the first time around, the tracks on this album include: “Everybody Happy”, “Happy Children”, “Wo Ya Ya”, “Welcome Home”, “Right Now”, “Ke Le Le” and others taken from their previous albums. Osibisa’s sound and message, even back in the turbulent times of the 1970’s where most of the African continent is in turmoil, has an optimism that anticipated 1990’s post-Apartheid South Africa. To me, this album is highly recommended to Bob Marley fans so that they may gain a deeper insight into the roots of Reggae and Rastafarian culture.