Fresh off Vancouver Island after performing at the Victoria Ska and Reggae Festival, BURNT and Perro Bravo return to their California roots this summer with new releases. While we patiently await Perro Bravo‘s full-length effort, BURNT delivers 70 minutes of absolute niceness on a must-own double album entitled Majestic Walrus, which features special guest appearances by various luminaries including Perro Bravo’s Miguel Happoldt. BURNT lead vocalist Danny Franco remembers the day he was introduced to Sublime and learned of Skunk Records producer Mike ‘Miguel’ Happoldt. He said, “We first became aware of Miguel through his work with Sublime. I first heard 40 oz. to Freedom as a teenager…this would have been 1994 or 1995. A girl I had a crush on played the CD for me, and I thought it was really strange music…but I could not stop listening. For the next decade Sublime’s music became the soundtrack to our lives. There are many other influences for sure, but Sublime was always there. I personally discovered so much music through Sublime, which of course was part of Brad Nowell’s genius–from The Minutemen, Bad Brains, KRS-One, Circle Jerks, Beastie Boys, Falling Idols, The Ziggens, Peter Tosh, Secret Hate, Public Enemy, The Toyes–the list goes on and on. There were so many layers and snatches of music. A person could spend years unpacking the references and samples on Sublimes’s 40 oz. to Freedom and Robbin’ the Hood and we did.”
The 20-song masterpiece Majestic Walrus is the 10th self-produced release from BURNT, an indy power trio comprised of lead vocalist/guitarist Danny Franco, bass player Matt “Primo” Swagler and drummer Rob LaPorte. BURNT’s “less is more” approach to music is reminiscent to that of the original Long Beach-based Sublime band’s three-piece lineup. BURNT leader Franco looked to DIY mentor Miguel Happoldt for inspiration. He said, “BURNT has always been a DIY band, following the example of many influential bands before us. As the saying goes: We stand on the shoulders of giants… As BURNT began to develop our own musical sound and craft back in early 2000, we studied not only the sounds of Sublime but also the means by which they produced albums–the DIY culture. This was not unique to Sublime, but we respected and looked up to the way that Brad and Miguel founded Skunk Records–with Miguel leveraging his free recording time as a student at Cal State Dominguez Hills to record the early Sublime work. We took that example to heart–that we should be the directors and producers of our craft and the masters of our own musical destiny. That is really where Miguel first fits into the BURNT story. He is a master musician and of course contributed heavily to Sublime’s music, but we really looked up to Miguel as a producer and engineer. In addition, we also marveled at the way the guy figured out a way to keep it together and put out quality records through all the chaos that is life.”
BURNT’s latest Majestic Walrus brings together a plethora of talented musicians including lead guitarist Joe Ransom Ortner, members of The Debonaires, Beyond Rhythm’s Benjamin “B-Jah” Cook, renowned hip hop artist Karmic Basis and UK dubmaster Nathan “Rivel” McCoy. Recorded and mixed by BURNT,Tom Cook and Calvin “Crash” Turnabull in The Debonaires’ hometown of Riverside, California, the new Majestic Walrus double album has something for everybody to enjoy. Perro Bravo’s Miguel Happoldt contributed his expertise to the song ‘Downstream’, which no doubt makes the new BURNT recording a true collector’s item. Danny Franco commented, “As we were going through the recording process for Majestic Walrus, I hit up Miguel with a number of tracks. The one that made the album, ‘Downstream’ came together organically and is a total collaboration from start to finish. We’re humbled and honored to share the stage and make music with all the Perro Bravo guys. It’s fair to say that I hit it off right away with bassist Mike Long and Greg “Mudd” Lowther, Perro Bravo’s drummer. He is a very intelligent guy who loves books and music. I think both bands realized that we had a kindred spirit, and that our sounds–while being very distinct and different from one another–make for an entertaining show and lineup. Miguel and I started booking runs of shows together, and most recently just got back from a mini-tour of British Columbia and an appearance at the 18th Annual Victoria Ska and Reggae Festival. It has been totally fun getting to know all the Perro Bravo guys, and learning from their wisdom and experience. I truly believe that this is really still the beginning of what I hope will be many fun and interesting collaborations in the years to come.” If Majestic Walrus is any indication of what the future holds between BURNT and Perro Bravo, then more collaborations between the two Cali Reggae Rock bands are on the horizon. With a new Perro Bravo recording expected later this summer, pick up a copy of BURNT’s Majestic Walrus in the meantime by clicking HERE.
When asked to special guest Friday morning at 8 am (Perth, Australia time) or Thursday afternoon at 4 pm (PST, USA time) on ABC Grandstand Strike Zone baseball radio show by host @CJColeman after completing my most comprehensive article to date
“MLB digs ‘Down Under’ and find nine Aussie stars”, I requested to include one of the featured Australian players–Pitcher Shane Lindsay of the Los Angeles Dodgers–because of a recent tweet received from @ABQTopes (LA Dodgers Triple-A affiliate Albuquerque Isotopes). I thought to myself that if anyone deserved to go directly from the Australian Baseball League straight to Major League Baseball without any pit stops it was the recently signed Dodger flamethrower. After the Isotopes were kind enough to retweet my article to its 2500 followers, I tweeted back: “Thanks for the RT (retweet) and for sending the Dodgers your best talent. Do you think Aussie Shane Lindsay will wear True Blue after ST (spring training)?”
Moments later @ABQTopes replied,
“He has the tools to impress, but new ownership will have the final say.” Time will tell who exactly will sign Lindsay’s checks, but in the meantime he is training rigorously in Arizona to prepare for the pitcher and catcher February 21st report date at Camelback Ranch in Glendale. Shane emailed me: “Hey mate, doing good…working my butt off in Phoenix and getting ready for camp at athlete performance.” Lindsay is taking this challenge very seriously.
Without a doubt, Lindsay could very well be vintage Jonathan Broxton
with additional strength out of the bullpen. Last season wearing Chicago White Sox silks, the gutsy and often “wild” Australian hurler was not afraid to throw inside with his intimidating signature upper 90’s fastball to strike out hitters. The Dodgers believe Shane Lindsay has what it takes to become successful in MLB, and all he has to do now is figure out who to impress…the “wild” Kim Kardashian?In order for me to impress on why you should vote for me to be in the 2012 MLB Fan Cave by clicking HERE so that I may deliver an innovative and fresh approach to the coverage of pro baseball and also report on the latest cutting-edge music and pop culture trends, it is imperative to hear from others about my positive influence on them–as I am not accustomed to being my own publicist! Let’s first connect the dots through the Skunk Records and Sublime stories as told by San Diego-based Slightly Stoopiddrummer Ryan ‘RyMo’ Moran.
While on the road with Rebelution , Ryan Morgan recently spoke about my good friend, Mike ‘Miguel’ Happoldt–co-founder of Skunk Records and producer for Sublime, Slightly Stoopid, Unwritten Law, Long Beach Dub All-Stars and Long Beach Shortbus. ‘RyMo’ explained, “In a nutshell, Skunk Records was two people. It was Brad Nowellfrom Sublime, and Mike Happoldt. Mike Happoldt is still one of our producers to this day, we work with him all the time. Basically those two guys started that record label as an underground Long Beach record label. It was basically two friends who just put their heads together and said, ‘Hey, we’re going to start recording.’ At the time, Mike Happoldt was called ‘Miguel’. Miguel was going to Long Beach State and he was in a recording arts music program there … and so after hours there they would sneak into Long Beach State, and Sublime recorded a whole bunch of stuff there. They would basically just sneak in after hours and use the studio from like, 8 p.m. ‘till 4 in the morning and then come back in the next night and do it all again. Skunk Records really was just a grass roots movement between those two guys.
Now sadly, we all know the story that Brad Nowell passed away in ’96 from an overdose on heroin, which sucked. At that point Mike, or Miguel, basically kept the label going, but it shrunk considerably. It went from like a full-on functioning label to just basically him doing stuff out of his house on a smaller scale. Basically, Skunk Records released quite a few records from bands like The Ziggens, one of Sublime’s favorite bands from back in the day. They released a good amount of other stuff —- obviously the work they did with Long Beach Dub All-Stars. Basically, Skunk Records is just Miguel Happoldt. It’s his project.”
When LA music industry insider executive Dana Smart interviewed Mike ‘Miguel’ Happoldt about Sublime and the influence of reggae, yours truly got some serious props.
Mike said, “Brad was a huge fan of DJ Roberto Angotti of KNAC (not metal yet) in Long Beach. He taped every show between 1985 and 1986.” You can listen to some of the songs that Brad loved by clicking on the following podcast link–The Waxcast Episode 2: Homage to Reggae Revolution–a loyal listener’s tribute to my radio show
before moving on to Los Angeles’ #1 Young Adult Radio Leader, ‘The World Famous KROQ 106.7 FM’, where I deejayed from 1986 through 1992.
I would see Brad regularly when I promoted Club Reggae at Fenders Ballroom in downtown Long Beach, where huge punk groups would perform in the larger room and Jamaica’s Wailing Souls and Eek-A-Mouse, England’s Pato Banton and Tippa Irie as well as LA’s Untouchables and Fishbone and other reggae/ska groups would play in my part of the ballroom on weekends. We would not discriminate against anyone who would enter our Punky Reggae Party. Long Beach experienced a London boomtown feeling in the early/mid-80’s. I clearly remember Brad joining me in the DJ booth when I promoted Eek-A-Mouse and Sublime together at Bogart’s in Long Beach. He came again to check me at an Andy Summers gig as well. When singer Gwen Stefani and bassist Tony Kanal from No Doubt were a couple without a contract, they would frequent my OC Club Reggae where I would test market their records on the dance floor. After graduating early in 1980 from high school at age 17, I studied abroad in London and immersed myself in the 2 Tone movement. Borrowing elements of ska, punk rock, rocksteady, reggae and New Wave, bands like The Specials, The Selecter, The (English) Beat, Madness, Bad Manners, and The Bodysnatchers were the talk of the town. However, it was UB40’s “My Way of Thinking” that captured my imagination. Their progressive and upbeat style of British reggae was ear candy, and I could not get enough of it. I also learned of another Birmingham-based band called Steel Pulse. I collected records from London’s Aswad and Linton Kwesi Johnson as well. The artists trusted me, and I traveled with UB40 throughout America as their emcee while supporting Sting and The Police. I became the first radio deejay to interview British reggae, ska and two tone artists and break their records in America while hosting “Roberto, Rock, Reggae” on KSPC 88.7 in Claremont, California. Although a college station, the strong 3000 watt signal penetrated in Orange, LA, Riverside and San Bernardino counties. Within two years in 1982, I got my first real job in commercial radio when I was hired as a new music jock.
Working overnights at ‘Rock N Rhythm KNAC’ in Long Beach, I mixed New Wave and Classic Rock from the 50’s-70’s in this unique format which allowed deejay freedom with two personal choices per hour. I would bring in my crate of records from independent and unsigned artists to customize my radio show with a healthy dose of reggae and ska. After I had created a huge buzz for the music, I was rewarded with the first reggae show–“Reggae Revolution”–on commercial radio in addition to working my KNAC new music weekend deejay shifts and serving as program director of Pomona College’s KSPC. Often I would receive acetate test press copies of songs fresh out of the studio from up-and-coming LA New Wave bands like the Mystic Knights of the Oingo Boingo (who would later drop the long name), The Motels, X, The Blasters, The Plimsouls and Missing Persons. The groups would have listening parties while paying close attention to the audio quality of the recording on-the-air before going back in the studio to master the song.
Although we did not have the signal strength of LA powerhouse KROQ, Long Beach’s KNAC–lead by the innovative program director Jimmy ‘The Saint’ Christopher (who would later become the PA announcer for the Texas Rangers at the Ballpark at Arlington)–was looked upon by the music industry as an indicator station. While other stations would only play one or two tracks from an album, KNAC would dig deeper and play as many as four or five. Once research had indicated that the public liked the tracks, then only would the more conservative and bigger KROQ’s of the world would add songs to the playlist–especially if there was payola.
I thought that I would never sell my soul to the corporate giants, but it took a KNAC format change to Metal in 1986 for me to take a sabbatical in the UK and come back stronger than ever at KROQ. While a Film Studies major at Claremont McKenna College, I had done a documentary of the English Beat and written my thesis on reggae based upon two interviews with legendary original Wailer, the late and great Peter Tosh. He was the Original Jamaican Rude Boy that many of the two tone characters emulated years later in England.After graduating from college and taking some time off, I embarked on a journey to document UB40’s making of the ‘Geoffrey Morgan’ Album in their hometown of Birmingham, England. Staying at each band-member’s house a week at a time, it goes without saying that the lads were tired of my eternal smiling grin and my video camera staring at them every step of the way. Upon arriving at their DEP studios in the industrial section of Birmingham’s Digbeth, the band suggested I go down to an open audition held underground at a local pub where local talent would be performing live.
My life would change forever… At the time, a local MC by the name of Pato Banton had recorded two tracks on UB40’s ‘Baggariddim’ Double Album. One of the tracks, “Hip Hop Lyrical Robot”, was a B Side to the #1 song “I Got You Babe” featuring Chrissie Hynde from The Pretenders. After the success of the Beat’s “Pato and Roger Ago Talk” off the Beat’s ‘Special Beat Service’ Album, Ranking Roger continued to produce Birmingham’s top MC while Pato was on fire.
Roger did not disappoint the local reggae massive when he produced Pato’s 12″ single called “Mash Up The Telly”, which was the song that I had videotaped at the audition and later became a big UK smash hit. Before I could stop the camera and say hello, Pato was out the door and gone… I was blown away at his amazing talent and charisma on camera. I showed the footage to UB40 back at the studio, and the next day keyboardist Mickey Virtue game me Pato’s 12″ single “The Boss” and business card.
I immediately phoned and arranged a meeting with Pato’s manager, Grantley ‘G.T.’ Haynes. I learned that he also managed another client from London’s #1 Saxon Sound named Tippa Irie, who had massive success with “Hello Darling”. I had been sending postcards to KROQ Program Director Rick Carroll so he would expect me when I arrived back in LA. Equipped with new vinyl and a vengeance to get back on the radio, I brought back “Reggae Revolution” to the Southern California airwaves with a much improved signal that reached five times the amount of listeners I had previously at KNAC. Within a few months,Pato Banton and Tippa Irie were signed to U.S. recording contracts.
I arranged for Pato to record a song at the KROQ studios with the San Diego-based rock group Private Domain. The end result was “Absolute Perfection”, and the song became an instant hit on commercial radio throughout America in addition to a staple in the KROQ Top 10 playlist. Later I took Tippa Irie to see his first Black Eyed Peas concert at the Belly Up in Solana Beach. The end result there was “Hey Mama”, a track that broke radio charts internationally and was a MTV favorite. UB40 have always respected my writing style, and they paid me the ultimate compliment when they asked me to write the liner notes for their Dancehall Album.
After they flew me to Jamaica, I was able to work out of Ali Campbell and Brian Travers’ Oracabessa Records HQ in St. Mary. There I would vibe up full stop and meet a long cast of Jamaican stars passing through including Sly & Robbie, Rappa Robert, Toots Hibbert, Jack Radics and Mr. Vegas. Once word got out that I was writing liners, the phone rang constantly. The Sublime camp always loved my articles for Mean Street Magazine and asked for to write the liner notes for ‘Sublime: Everything Under the Sun’ Box Set. Mad Professor requested that I write Macka B’s ‘Global Messenger’ CD liners as well.
Music Club U.S.A. allowed me to go through the entire Fashion Records catalogue out of South London and produce two compilation CDs: ‘Love All Night’ and ‘Essential Dancehall Classics’. Despite having my plate full between teaching English in Orange County and freelance writing nonstop, I continued working with Pato Banton as he had a long list of recording artists who to this day consider him an inspiration and a foundation artist. Sting recorded with Pato on a couple occasions and flew he and his band on his private jet to Spain. Peter Gabriel recruited Pato to join him on his international WOMAD Tour. Ali and Robin Campbell scored a #1 hit with Pato on “Baby Come Back”. I have since arranged for Pato Banton to tour with the likes of 311, Matisyahu, English Beat, and Argentina’s Los Pericos. Tippa Irie and Pato Banton are first-rate live performers and consummate professionals in the recording studio. Both constantly in demand, it won’t
be long before they each throw out the first pitch at an upcoming MLB game and perform live in the MLB Fan Cave.