Is Hole Reuniting with its Original Lineup?

Courtney Love’s 2010 LP Nobody’s Daughter left many longtime Hole fans unsatisfied with a full band of new recruits, though a rare on-stage reunion in 2012 sparked rumors that the ’90s rebel staple could finally be joining forces on a fifth studio album. Years have since gone by and we’ve been left to patiently wait, reminiscing about the glory of iconic singles, like “Malibu,” and deep cuts, like “Retard Girl.”

Are the glory days officially behind us?

This weekend, Love shared an image to Instagram of herself posing alongside Hole drummer Patty Schemel and bassist Melissa Auf Der Maur, tagging guitarist Eric Erlandson in the caption, below. “With the girls, serving up a Hole lot of something,” she teased, leaving our mouths watering with the ambiguity of a less satisfying, “Maybe.”

Is Hole finally reuniting with its original lineup?


with the girls, serving up a Hole lot of something. maybe ?? #rocknroll #girlfriends #hole @pattyschemel @xmadmx

A photo posted by Courtney Love Cobain (@courtneylove) on


Andy Rourke Talks About The Smiths & This Weekend

This Saturday, August 4th I will whisk myself east for a daytime (2pm to 4pm) DJ gig, poolside at The Montauk Beach House, for the swells that are finding nirvana there. It’s their inaugural year and I’m hoping I won’t blow it for future generations. I’m opening for Andy Rourke (ex-The Smiths). Terry Casey is the resident DJ, and he and Matt Thomas set the whole thing up. I’m excited. I’ll blow by the hated Hamptons in the wee hours and grab a chaise lounge and some sun until called upon to move the masses. I have no idea what to spin to a poolside brunch crowd but figure I’ll start with Bo Diddley’s "I’m a Man" and go from there. Like most DJs, I have over 10,000 tracks to choose from. Many guys have 10x that amount. The crowd has been described to me as intelligent and not desiring of the requisite top 40 that I hear everywhere. DJs mostly just shrug and say things like "I give them what they want.” My second track might be the Stones’ "You Can’t Always Get What You Want.” I try not to plan; it’s usually a waste of time. If the music required could be predicted, iPhones and mixed DJ sets would replace us all. I met up with Andy Rourke at his East Village Radio Show, I brought along photographer Lela Edgar to capture the interview. The three of us slipped next door to Lil’ Frankie’s and enjoyed the atmosphere.

We’re going to work together this Saturday at The Montauk Beach House via Terry Casey. I’m opening for you, not unlike Bowie opening for The Smiths, right? Ok, wrong. What kind of music can be expected?
Well, Steve, me and you go way back; the last time I saw you was in Limelight Club’s VIP attic space –  I think it was 1984!!! Heady days indeed. You can open up for me anytime, but you will never be Bowie 😉 Regarding my DJ policy: I kind of play whatever the fuck I want, but always in a nice way. You have to test/read the crowd and see what they are dancing to. I like this challenge; I tend to play classic songs that have stood the test of time.

I just saw the new Clash documentary, The Rise and Fall of the Clash, at the CBGB Festival. You met Joe Strummer and have a tale. Tell us.
I had the pleasure to meet Joe a couple of times at the Glastonbury Festival. The first time was around his now-legendary camp fire, with some of his crazy but lovable friends; there was usually weed and mushrooms involved. The second time was one year later at Glastonbury again; this time I was playing bass with Badly Drawn Boy. We were chilling in the back of our tour bus and Joe just appeared in the back lounge with the biggest spliff known to mankind and insisted we all partake. We did! Joe will always be sadly missed.

You and your new bride Francesca have been married for three weeks. Congrats! Tell me about being a happy middle-aged rocker
I’m a happy man who just got married to my wife Francesca; that’s all you need to know.

What are you working on?
I have a project with Ole Koretsky called JetLag. It’s taken us a few years to get right and also find the right musicians. Recently, we played four successful gigs in NYC and we are about to film a video to promote one of our songs "Falling Apart.”

Looking back at the bands, the lifestyle, the fame, what are you happy to have left on the table and what would you grab back first?
I had an amazing time with The Smiths…SHIT! When I started with the band I was 17. We split when I was 23. I would leave the band politics on the table and take back the super gang/friend mentality that we had. When we were a team we were invincible!!! Money can’t buy that feeling. Show me the table.

On your East Village Radio Show, you were talking about the Bowie book. Tell me about the show, that book, and the era.
I do my show every Monday on, It’s called JetLag – the same as my band. I play songs that I love and also get to interview some great people. A few weeks ago I interviewed Nile Rogers from Chic, It was an honor. For instance, today I just interviewed Peter Doggett about his new book, The Man Who Sold The World: David Bowie in the 1970s. It was a pleasure to speak with him – lots of insights. It’s a fascinating read.

Andy Rourke

CBGB Festival Hits NYC This Week, Featuring Cheetah Chrome

As I left BINGO last night, I stared across the street at Daniel Boulud’s DBGB Kitchen & Bar and the John Varvatos store and all the new construction near Joey Ramone Place, East 2nd Street. I was looking back, something I always do with caution. I miss a lot from those days of yore, but not the seriously rough streets or the death-by-needles and the AIDS-related disease that decimated a generation. I don’t miss the poverty, the desperation. I do miss many great friends and clubs and bars. Although I always leaned to Max’s Kansas City for my action, I do miss CBGB.

The club started in 1973, and a million bands later shuttered on October 15th, 2006, with Patti Smith doing the honors. The house that Hilly Kristal ruled left a legacy of showcasing budding stadium acts as well as countless bands that went nowhere, and tons in between. It was a watering hole where rockers came to listen to rockers. It had rock chopspurity despite all its impurities. It died hard, fighting court cases, landlords, and headlines. It has been missed. Somebody is doing something about that.

Starting Thursday, the CBGB Festival hits NYC. The three-day event features over 30 venues hosting innumerable bands, film screenings, a music and film conference, and a spirit festival. I could go on, but it’s easier to let you go here for the breakdown. There’s even rumors that a CBGB club may happen down the road. I contacted Dead Boys guitarist author, gentleman, and old friend Cheetah Chrome for his two cents on all this.

The festival is upon us. What does it mean to be playing in a festival that includes blasts from the past and still-kick’ers’ like Richard Lloyd, David Johansen, Glen Matlock, Tommy Ramone , and so many more?
Well, it’s great. I love to see the old gang whenever I can. I have a feeling this time it’ll be tempered by the people who aren’t there just as much as the ones that are, though. A lot of the old gang aren’t going anywhere, and they’ll be missed.

We had tea a few times in the booths of Max’s Kansas City. What were the differences between CBGB and Max’s –  besides the bad food?… actually, it wasn’t that bad.
CC) Well, the food was a huge difference; believe me, I know – I lived on Hilly burgers and chili for six months! To me there wasn’t a whole lot of difference between the two. That seemed to be more of a New York thing, after the big incident between Dick and Jayne; we missed that, we were on the road. So we just happily went between the two. There was a real sense of family at both. Of course, after the split, the CBGB family sort of banished us for awhile…luckily, me and Hilly got past that and were close right up until his death. 

I saw you post somewhere:
"Those who cannot remember the past are condemned to repeat it-"
George Santayana. What needs to be remembered and heeded from those CBGB days?
Beware of men named Seymour bearing contracts. Read anything you sign before you sign it. Look down at the floor ahead of you wherever you walk. Smell chili before you eat it. And the soundman isn’t out to get you.

Who are you looking forward to seeing at the festival?
Everybody the night I’m playing, I’m leaving the next morning! I won’t have time to see anyone else! I wish I could see Bebe Buell’s set, but I’m needed at the film festival at that time.

On Facebook and probably in other parts of your life that I am not seeing you are very outspoken and political. Since your Dead Boys days and through your rock history how have you strived to tell your public your viewpoint, and how important is it to mix sounds with enlightenment? What lyrics need to be heard?
The last two MC5 albums; everybody seems to have missed them the first time, and they’re just as relevant today. Steppenwolf’s Monster album. Rage Against the Machine.

Bebe Buell told me how smart Stiv Bators was. Tell me about him, the Dead Boys, and while you’re there …how did you survive those times?
Stiv was very smart and very fun to have long conversations with about politics and conspiracies, movies and music, you name it. He was the closest thing to a brother I ever had, and he taught me quite a lot. Dead Boys was a pretty special bunch, all very quick and funny as hell.  I miss those times a lot.

How I survived I can’t figure out; I figure God must have kept me around to raise my son – I doubt it has anything to do with me. I’m not doing anything earthshaking but he very well may someday!

Where are you musically today as opposed to, say, 1984, and what’s new that you like?
Same place pretty much –doing solo gigs and I hate all the new bands!

BlackBook Exclusive: ELEW And Rachel Brown Bring Piano Soul To Rihanna Cover ‘Stay’

Throw the fiercest rockjazz pianist, the honeyed voice of a Harvard grad with Bermuda roots, and Rihanna & Mikky’s aching hit "Stay" into a recording studio, and you get an acoustic, summer rendition that transports you to a late-night beachside bonfire. The stripped-down version – a collaboration between musician ELEW and singer Rachel Brown – showcases ELEW’s signature tender vivacity at the keys, and Rachel’s soulful dive into a song known for its yearning Rihanna-in-a-bathtub video. 

And when you’re done watching the video, get to know ELEW in our very special interview. He’s ecstasy.

Follow Bonnie on Twitter here

The Veils Unveil New Songs At Last Night’s Hush-Hush Rose Bar Sessions

The Veils – otherwise known as That Indie Rock Band From London Who Shamelessly Performs Like Their Possessed – hit NYC last night, performing a slew of new songs at the very hush-hush Rose Bar Sessions – Rose Bar’s secret show inside the Gramercy Park Hotel for a hand-picked 100 people who are generally very good-looking, successful, entrepreneurial, and artistic. Brandy was there (photo evidence here.) 

The performance comes just days since the release of their 4th and latest album Time Stays, We Go, and spotlighted their single "Through The Deep, Dark Wood," which is deep…dark… and absolutely rocking. Rose Bar’s tiny stage was lit in sea-blue light, and lead singer/songwriter Finn Andrews wore his signature fedora and played the drums while drummer Raife Burchell played them too. Why am I telling you this? Just watch the 22-second video of their concert and get on with it already.

Get the inside-scoop on Rose Bar, & follow Bonnie on Twitter here

Peter Hayes Of Black Rebel Motorcycle Club Talks Rebellion, Rock, & Their New LP

Black Rebel Motorcycle Club’s Peter Hayes is no stranger to the turbulence synonymous with a long career in rock. The band’s 15-year run seems to have entertained an ever-shifting balance of the good and bad – from great reviews touring the world, to bored critics, substance abuse, and everything between. The band’s most recent hurdle came with the devastating loss of Michael Been, founder of The Call, father of bandmate Robert Levon, touring sound manager, and overall inspiration.

However, light shines in with Specter at the Feast, the band’s sixth studio LP and arguably best work since Howl. We were lucky enough to encounter the soft-spoken wisdom and unaffected perspective of front man Peter Hayes backstage before their show at Terminal 5 to talk about the new album, rebellion, his thoughts on American Idol and The Voice, and the current state of rock.

Specter at the Feast is a welcome departure from a sound beginning to get stuck in a genre that was no longer necessarily exciting, but this album still has those psychedelic and sentimental elements so essential to your sound. Was this shift intentional or part of a natural progression?
It’s always intentional to try and do something different. We don’t want to repeat ourselves, and at the same time don’t want to be too concerned with sounding new because that’s a whole other world of bullshit.

One thing I love about this album is it functions as a unit, like a journey, something commonly forgotten amidst a landscape of disjointed mp3s, Pandora, etc. Is the album as an art form dissolving?
All we’ve got, really, is an album. We don’t have singles that last for too long as far as radio goes. It’s something that you think about in the process. If you happen to have a single, it has to be a certain time, a certain length, blah blah. If that happens to happen, then great, if it doesn’t, you still just want to write a good song. As far as putting it in an album, that’s the fun part of it, to try to make it have a point and have a song movement rather than just slapping songs together. But I guess it doesn’t particularly matter anymore, I can see how people don’t give a shit about it. I guess it’s unfortunate, but that’s their choice. It’s not everybody’s cup of tea to want to get involved in music on another level. It’s not for everybody.

You were in the rock band Brian Jonestown Massacre. How did the transition happen from BJM to BRMC?
Well, we already had this band going. Rob and I were playing music together, and we were fans of that band. I was floating around and saw it as an opportunity to see if I wanted to see what could be done with music, to see if I really wanted to do it. I took it as an opportunity to try and learn a little bit. And I did; I learned a lot. I went on their first US tour, did a bit of studio stuff, and then left when I didn’t feel like I was learning anymore. The transition was really that they were moving to Los Angeles [from San Francisco] at the time and one of their guitar players wasn’t willing to move, so I tried out.

Is Anton [Newcomb] really as crazy as he’s portrayed in Dig!?
(Laughs) No, no. I’ve met a lot of weird people. He’s a lovely dude. I think the girl that made that movie got a little too personal. She wanted to be friends and she crossed that line a lot. Then when she’d get angry, she’d… I mean, the shit happened. It’s on tape. You can’t deny it. But she missed a lot. She missed a whole big portion of how that whole tour ended. She kind of had to piece that together in a whole different way because she wasn’t there.

The band suffered a devastating loss with the passing of Michael Been, father of Robert Levon Been and former front man of The Call. How did this shape the album?
It’s a life experience, really. That’s all. We’re all going to have it, if we haven’t already. We tend to come at it more talking to the listener, with the idea being that the listener has already had the experience or is having one similar. It’s not about “here is us and here are our woes,” or my woes. It’s more “here’s ours, so let’s talk about it together.” It’s not about specifics for us in terms of music. But shaping it, yeah. He’s been involved since the very beginning when we were playing in his living room.

It’s been three years since your last album. How much of that time was spent writing and recording, and has the band’s process evolved through the years?
I guess about a year and a half or two of writing and recording. It was off and on. We went from rehearsal to try and piece it all together, throwing around ideas for a long time. Then that turned into picking songs. From there, we went into the studio, put down a few songs, 10 or 12, pieced together another 13, went into the studio again, put those 13, 14 together. We usually just go into the studio to do drums and take it home and do the guitars and vocals. Studios are pretty expensive. So that was LA, then we went to Santa Cruz and did a bunch there. As far as the process evolving, not really. Hopefully we’ve gotten better at recording a little bit. Really, you’re just hoping to write a good song.

You guys experienced a more methodical rise to notoriety, the opposite of Internet where seemingly anyone can pop overnight. How do you feel the Internet has affected music?
It’s a little bit of a confusing mess. On the one hand, there’s a lot you can discover for free or not free, whatever, it’s all open. The reality is, as much as people say they love music, that version of love is very different from person to person. There’s a community thing about it too. Like when somebody says “I love this,” you think “oh, I love it too,” or “I don’t.”  When you’re looking at it from the perspective of fame, it’s great because that’s gone, and that’s a good thing to me. That’s where music, rock n’ roll or whatever, lost its point and credibility a long time ago. Now that that’s not there I think it’s a great thing, and the Internet has kind of made it that. There’s no latching on to one thing anymore.

Do you think rock is being created or appreciated anymore, now that rap and electronic are so dominant? Or is rock always going to be created because it can really only be defined as rebellion?
I don’t think it’s going to go away. I think it’s been a worry for a long time that it’s going to go away, or the hope of a bunch of people that it’s going to die out. It’s not going anywhere. But the culture – there are going to be less and less people that give a shit about it maybe, but that all depends on how it’s presented, and how the band presents itself too. I really believe that there’s a reason why it’s kept in a particular place. I subscribe to the following: if you control the arts you control the people. Rebellion is just fucking thought to me. So anything that’s sparking that is not wanted. It’s not going to help with what those folks want. So it’s nice to have things all scatterbrained on the Internet. Keep things this and that. And keep people away from it. Keep people voting for the next American Idol or whatever the fuck, Dancing with the fucking Stars, The Voice, you know. It’s all there for a purpose and its purpose is fucked. You just have to be aware of it and not support it.

Just don’t get cable.
(Laughs) Yeah.

So what’s next?
We’ve got another four weeks of a US tour and we got offered some festivals over in Europe, five or six. Then after that, who knows. We could be gone in a week, then have to figure out what to do with life after that. 

Listen to Black Rebel Motorcycle Club’s music, & read more on Lindsay MaHarry here

Broadway’s ‘Rock of Ages’ Cast: Where They Rock Off-The-Clock

Where do professional rockers rock? That’s what I asked the cast of Rock of Ages, who rock Broadway eight times a week. Find out where they go and why on their one night off, before the show, and when the curtain comes down. Here’s our list: Where They Rock Off-The-Clock

Honorable Rock and Roll: This Weekend’s Benefit for Lucinda’s Kids

Most of us worry about jobs, dating, world affairs, and such; we go to sleep at night and we wake up the next day….we get through. For some, the pressures become too great – whether real or perceived – and they check out. The choice to commit suicide often leaves us stunned and helpless. For loved ones left behind, it is a defining moment that is impossibly hard to understand and move on from. I, unfortunately, have lost a few to suicide. Recently, a life-long friend of mine Alex Gubbiotti took his life. I was, and remain, caught up in a cycle of "what if’s", "if only I had’s, “I should have’s,” and other feelings of helplessness, guilt, and sadness. I can’t imagine what the children of Lucinda Gallagher have gone through. Lucinda was described to me as "a 37-year-old super music fan from Hoboken who took her life in December." The rock and roll community is rallying to raise money at a two-night Bowery Electric benefit. 

One hundred percent of the money raised will go to a trust fund for her children and The Samaritans of New York, a 24-hour suicide prevention hotline. Gillian Stoll alerted me to the benefit. She said, "We want to make it clear that the focus is on her children and their future. The last thing we want to do is to glorify suicide or give anyone the impression that it offers an easy solution to life’s hardships. While this is a great event, the struggle and sadness that these kids are faced with far outweighs the fun that can be had at a concert. No matter how alone you might feel, there’s a community out there and there are people who want to help before it’s too late."

The line-up for the two nights is impressive:

Sunday, April 29, doors at 6 p.m.
Jesse Malin
Wille Nile
Jimmy Gnecco & Dave Milone
Jim Boggia
Aaron Lee Tasjan (The Madison Square Gardeners)
Petter Ericson Stakee (Alberta Cross) Buy tickets.

Monday, April 30, doors at 7 p.m.
Tommy Stinson (The Replacements)
HR (Bad Brains)
Alan Vega (Suicide)
James Maddock
Aaron Lee Tasjan Buy tickets.

Tickets are $20 and there will be an auction as well. Auction items from Fender, Mary Louise Parker, Danny Clinch, John Varvatos, Bob Gruen and many, many more will be soon up online – check the Facebook page for details. Certain auction items, as well as raffle items, will be up at the concerts only.

Jim Boggia added: “Honestly, this cause would be well worth your support even if the bill wasn’t that great, and this show would be a great one to come to even if it weren’t helping some incredible people. This show does both.”

I asked organizer Harry Greenberger and Bowery Electric owner/rock star Jesse Malin some questions:

Why are you doing this?
Harry Greenberger: Our friend Lucinda tragically took her own life. Those of us who knew her, many of us in a particular NY music scene, saw our thoughts immediately shift to those who we could still help Lucinda’s two teenage kids, both of whom are amazing kids: strong, smart, witty and, like their mom, obsessed with music. Nobody who knew them doubted that we had to do what we could. A portion of the proceeds will go to The Samaritans of New York, but most will go directly to making Lucinda’s kids’ lives better in any way we can.

Jesse Malin: Part of my experience over the years with rock and roll music is that it has a great connection to its community. There is a real give and take between the performer and audience. After hearing the news of this awful tragedy, I couldn’t help but think of her two children and what it must be like for them. When I learned of their financial situation, I felt a need to do something to help these kids. As someone who lost his mom at a young age, I could relate on some level and wanted to contribute through my music.

Who was she? What is the meaning of all this effort and talent and use of the space gathering around Lucinda?
HG: Lucinda was a wonderful woman, but the focus of this event is on the children – to pool all of our resources and try to restore options to the lives of her surviving kids. This benefit is not a tribute or memorial to Lucinda; that deserves to happen but will be another day.

JM:Over many years of playing music and touring the world, you realize how important the fans and the people who really support you are. Lucinda Gallagher was one of those people who traveled around to many shows for the artists that she loved and constantly spread the word about new and upcoming bands as well as established ones. She gave people rides to shows and let people crash at her place even if she didn’t know them. If you were a fan of something she believed in, she opened her doors. These types of people are few and far between in an often superficial show business world. The main focus of this event, though, is not the tragedy that took place in December, but the lives and future of these kids who were left with nothing.

How did this tragedy spur people to do something positive?
HG: The truth is, there are no positive sides of this; there are only less negative ones. We’d all rather have helped Lucinda stay with her kids than to help ease the tragedy afterward, but suicide is a permanent solution to a temporary problem. The positive things that have happened are because of who these kids are and that a strong community has risen and come together to protect their interests, but there’s no doubt that we cannot restore or replace what is lost. We can try to make what comes now better than what came before and we can make sure that these kids know that they are not alone.

JM:Music is what brings us all together, and rock and roll – being sometimes and somewhat outside of mainstream society – is still a great way to give back and take care of each other in times of need. Many of the artists that she would go see regularly and people that worked for them – from roadies to managers and good friends –  want to get together to raise money for the children who are left in a very tight spot financially and, of course, emotionally. If we celebrate with music most of the time, we also can use it to mourn and see and heal our problems.

How did you get these musicians together?
HG: Largely due to my years of working with Jesse Malin and his efforts as well, we had access to a number of very talented musicians. Those who knew Lucinda and those who never did stepped forward and have given of themselves and their time to this great cause. We’ve established a foundation to build on towards the kids’ future.

JM: Harry Greenberger, my one-time stage manager, guitar tech, and good friend, was persistent and dedicated to making this happen any way possible, as well as several of Lucinda’s friends. There were many musicians who knew her and others that, just hearing this tragic story, wanted to pitch in and be a part of it. I think it’s a great mix of some of my favorite artists, friends, and heroes.

Avenue A Soundcheck’s “Mondays Rock:” An A-List Music Industry Event

Every Monday night, at the intimate The Double Seven club by the Hudson River, three new music talents are being heard. Here, signed and unsigned recording artists are performing private concerts to crowds filled with music industry, fashion, and the arts insiders – people passionate about music. And if you’ve ever wanted to witness an unsigned artist finally get discovered by all the right people, then say hello to your new Monday night plans: Avenue A Soundcheck’s “Mondays Rock" series.

“Soundcheck is the peoples’ champ, the underdog," says Nima Yamini, the production company’s founder. “We’re sticking up for the little guy.”
Yamini, with a team of music managers, artists, and record labels (Universal Music, Interscope, Ultra), and the support of The Double Seven’s owner Jeffrey Jah, crafted the weekly “Monday’s Rock” concept, in which talent is carefully curated, and three new indie-rock-alternative artists are showcased to a crowd of music industry executives, artists, and all-around music-lovers. Tonight’s show will feature the erotic, lingerie-clad troupe Roma! (recently featured in Billboard), while last week’s crowd witnessed a performance by electro-rock-pop artist Zander Bleck, who has toured with Lady Gaga.
And so far, the series is a hit, with past performances consistently packed. 
“This show isn’t targeted toward models, celebrities, Wall St. guys – that stuff is the least important thing to me,” Yamini says. “The most important thing is that the musicians feel like they have a home."