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The Lords Of The New Church were a kind of punk supergroup if thats not a contradiction.Vocalist Stiv Bators had been in The Dead Boys,guitarist Brian James of The Damned,bassist Dave Tregunna of Sham 69 and Nicky Turner from The Barracudas.
Formed in the early eighties,they recorded three excellent studio albums and then famously disbanded onstage when Bators fired the band for trying to hire another singer behind his back.James and Tregunna reformed the band for an album and tour in 2003,but sadly without Bators,who had died in his sleep,after being struck by a car whilst crossing a Paris street in 1990.
The Lords were pretty unique,they weren't a Punk band as such,their music was deeper than that,though it was of course an undeniable influence ,they weren't a Goth band,although their sound and look played with Gothic imagery,they weren't Glam-Punkrockers like fellow souls Hanoi Rocks.Instead they somehow straddled these camps.
There are a couple of things about The Lords that attracted me to them,the continuing theme of personal freedom that runs through much of their output,and the frenetic energy with which they performed.I swear that Brian James is double jointed or something,he's a superb guitar player,it's really his guitar and Bators' voice and lyrics that define the band.Bators had a knack for writing searing lyrics with a truly sneering delivery.

I missed out on going to see them,had tickets for both The Lords and Hanoi Rocks,who were touring within days of each other,but couldn't go for some reason i no longer remember.Still gutted about it to this day.

Buying Killer Lords is a good place to start,the first album is the best,but you'll pay through the nose for it.

Black Girl White Girl

[Part one of the New Music from the Past 30 Years series]

When I first moved to San Francisco (for the third time) back in 1993, I did a bit of temping. One of the places I worked was at the Oakland newspaper group. My job was to help them catch up on their tearsheets.

If you're unfamiliar with tearsheets, basically, when someone runs an ad, the newspaper pulls a copy of that edition with the ad and sends them the page their ad appeared on. Advertisers like this so they can see how their ad looked and have confirmation their ad ran. This job is a necessary evil for newspapers and if you are lucky enough to do it, you'll never see the natural color of your fingertips again.

It's also about as boring as a job can be. So, to pass the time, I read the pages. In one of the pages was a review of what was then the latest album from a band called Ozric Tentacles.

The album, released on the now-defunct I.R.S. records (label for acts such as Wishbone Ash, English Beat, Nuclear Assault, R.E.M., Human Switchboard, The Cramps, Go-Go's, The Fleshtones, Oingo Boingo, Squeeze, Suburban Lawns, Over the Rhine, The Buzzcocks, The Alarm, Gary Numan, Wall of Voodoo, General Public, Belinda Carlisle, Camper Van Beethoven, Dread Zeppelin, Lords of the New Church, Fine Young Cannibals, Black Sabbath and Concrete Blonde, to name a few (thanks Wiki)), was Jurassic Shift, and it completely changed my view on music.

Think about a time when you heard a band that sounded nothing like any sound you had ever heard before. That was Ozric Tentacles.

Sure, the Grateful Dead had already established the "jam band" genre, and Phish was just arriving on the amphitheater scene, but Ozric Tentacles had a psychedelic "space rock" sound all to themselves. Their sound is all instrumental explorations of grooves, tempos and rhythms. They're one of those bands who will shift tempos, melodies and rhythms multiple times within the same song.

Shortly after purchasing Jurassic Shift, I was lucky enough to notice that the band was coming to a small, and since gone, club on Divisidero St - just a few blocks from my apartment. Like their music, the show was unlike any concert experience I had ever had.

It is interesting that Phish and Ozric Tentacles formed and arrived on the scene at roughly the same time. The Ozric Tentacles show was a drug-of-choice psychedelic carnival that I would never experience again until seeing Phish years later. The crowd was completely involved in, if not part of, the show, and everyone was enjoying the show on a level rarely seen at a concert.

Here's a clip of the band performing "Chewier" at the Roadburn Festival. If you're currently listening to Umphrey's McGee or Medeski, Martin & Wood, then check this out...

Stiv Bators burst onto the punk scene as a member of the Dead Boys and later Lords Of The New Church. It was Bators' sound and image that helped define the punk genre. After the demise of the Dead Boys, Bators found himself in the UK where he formed Lords Of The New Church with ex members of the Damned and Sham 69. The Lords achieved moderate success in Europe and the US due in part to their wild live shows. Bators was reported to have hung himself during a show in a stunt that went terribly wrong and was pronounced dead before being revived several minutes later. By the early '80s, Bators was landing small parts in such cult classic films as Polyester and Tapeheads. And in 1988, the Lords broke up due to an injury Bators sustained to his back. In the early summer of 1990, an intoxicated Bators wandered into a Paris street and was struck by a taxi. He was taken to a hospital but apparently grew tired of waiting to see the doctor so he left. Bators died in his sleep later that night from what was ruled a concussion.

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