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Breda 5-Song Demo (1990)

1990 Promo CardMight write more about this later, might not. This one goes out to Joe, in fact, this one is entirely owed to Joe. Find my full reviews of Breda and Fire Choir demo tapes in the 1990 book, up over there in the top right sidebar. Watch for a Fire Choir MP3 playlist here (featuring regular-ish member of Queensryche, Kelly Gray) in the weeks ahead.

For a true taste of late 80’s hair metal fame attempts from Seatown, I present in MP3 format, Breda (note that the E should have an accent above it). A Seattle band that is, by way of New York City (said with a Pace picante twang)!

Original TDK D60 cassette remains intact.

Breda 5-Song Demo Jacket


Love/Hate Reunite to Rock Sin City!


Love/Hate has an unshakable party rock groove that has endured a score of years in a genre that has racked up it’s share of casualties along the way. Whether they still got what it takes is a revelation I’m looking forward to.

Jizzy Pearl, Skid & Jon E. Love are coming to Vegas for an amazing way to kick off 2013 with a free show next Saturday night at Vamp’d in Vegas.

Read the full show preview at Rock Over America. Or check it out below the show vid below.

And here’s the show!

Date:  Jul 11, 1990
Title:  Love/Hate Sin Again!
Band:  Dio, Love-Hate
Venue:  Paramount Theater
Place:  Seattle, WA
Author:  Michael Edward Browning
Photos:  Gwen Stamm
Posted:  Dec 27, 2012
Love/Hate has an unshakable party rock groove that has endured a score of years in a genre that has racked up it’s share of casualties along the way. Whether they still got what it takes is a revelation I’m looking forward to.

Jizzy Pearl, Skid & Jon E. Love are coming to Vegas for an amazing way to kick off 2013 with a free show next Saturday night at Vamp’d in Vegas.

I mention those three on word from Mike Povich (who is reviewing the show for ROA) but whether Joey Gold will be manning the set remains a question for me. Even though the last Wiki reference is over three years old and mentions Darren Housholder slinging axe for an ’07 British tour as well as 10 other members listed, none are drummers.

Still, the show poster leaves Joey Gold out of the picture, so we’ll see if it’s a total resurrection. Hope so. Those four guys know how to have fun!

Couldn’t find much for them online, Jizzy’s site had tour dates four years old. This UK ticketer is selling for a spring romp across the pond dubbed the Blackout Tour so it looks like Mike’s interview may contain some surprises for the fans.

Stay tuned to ROA for the latest!

But what follows now, for your viewing enjoyment and to see what you might expect this weekend, is a classic review previously published in City Heat, Seattle’s Music Magazine, in October 1990.

Follow the hot links in the story for more fun.

# # #

Last time Love/Hate was in town [Seattle] they played Meeker’s Landing on a Tuesday night. Playing at no cost to the fan on a Z-Rock sponsored tour, they played after two local hopefuls and tore it out on the small stage.

At that time, Skid (Love/Hate’s bass player) was heard to comment:

“It’s just been a dream come true, it really has. You know, we spent our whole life fantasizing about what it would be like to be traveling around the country in a big rock and roll tour bus, and it’s just exceeded all of our expectations.”

Three months later they returned to play the Para­mount (on a Tuesday night no less) sandwiched between headliner Dio and new metal contenders Cold Sweat.

They grabbed the focus of the audience immediately with their die-hard Z-Rocker and title track from their gold debut, Blackout In The Red Room, then held it captive throughout the set (which had twenty or so minutes trimmed since last time, leaving Wasted in America the only new song remaining on this evening’s set list).

We tasted the harder side with the likes of Tumbleweed, Fuel To Run, Rock Queen, and One More Round, then the lighter and nearly (in)sensitive She’s An Angel (oh, Yeah, Yeah, Yeah, Yeah, Yeah). They ended the show with a strobe-lit extrava­ganza, Why Do You Think They Call It Dope? (their current MTV rotator).

Love/Hate will be back in the Emerald City soon, this time taking another step up playing the Coliseum with AC/DC. Heck, they may even move here they like it so much. I asked the man out front, Jizzy Pearl, about his favorite tour stops;

“Well I like it up here if it wouldn’t fuckin’ rain so much! I dig the Oregon/Washington vibe of the greenery and just the cleanliness. L.A.’s a bit dirty sometimes.”

Yes, Jizzo, we understandably echo your sentiments.

Now on to the headliner, Dio! Unfortunately, his diminutive head was about all I saw of Ronnie James Dio.

From the moment the lights dimmed and the screen on stage lit up, the packed Para­mount crowd was scrambling for higher ground as though a flood had come coursing through the building. They maintained the arm rests as a floor thru the entire set and for those less emphatic or more polite; tough shit!

Anyway, the screen kicked it off with a weird sequence culminat­ing in a suited woman reading a list of crimes to which Ronnie James (obviously) plead guilty. They then took off with Wild One from his new album.

The theatrical staging was that of a carcass rotting in a post nuclear wasteland. Situated amongst the weathered ribs were two stories of power. Keys and skins held ground upstairs with all chords (vocal and fretted) down under.

Although there were a lot of notable tunes missing, he still gave us a sizeable cross section of his career from Rainbow through Black Sabbath up to his solo work. He journeyed thru the ancient Man On the Silver Mountain to the merely old Children Of The Sea and Heaven And Hell up to the spanking newness of the title track and Hey Angel from his just-released Lock Up The Wolves LP. Also in there were heavy favorites Last In Line, Stand Up And Shout as well as Long Live Rock And Roll.

Being the metallic traditionalist he is, we can forgive his decision for the obligatory extended solos of his band. Especially since the keyboard piece was so nifty. Start­ing upstairs the ivory man [Jens Johansson] ran down to meet another keyboard that had descended from the ceiling. He continued his solo as it swayed to and fro. Then on the last resonating note it ascended back to the rafters where it erupted into a shower of sparks.

In true Dio fashion, no theatrical expense was spared thus the night was filled with fires, flash pots and explosions.

They wound it down with this Holy Diver’s most notable, etched into the collective consciousness of the initial MTV generation, Rain­bow In The Dark.

After the show, our publisher asked Ronnie his feelings toward our fair city.

“The crowds in Seattle are always the best,” he exclaimed, “and to­night’s was exceptional! The security thugs here, however, are acting like the Gestapo. They were really pummeling some of those kids.”

This last bit, unfortunately, isn’t really news to Paramount show veterans. But, all told, it still was one of the best Tuesday nights I’ve had in a long time (three months, at least)!

# # #

R.I.P. Ronnie.


If you’re going to be in Las Vegas this weekend, don’t miss the best deal of this new year! Fah-REE on Saturday night at Vamp’d on West Sahara.

Here, have a half priced drink to get ya started, just click the vid. It’s Happy Hour!

1990: Seattles Music Scene Distorts As 80s Glam Goes 90s Grunge Published Today!

American Folklore from the great northwest in the early nineties!

Call it punk, metal, garage rock or rawk, Seattle’s music scene has always thrived, during the roaring 90’s the city’s local musicians took the global stage and owned our collective attention.

1990 Promo CardThe music made then by Alice In Chains, Pearl Jam, Mother Love Bone, Nirvana, Soundgarden, as well as Queensryche, continues to influence the music of today. It all starts here.

1990: Seattle's Music Scene Distorts As 80's Glam Goes 90's Grunge

Thanks for checking it out!

LinkeBook™ Publishing
the story continues…

For Immediate Release:

1990: Seattle’s Music Scene Distorts As 80’s Glam Goes 90’s Grunge is first official release of new LinkeBook media, by subsidiary of Albuquerque’s Double Gold Publishing

Albuquerque, NM – May 10, 2012 – LinkeBook Publishing, an electronic imprint of Double Gold Publishing, is pleased to announce the release of the first title in the Seattle’s Music Scene series from local Nob Hill author/filmmaker Michael Edward Browning.

What: LinkeBook Publication of 1990 Press Party
Where: Street Food Asia, 3422 Central Ave, SE [as chef/owner Tai showcases the new menu]
When: Wednesday, May 16th, beginning at 4:20 p.m.
Who: Author Michael Edward Browning introduces the latest LinkeBook offering, 1990: Seattle’s Music Scene Distorts As 80’s Glam Goes 90’s Grunge.

A writer/producer active in Seattle before, during and after the global grunge phenomenon Browning focuses here on the year before absolutely everyone on the planet knew how hot the compost in Seattle’s Music Scene was. 1990: SMS Distorts includes seminal historic interviews with the bands bringing Seattle to the center of the world stage at that moment in time.

Also included are illuminating articles on other bands integral to the scene’s vitality but who never got the notoriety of platinum record sales. Community, cooperation, collaboration; the key components woven thru the creative uprising that occurred in this societal microcosm of compassionate possibility. Step into this snapshot to feel the vibe first-hand, from those creating it.

Alias * Alice In Chains * Andrew Wood * Billy Idol * Breda * Dio * Faith No More * Fire Choir * Heart * Love/Hate * Mother Love Bone * Paisley Sin * Queensryche * Red Platinum * Sedated Souls * SGM * Soundgarden * War Babies

Interviews can be requested by emailing interest to:

To keep current, please bookmark the series page on the author’s website:

Find us and “Like” Seattle’s Music Scene page on Facebook:

In association with Amazon Kindle, this title is published for Kindle Fire in LinkeBook’s trademark style, allowing the reader to gather additional multi media backstory supporting referenced subjects. Somewhat of a live, linked bibliography in reverse, instead of footnotes citing sources, the author links a vivid information wave for the reader to surf.

A standard eBook offering a few hours of reading entertainment now expands into dozens of immersive hours on today’s portable devices from a single title. Truly a new generation of “Linked” eBook [LinkeBook™] is offering the reader/viewer untold hours of informative entertainment.

WordCamp 2011 – Albuquerque

ABQ WordCamp


Karin – ART:
Galleries/Multiple Galleries/Lightbox

Michael – FILM:
Easy Video Player 2, embedding YouTube video

Aryon – MUSIC
Google Calendar Plugin, Facebook Social Plugin, Bandcamp Plugin, MailChimp Widget

Word Camp ABQ 2011

Moderator: Jennifer De la Garza
Art: Karin Pitman
Film/Writing: Michael Browning
Music: Aryon Hoselton

Watch the presentation now
on right here.

Click the photo!

Left Standing

The heart. That’s where Left Standing plays from. That’s all you really need to know about them to know that they are an excellent band to catch live. They get off on giving the audience a tangibly enjoyable experience.

NoCover: Left Standing

NoCover: Left Standing

June 2000

June 2000

Dr. Unknown, Red Platinum: Hot Flashes [City Heat – May 1992]

dr. Unknown and Red Platinum

Tonight I saw a groovy, sparsely attended show, and I’m not too shit-faced so I guess I’ll tell you about it.

I must’ve gotten to Pike Place Market’s Colourbox just after the opening band finished ’cause the Pearl Jam CD was playing and it seemed almost over (read: ungodly long break) by the time dr. Unknown took the tiny stage. New guitarist Matt Fox (from Bitter End) and vocalist Jeff Carrell were riffin’ into some tasty breaks while bassist Derek Peace joined them for some hair flying frenzy. Cool songs I caught titles on were Misery and Come Down To Love. I didn’t catch the name of a jazzy little number that truly blew socks.

News from the front is that they’ve accepted an offer and the deal’s in that red tape stage before they can actually announce the signing. Congrats guys.

Next up was an electrified set by Red Platinum. Almost 1:00 by the time they kicked in, they apparently had some serious voltage surging through their equipment as guitarist Eric Wunderlich commented, “Nothing like a little 110 to liven up a performance!” And lively it was, by the time they started the second tune, Doug, his hair looked like someone had rubbed him with a balloon.

They played the best older stuff like Shovin’, and some nifty new ones, Don’t Take It Away and Mother Nature. They probably saved the best new material for last but it was well past my bedtime so I snuck my ass out of the Central/Satyricon shaped club.

Walking to my car I flashed a ‘peace’ to Matt Fox as he turned the corner in front of me, then silently wished him luck as one of Seattle’s finest filed into traffic behind him.


Van Halen at The Tacoma Dome: In Concert [City Heat – February 1992]

VAN HALEN at The Tacoma Dome

Well. first off, the miserable drive down to the Tacky Dome is always enough to get a rainy winter evening off to a foul start. This night was no exception. Couple that with typical TicketMaster annoyances and a mighty ensemble of over zealous south end security and you’ve got a fairly representational Tacoma Dome event.

Due to the distance, we completely missed Alice In Chain’s set, which, opening for Van Halen, was something we’d looked forward to. Due to the wet cattle run/reptilian maze that stood between the tickets and the entrance, we missed the first half of Poundcake. No biggee, but we still gotta find our seats. On the other side.

By the time Judgement Day had started we were set. Runaround completed the initial greet from For Unlawful Carnal Knowledge then they went into several Sammy tunes, One Way To Rock and the solo acoustic Give To Live.

For me, the highlight of the evening by far was when they spontaneously launched into Rock Candy (from Sammy’s early days in Montrose) after picking up a local [RKCNDY nightclub] flyer thrown onstage.

Hearing Rock Candy done live suddenly made it all worthwhile. After having witnessed the Van Hagar production three or four times now, and feeling they are rather uninteresting live by this point, I realized that they still can swing flashes of brilliance.

They touched on the last couple VH albums, OU812 and 5150, with Black And Blue, Finish What Ya Started, Best Of Both Worlds and Why Can’t This Be Love. After I Can’t Drive 55, Sammy went into some angry rant about the state of society as an intro to This Dream Is Over. Then they took their traditional unified bow and left the stage. But you knew the old guys were coming back at least once; just like by looking around you knew they hadn’t lost their ability to pack throngs of scantily clad teenyrockers into arenas.

And they did. Returning with a silly Jump during the chorus of which Eddie was only able to get one foot off the ground at a time. Top Of The World was supposed to be the last, but Sammy, feeling good the first night back from a rest that began when they cancelled the show scheduled here in December, just didn’t want to leave.

So getting back at him for throwing the rest of them into Rock Candy earlier, the three original VH members dove headlong into Ain’t Talkin’ ‘Bout Love, a song Sammy finished by apologizing with,

“We haven’t played that one in five years!”

Sounded okay to me.

Gruntruck – Inside Yours: Hot Flashes Local Tracks [City Heat – February 1992]

Inside Yours
eMpTy / RoadRacer

This is a re-release that a lot of people are glad to see given new life.

Feb 92 HF Gruntruck InsideYoursOriginally produced by Jack Endino and delivered by locals at eMpTy Records in fall 1990, Inside Yours, the debut of star-crossed Gruntruck, has been picked up by RoadRacer – who remixed a track and added two more before presentation.

Gruntruck is the thunderous culmination of Skin Yard’s voice, Ben McMullen, and The Accused’s guitar, Tommy Niemeyer (Tommy’s favorite is Flesh Fever and mine is the other new track on there, Crucifunkin’), joined by Tim Paul (Napalm Beach) and Norman Scott (Final Warning, Skin Yard) these grunge-crunchers create Seattle beauty at it’s heavy best.

Own it.