The Libras (from the album Faded available on Out of the Past Music) (by Bryant Liggett)
Jason Weinheimer (aka The Libras) may spend more time behind than in front of an audio console but when in the musician recording role, he bangs out his best. Like most musicians for the last twelve months, The Libras have been writing and recording. Backed by a load of A-list musicians, including Al Gamble (St. Paul & The Broken Bones) and Steve Berlin (Los Lobos), The Libras release Faded, a package of rootsy grooves, J.J. Cale inspired laid back Rock kicking it beside the Roots Pop of Alex Chilton and Nick Lowe. The Libras take the edge off with the title track, where sleepy horns provide a theme to close out a night or kick off a lazy morning. “Can’t Lose Everything” is a delightful dash, a drunken, boozy bounce of loose horns and barroom piano playing Ragtime for Indie Blues crowd, as the band digs into the jangle on “Quiet Part Loud”.
“Been Away Too Long”, with the line ‘I didn’t mean to leave you’, is heartbreak Rock while “We Carry On” is one big hook. Together, the songs remain two perfectly crafted examples of Indie Pop. The cover of Dire Straits “So Far Away”, featuring backing vocals by Ambrosia Parsley, is lush and lazy while Faded is drifting and dreamy with “Out of the Game”. Faded is a solid package of Power Pop, skipping from Blue-eyed Soul to the jangle-heavy Paisley Underground. The Libras deliver an album concise and efficient, a stacked record from a stacked band that wastes no time and adds no filler. There’s not a stinker in the bunch.
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Old Town Crier (from the E.P. I’m Longing for You Honey in Middleboro, MA available as a self-release)
Ragged and rough, the recent release from Old Town Crier, I’m Longing for You Honey in Middleboro, MA, kicks off with Bluesy Folk. Opening cut “Don’t Go” rattles like a freight train chugging up a hill, Old Town Crier making a plea for love to stay a little longer. Gently persistent strums begin “Into the Dark”, Old Town Crier standing on the shore of a small town sinking into oblivion, his memories erasing the dull grey and filling the sad streets with color.
Old Town Crier is the moniker for multi-instrumentalist Jim Lough, the man behind the music and recording of I’m Longing for You Honey in Middleboro, MA as his pandemic project. The beat is strong enough to carry Old Town Crier across “I Might Get Lost” as the musician makes his way over scratchy Folk Rock. The melody is bright when “Moonlight Road” takes Old Town Crier down a road leading through the past while “Easy” slowly rises up to a rhythmic roar.
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Maynard & The Musties (from the album Grown-Up Things available on as a self-release)
Emotional maturity….fact or fiction? Never quite coming up with an answer for the question, Maynard and the Musties offer an even dozen life situations that seem to materialize in the hazy glow of neon. Grown-Up Things is the recent release from the Nashville, Tennessee-based band, Maynard and the Musties following the call of a fiddle into the opening track as they send out a honky tonk hello to the “Mona Lisa of Guitar Town”. A sad Country sway twirls memories in “Scarsdale” and when infidelity is what two lovers have in common, they turn in slow, deceitful spins for “Cheating My Way Back to You”. Maynard and the Musties transform the mistakes the men and women make into Country songs, packing a lifetime’s worth of poor choices into “Tennessee”, sending a letter six-feet down addressed to “My Dear Charlotte”, and building a crossroads directly into a song title with “(I Guess You Still Hate) I’m Still in Love with You”.
In a town of guitar heroes two men stand tall, both making their way on to the album when Maynard and the Musties welcome in Kenny Vaughan and Mark Robinson, along with their respective six-strings, on board for Grown-Up Things. As a parting shot, Maynard and the Musties pose the musical question “Will He Catch You When You Fall” as Grown-Up Things points an accusatory finger in “High Horse”, gives a shout out to lower Broadway pre-wedding parties in “Bachelorette Baby”, and finds itself “Standing in a Cornfield” looking for salvation on a rhythmic rumble.
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Jason Ringenberg (from the album Rhinestoned available on Courageous Chicken Entertainment) (by Bryant Liggett)
Rhinestoned is Jason Ringenberg riding a rollercoaster record. The first half of Rhinestoned is climbing up the first hill, the coaster coasting at a medium pace where you can enjoy ascending as you dig on the scenery. When the coaster hits the top, about five songs in, you spend the rest of the album zipping around corners at a pace once set by Ringenberg’s former band, Jason & The Scorchers. Musically, Jason Ringenberg goes to spaghetti-western twang for album opener “Before Love and War”, while he nods to Civil Rights heroes in “The Freedom Rides Weren’t Free” and hints at Celtic Folk with “The Storms are on the Ocean”.
Jason Ringenberg encourages you to ‘throw your records in the sea and listen to them sink’ on “Nashville Without Rhinestones”, the story a statement about the gentrification of Music City and matches longtime residents griping with good reason about the dismantling of the music scene in their home city. “Christ The Lord is Risen Today” is a Gospel cut with a dash of respectful irreverence. What follows is high gear Country Rock. “I Rode with Crazy Horse” is a twangy, train-rhythmed banger while “Time Warp” invites a drunken singalong and shuffle around a dance floor. Album closer, “Window Town”, is a jolt of jangle, a cut living somewhere between 70’s Country Rock and the Indie musical mash of the Paisley Underground. Jason Ringenberg kicks all around the Roots world, from edgy Folk with a historical bent to the best of dancefloor cutting Cow Punk. (by Bryant Liggett)
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Sara Petite (from the album Rare Bird available on JTMMusic) (by Joe Burcaw)
There ain't nuthin’ more satisfying than toe-tapping to a singer and super tight band with attitude, charisma, and Outlaw tendencies. Award winning songwriter Sara Petite, hailing from sunny San Diego, California, is no stranger to the bandstand, or to the microphone, and she is turning heads with her latest release Rare Bird. It takes time for that right bottle of wine to mature gracefully, and this is exactly what has happened to Petite and her adeptness to the craft of creating a song. She has been releasing music since 2006, and there has been a steady trajectory of musical depth, courage and boldness to speak one’s mind without the worry of potential backlash. Sara has carved out a niche all her own taking us on the ride of our lives.
Her latest single “Misfits” is an autobiographical look at her attraction to authentic people who stand up for themselves and their truths. What grabbed me and made me appreciate the song’s form was no guitar solos of any sort to be heard during the middle eight, a really wise choice that leaves music aficionados like myself hanging by the seat of their pants for more! A true Rocker that incorporates a very hip adagio ending sans the quietness factor. Moving right along we come to another up-tempo tune called ‘Runnin’ which incorporates some mighty fine guitar playing throughout. It’s a catchy hook, line, and sinker that brought me back to the late 80’s and early 90’s sound of Tom Petty & The Heartbreakers with Mike Campbell being replaced by the Sara Petite Band guitar ace, Albert Lee, twanging away with precision in utter delight. ‘Fire in your belly, fire on your breath, burnin down the houses, burnin in your head’. A super cool line that I’ve been humming for the past few days, I love the imagery it conjures up. Last but not least we get to witness a Phil Spector-influenced drum pattern during the chorus sections that drives the song effortlessly into forward motion.
‘Missing You Tonight’ is a mid-tempo ballad steeped in heartache, pain and separation. Yes, it’s a typical topic of conversation in Country etiquette but Sara Petite’s vocal delivery really stands outs exuding a Country rasp of nostalgia over a somewhat dismal lyrical message. She does a wonderful job telling a story without getting too honky-tonk-love-gone-awry in the process. I found a great video of her performing this number with a band at The Belly-Up in Solano Beach, CA. It gives you a good indication of how a strong vocal performance can uplift a song no matter how dark the underlying internal message may be. On a side note, the bass player’s tone was rock solid and out of this world but you can never go wrong using a Fender P-bass… that’s another conversation for another time. Sara Petite, a soul driving, rabble-rousing, badass with a helluva lot to say.......... Go buy her album now, I promise you it will be well worth the money spent! (by Joe Burcaw)
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David Huckfelt (from the album Room Enough, Time Enough available on Fluff & Gravy Records) (by Bryant Liggett)
David Huckfelt has dropped your soundtrack for Western U.S. exploration by car or rail. America’s vast openness, a land that begins somewhere around the Mississippi River and rolls all the way to California, remains a beautiful vision for anyone that dreams of East-West America travel. David Huckfelt’s sophomore effort, Room Enough, Time Enough, is a big nod to that Western expanse, a drifting sonic, a big sky blast of activist Folk that also honors traditional Native American music and people.
“Better to See the Face” opens Room Enough, Time Enough like an overture as David Huckfelt sings of ‘full moons on the radio’ while he captures glorious open road loneliness by singing ‘it’s better to see the face than hear the name’. “Bury Me Now (The Dying Cowboy)” starts with a sample of the traditional track before Huckfelt, joined by Dave Simonett (Trampled by Turtles, Dead Man Winter, solo) kicks in with his own version with a sound that screams desert noir. “A Satisfied Mind” is sad and lonely with even lonelier pedal steel while “Cole Younger” is a dash of storytelling history, a bank robber tune sung by a man spending time in a Stillwater prison. Room Enough, Time Enough puts an Alt Country rhythm to a Gospel song with “Journey to the Spirit World” as both “Ghost Dance” and “Calling Thunderbird Blues” feature Native American chants, the latter delivered with a spoken word prayer. David Huckfelt has delivered a soundtrack for pointing your vehicle to the West and covering miles, a musical companion for road loneliness and big country views.
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The Riverside (from the album Through Frontiers and Unlit Mines available as a self-release)
Often performing around one microphone, The Riverside go beyond blending voices and instruments, the sound of the collective becoming a part of the storyline. Rushed rhythms, airborne fiddle riffs, and strings flying, The Riverside calm the frenzy of the playing with vocals uttered barely above a whisper, much like the soft strums and gentle notes opening their recent release Through Frontiers and Unlit Mines with tenderness to match the male/female harmonics. The pace of the song, “Lantern Odigos”, swirling and turning as the instruments take off. Plucked notes softly sparkle as The Riverside tell the tale of “Prairie Fire”, the story finding its footing when a marching beat hurries the rhythms as the band introduces “Coal Runner”, surround “Frontier Borealis” on sturdy strums for a western saga, and construct “Settlements” on a musical suite.
Formed in Southern California by Jacob Jeanson (vocals, guitar) in college as a Folk band, The Riverside filled out sonically and professionally when musical and life partner Lorien Jeanson (mandolin, harmony vocal) joined. The sound of The Riverside is the American west, from the mountains to the deserts, the rhythms and sonics of Through Frontiers and Unlit Mines matches the landscape. Like much of the album, “Trading for Gold” follows its storyline down into the earth in caverns and the mines of the album title while The Riverside close out with Folk Gospel in “No Other Fount I Know”.
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Ally Venable (from the album Heart of Fire available on Ruf Records) (by Bryant Liggett)
Guitar fans can add Ally Venable to the go-to list of Texas Blues Rock rippers. The guitar gal has been busy in her young career, and at the young age of 21 just dropped her fourth full length with Heart of Fire, a Blues Rock blast that places her alongside Texas guitar greats; players that erase the line between Blues and Rock’n’Roll. It is great to have a woman in the guitar great lineup. With lots of Soul and no slouch, Ally Venable digs into solos that drive hard-edged Blues into the world of Hard Rock.
Honoring the genre, she lays down acoustic Blues in “Played the Game” while dropping the gritty “Hateful Blues” as a cut introduced with a sample of Bessie Smiths 1924 original of the tune. The rest of Heart of Fire is a textbook example of Blues Rock genre….heavy on the Rock. The title track and “Hard Change” are both riff heavy blasts that find Ally Venable laying into the solos as “Do It in Heels” is a Rocker with a groove pulled from Southern Boogie. Laying out a soulful cover of Bill Withers “Use Me” Ally Venable shows her Texas roots and influence on “Tribute to SRV”; a cut that would get the full-blown approval of Stevie Ray Vaughan himself, a gutsy and beautiful nod swinging between SRV and Jimi Hendrix. While Ally Venable is more than capable of carrying a guitar heavy album on her own, she does keep killer company. Kenny Wayne Shepherd joins her on “Bring on the Pain” while Devon Allman kicks in for “Road to Nowhere”. (by Bryant Liggett)
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Mando Saenz (from the album All My Shame available on Carnival Recording Company)
It has been eight years since Mando Saenz has released an album, yet the Nashville-based musician had no interest in repeating himself. His three previous efforts showcased the songs in a Folk, Country Rock light. On All My Shame, his recent release, Mando Saenz lets the sonics on the tracks stretch out. Opening the album by diving into “The Deep End” on electric guitar crunch and a thumping backbeat, the vocals of Mando Saenz float over the psychedelicized Alt Country cut. A mellow warmth is the main ingredient in the voice of Mando Saenz. It coats the words in honey, even the accusatory “Talk is Cheap’ has is bite lessened by the sweet rise and fall rhythm of Mando’s vocal delivery.
During his hiatus from the making music, Mando Saenz put his songs to work as his cuts were covered by Aubrie Sellers, Lee Ann Womack, Jim Lauderdale, and Miranda Lambert. The music is a misty fog floating underneath Mando Saenz as he tells the tale of “As I Watch You Slowly Drift Away” while a heavy-handed beat steers the confessions of “The More I Need” and full-disclosure admissions of “In All My Shame”. Rock, Pop, and Folk are part of the musical components added to the natural Americana and Roots delivery of the songs. With a vocal delivery reminiscent of Roots peers Bodeans and The Gin Blossoms, Mando Saenz takes the punches on a bright melody for “Shadow Boxing” as he offers “A Cautionary Tale” on a rolling sway while All My Shame closes out with an tender acoustic take on Ronnie James Dio’s “Rainbow in the Dark”.
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Michael Grecco (Punk, Post Pink, New Wave: Onstage, Backstage, In Your Face 1977 - 1989 available on Harry N Abrams Publishing) (by Joe Burcaw)
I must be completely up front and honest, going into this interview my knees were quaking and palms sweating from nervousness. A rare and unlikely scenario for a chap like myself who feels more than at home interviewing musician types, ‘cos at the end of the day we speak the same language. Photography, well that’s a whole other untamed beast I wasn’t 100% sure I could tackle. Don’t get me wrong, I have a deep admiration for photo legends such as Annie Leibovitz, who can ever forget that iconic photo of John Lennon lying nude curled up to Yoko hours before this death, or Mick Rock’s illustrious Ziggy Stardust stage portraits? Without a doubt, I understand the creative process that goes into the art but can I hang without knowing the proper vernacular? Answer, yes, and thank the heavens above for sending me the tools to successfully navigate super talented heavy-hitter filmmaker Michael Grecco. His latest book: Punk, Post Punk, New Wave takes us on a journey through time dating back to 1977 running right up to 1989. These are never before seen shots documenting the Boston, Mass and NYC club circuit featuring Wendy O. Williams on the front cover smashing a television with a sledge hammer. Grecco has been sitting on these magical motifs for decades, and decided now is the right time for the public to witness behind the scene antics meant for adults only. These pictures are stunning, especially the black and white lighting techniques used to cast shadows on the subject and their rock and roll silhouettes. My favorite shots out of the bunch are Phil Oakey of The Human League (back cover photo) and bassist Dee Dee Ramone of The Ramones (page 179). Crystal-clear, emotionally charged time capsules caught in a forever moment. Michael Grecco is a fantastic storyteller who in his own right has many a tale to tell from firsthand experience behind the lens, and beyond. If only the walls could talk. I thoroughly enjoyed our conversation and highly recommend purchasing his book, you will not be disappointed.
Michael Grecco (MG): Hello there, and how are you doing?
Joe Burcaw (JB): I am well, thank you for asking, and thanks for speaking with me. Congratulations on the new book, the photos are gorgeous!
MG: Ahh, you’re very kind thank you for saying that.
JB: Let’s get down to business, how long have you been sitting on this archival footage, and what took you so long to release it?
MG: I moved to Boston and got a job at the Boston Herald as a photojournalist. Then I accepted an offer from People Magazine and moved out to Los Angeles working for them regularly holding a sort of pseudo-staff position but really wanting to move from photojournalism over to celebrity portrait photography. So, I considered this work, but didn't even realize how much of it I had and the importance of it. I was encouraged by my archivist, a woman named Michael Parker, to edit the body of work and show it around. That's what we did, I really like the direction Abrams pushed for and how it turned out. They did a great job by making it personal and we think it worked all the way around.
JB: You attended Boston University, correct?
MG: That is correct.
JB: Did you have any inkling as to what would happen once you graduated? Did the experience of filming and hanging out with these punk rock new wavers fall onto your lap?
MG: You know, I always had this dual life, but always knew I wanted to be a photographer. There was not a doubt in my mind that I was going to become one. I went into communications thinking that I knew everything possible about photography, which of course you know is the hubris of a teenager. I went to BU (Boston University) for communications and taking photo- journalism of course. I enjoyed doing photojournalism with the day job, and was always into music too, and getting to see and do a lot of interesting things. So slowly I started getting assignments from Boston Rock shooting for WBCN and the KROQ station in LA, and it just evolved. During the day I would photograph governor Dukakis at a press conference and say ‘Hello Mike’, then at night I would put on my boots, leather coat, and tight jeans to go out with my camera into the Punk scene.
JB: You’re like Clark Kent aka Super Man
MG: Laughs and chuckles, I definitely led a dual life!
JB: Taking a look at the front cover of your book with Wendy O. Williams smashing a television set with the sledge hammer, was that at the WBCN studio or elsewhere?
MG: No, that was at someone’s apartment.
JB: Why use that as the front cover as opposed to all of the other pictures you had to choose from?
MG: I think the publisher picked it and in retrospect looking back at these pictures it was a time in music when it was all about musical freedom, right? In that period, we didn't realize how many women were true Rockers like The Slits, Pretenders, and Wendy O….and it was a time for women's musical freedom too. So, I think that they wanted it to be women empowering and I think it worked, that cover symbolizes everything.
JB: When you shot The Plasmatics were you impressed with their live production?
MG: Ohh, it was ridiculous, it was just off the charts. I couldn't hear for two weeks because she fired off that shot gun right next to my ear. I had to go and get sonic reducers after that so I wouldn’t lose my hearing shooting a show, but it was ridiculous with flowerpots knocking over the drums and whipped cream.....
JB: Don’t forget the bare breasts flying around.
MG: Chuckles, and bare breasts, yes!
JB: So, Michael, why don’t we discuss your proudest photography achievements. Are there one or two that you can pick that you were like, yeah this is the money shot and I'm so thankful I captured this moment in time?
MG: You know the interesting thing is, and I talked about this with another photographer who shoots a lot of music, you wish you would take pictures when you had both of Adam Ants drummers in your house doing cocaine and listening to albums all night. You know what I mean? You wish you had taken images of those moments together, but for me and like I said the portrait work is important like the Adam Ant portrait, Billy Idol portrait, the Bow Wow Wow group shot, I love those pictures, and then just because the stage acts were so ridiculous in the book. Then Jello Biafra from The Dead Kennedy’s and The Cramps losing clothes and being naked on the stage.
JB: Speaking of Bow Wow Wow, I heard through the grapevine Annabella and company were feral as a live act, do you share the same sentiment?
MG: Malcolm McLaren put bands together that had a concept, right? You listen to the lyrics and big tribal sound of Bow Wow Wow and have your socks knocked off. They were great. It took me looking at the photographs to see what I had been through and was a part of.
JB: Were there any shows that got away because you didn’t happen to have the 35mm with you?
MG: That’s what we talk about having those regretful moments. I have bands I loved like The Psychedelic Furs, The Smiths, or U2 at The Paradise playing their first show in America where I saw them and hung out with them because someone knew them and you forget to bring the camera going, aww I wish I had it with me! All of those bands were incredibly interesting, it was a time of musical freedom. The Psych Furs first album, Simple Minds who everyone thought was this commercial entity but the sound of Reel to Reel Cacophony (1979) was off the chart for me.
JB: I agree, they all were ahead of their time for sure. Can you tell us the story of Billy Idol in absolute rage throwing a metal crate at your head?
MG: Now it has become an infamous story. Every time he would come to town he would call up, or his road manager would call up and we’d go out after seeing the show hanging at the hotel afterwards doing drugs, women coming over…. sex, drugs and rock and roll right? So, he says I'm playing Portsmouth New Hampshire, come up and see me and we’ll hang out afterwards. So, I drive up to Portsmouth and we’re backstage and he comes running up to me screaming at me, ‘I’m your mate, you gotta stop asking me to take fucking pictures all the God dammed fucking time!’ He picks up a metal milk crate and throws it at my head, I duck and it sticks into the drywall making a huge fucking hole.
JB: Was he hopped up on coke?
MG: We were all hopped up on coke...... I’m like, ‘Billy, what the fuck?’ Then he says ‘your girlfriend keeps asking me to take pictures and these are private times with my friends’. Then I say ‘Billy, I have no girlfriend’. He then proceeds to say, ‘oh shit’. He apologizes, and then walks away. His manager Bill Aucoin comes out with a gallon bag filled with blow like your grandmother is leaving you with brisket after a holiday. My heart is already pounding out of my chest and then Bill says, ‘do you want a line ‘cos Billy feels really bad about what happened’. I have to decline and say, ‘no Bill, I’m really good now’.
JB: Is it true you bumped into Billy years later and he didn’t recognize you?
MG: Yeah, I saw him a couple of years ago because I was one of the executive producers on that show PUNK and we were trying to get him involved. John Varvatos got involved so it went into a different direction. It was more about Iggy Pop and the American movement, but I did bump into him. There's another story there about me and the girl I was dating that I left with Billy one night because I had my job at the Boston Herald and I didn't want to be up all night doing blow, and I wasn't really into her. If I told him all the stories, I think he would be like, ‘Oh my god, how are you?’. We were at an opening and it was like, ‘hey how are you doing?’ and I say, ‘do you remember me?’ and he goes, ‘ohh yeah, of course I do’, and I just knew he didn’t remember me, we shared a lot of fucking crazy experiences together let me tell you.
JB: Ohh, to be a fly on the wall...... Do you have any regrets with any if the pictures you have taken in your career?
MG: No, the regrets are not having the camera and not having the assignment and not taking pictures, those are the only regrets. Taking a picture now you can always leave it in your file, not taking the picture is really the regret. If I took a bad picture or something I don't want people to see or whatever that's not a problem that’s always easy to deal with. It’s that moment of, ‘God I wish I shot that’, you know?
JB: I'm thinking about the Boston scene and how impactful it was, especially a lot of the DJs at the time who were risk takers, like Oedipus.
MG: Boston was a college radio town, and we had the first Punk college radio station and radio shows at MIT. So, there was a show every morning from 9-12, and the lineup was ridiculous, they all came toW BCN after that. It was a show called The Late Risers Club, and Oedipus was on that show and everyone had a different slot. So, 9-12 it was Oedipus, then it was maybe Greg Reedman, then Carla Nolan and Albert O, Tami Heidi, and then it was Thom Lane and Tony V. Oedipus had his weekend show called The Demi- Monde because WBCN hired him and he brought all of his DJ friends over with him. Tony V. and Thom Lane went up to WFNX, but everyone else went to ‘BCN. This was Oedipus’ vision.
JB: I know he was spinning import singles and Indie records and kind of got musicians like Elvis Costello, Ramones, and Talking Heads on the map.
MG: We would go to Newbury Comix, walk in say to Greg Reedman the DJ worked there ‘hey, Greg what's cool?’, and he says, ‘I’ve got this import from this new band called the U2’. Buying imports back then was a commitment, they were 20 or 30 bucks. Another instance, here is this new band The Cure and then of course you would go see them at The Underground like two weeks later.
JB: This has been a real pleasure being able to pick your brain and thank you so much for your time. Before we sign off please tell the people what the future holds for you the remainder of this year, and what kind of projects do you have brewing?
MG: You’re a very good interviewer by the way, and thank you so much. Well, we’re working on getting the images out to galleries and having photography shows worldwide.
JB: Thank you! I will try to make it to your Boston show.
MG: Please do.. you are on the guest list.
JB: That sounds like a plan, have a great evening.
MG: You too, and thank you again.
Listen and buy the photography book, Punk, Post Punk, New Wave: Onstage, Backstage, In Your Face 1977 - 1989 by Michael Grecco from AMAZON
For more info, check out the Michael Grecco website