Where did drums enter the picture for you and how/why did you pick up the sticks?
I started banging around on my Mom’s pots and pans when I was really young. She eventually got tired of that and bought me my first drum set when I was 11 or 12. I’m not sure why I started playing, I guess I just always loved music and wanted to play and drums seemed like the most accessible instrument.
In January 2006, Beyond did two reunion shows. At the time I was in contact with Capone pretty regularly and told him I wanted to do a lengthy Beyond interview with him and the other guys. After he took the time to answer a couple dozen questions, I lost everything from a server crash, and he didn’t have the answers anymore either. The answers were great…very long and detailed with tons of cool stories about everything related to Beyond.
This is part of an on-going piece we will be running with Jordan Cooper, a man who needs no introduction. Want one? Pull out The Way It Is LP. Yeah, that was his idea, start to finish...enough said. We pick some Rev releases with accompanying questions, and allow Jordan to inform us. More to come... -DCXX
This is part of an ongoing piece where we asked various people from bands over the years what they recall as the most memorable show they ever played (or attended, if they were never in a band), and why. What is posted here is only a sliver of what is to come, so be sure to check back. -DCXX
Years ago when we were doing daily entries on Double Cross, I was in touch with original Slapshot drummer, Mark McKay and we talked about the origins of the legendary Slapshot goalie mask used on the cover of the Same Mistake / Might Makes Right 7".
Porcell saw this photo that we had posted at some point and sent us a great story to go along with it. Big thanks to Porcell for this contribution. -Tim DCXX
That live shot was the Freeze at the Stamford Anthrax, somewhere around 1984. Cappo is the guy at the bottom of the pile up, lying flat on his back on the right hand side.
The design of the early Revelation Records releases could summarize the aesthetic of that era in hardcore possibly better than anything else from the time. Every one of us has at some point pulled out their copy of Bringin’ It Down or Start Today and studied the lyrics, read the thanks list, and stared at the photos. If you haven’t...well then you might as well stop reading, because this interview won’t interest you. But if you love this stuff like us, then you may have noticed that the design on a few of these gems is credited to a faceless guy named “Dave Bett.” I was always curious who he was. Was he just some hardcore kid with skills? Was he a professional graphic designer who was simply hired by Revelation?
Written by Tony Rettman (Author and Host of Sandpaper Lullaby Podcast). Check out some of his books, available here
Trying to corral all the things I dislike about myself into one convenient pile can be a tough task. Even tougher is trying to snake back and figure out where all this self-loathing began. Small blips come in on my mental radar when I find the time to dwell on such matters; which seems like all the time. During adolescence, there was a rapidly enveloping pressure to either adapt or succeed. The thing is, no one explained how to do either one to me.
For the first half of the tour, we played with Gorilla Biscuits and then Judge for the second half, and you could tell Porcell was in between things, Youth of Today was playing their last show on this tour. Matt and I were about to start college. Drew was moving to NYC with Ritchie, there was just a sense of closure or transition with things ending and new things happening.
1990. Revelation Records released five 7”s that year and one LP, perfectly balanced by half heritage, half new(ish). Judge and Youth of Today represented tradition as much as Inside Out, Quicksand, Burn, and the pleasant anomaly, Supertouch loosened the knots and rewired things. Burn specifically brought a unique blend of fire and fusion, pounding the pavement like a demo-era Cro-Mags and locking into bouncy beats and drifts often in the same song.
Recorded in April 1990 at Don Fury’s Demo Demo Studios in New York City and released the same year, Quicksand’s debut 7” immediately made an impression to fans of Gorilla Biscuits, Revelation Records, and beyond. Speaking of beyond, the line up on the EP featured Alan Cage on drums, Tom "TC3" Capone on guitar, Sergio Vega (Absolution and the underrated Collapse) on bass, and Walter Schreifels (The entire NYHC scene) on guitar and vox.
