"People see me as a street punk. Thatʼs what people would consider me, but I consider myself Lee Marie. Thatʼs who I am. Thatʼs my name. I still panhandle, bumming around. My band Scab is the main thing in my life right now—itʼs the only source of a career that I have going for me and I hope that it works out ʻcause I really enjoy doing it. I usually make enough to eat and then I eat. Sometimes, if I want to make more I can make as much as $10. Weʼre not making any money yet as a band. We play a lot of benefits. We played at Rikerʼs Island and we didnʼt get paid for that. One show we played at Tin Pan Alley and we got $300. But eventually as time goes on weʼll get paid for our gigs. Iʼm close with the band. We tell each other our problems. I guess I fit in. I have more of a home. I was always an outsider everywhere I went and I always will be. I finally fit in with a bunch of people who donʼt fit in and we all fit in together." Lee Marie RIP (Punks and skinheads of the east village, 1984-1987 Photographs by Lilian Caruana calandrainstitute.org)

SCAB "History" LP The First All-Female Hardcore Band - Lee Marie Rivera - Lead Vocals; Gaylene Goudreau - Lead Guitar; Maggie Fusaro - Bass; Manon Brière - Drums. All tracks recorded circa 1984. 

Song list: 
1.   Hey You
2.  Money
3.  Jealousy
4.  Schooled
5.  Misery
6.  Time
7.  Halfway Life
8.  Gonna Win
9.  Rat Race
10. Darkness
11. Suicide Maniac
12. In the Rain
13. Swept Away
14. History

All songs written, copyrights and publishing controlled by SCAB 
Produced by Phil Burnett (Bad Brains, The Nils) Remix-Steve Gabe
All rights reserved. Sound Recording ℗ & © 2022 109 Records


Bonus Live in Montreal 
1.  Schooled 
2. I'm Bored with It

Live! From the Vault #2 - SCAB "History" LP feat. Lee Marie Rivera 109 Records

109 Limelight Fashion Show Music Mix 1985 with recorded voices of the designers before every segment followed by their particular choice of runway music to go with their clothes answering the yearly question "Where was fashion was headed?" +Demetrius Evans "Fashion Mannequin" (feat. KilPig sax player Chas. Valiant on vocals) b/w "I Miss You Baby" produced by Steve Gabe at Bob Allecca's Reel Platinum Studios

https://stevegabe.substack.com/p/do-the-drag-the-109-st-marks-place

Live! From the Vault #3 - 109 St. Mark's Place Fashion Show Mix @ The Limelight NYC 1985

Back towards the back end of the 80's after some big shows KilPig '86 recorded at Don Fury's Spring Steet Studio. The guitar player (DAB/David A. Bennett) and keyboard/backing vox (Sylvia Bullet) didn't show up until halfway through but Sandra Koponen (sax); Arnold "Panama" Brooks (drums); STAB/Steve Gabe (bass w/Boss delay) and the chanteuse extraordinaire Nozomi (vox) showed. Donny "The Don" as Roger Miret (Agnostic Front) had dubbed him had the sound down as usual, he dug the band and set the knobs right. KilPig was a well-oiled noise music making machine gigging constantly, getting a lot of press and making the scene as the scene was changing and we were the IT band for a moment on the Lower East Side (Loisida) playing No Se No almost every Saturday Night. The sculpture garden and art scene there was happening now more than the EV. DAB moved on from KilPig, the band he co-formed with Nozomi, to his new band Rogon which was strictly LES.  Without his fractured art jazz rock guitar focus we were transforming into something else entirely, sans guitare, but now Nozomi's husband Chuck Crobisiero steps up and adds that missing element to this Missing LP Deux, Deus ex machina a plot device whereby a seemingly unsolvable problem in a story is suddenly or abruptly resolved by an unexpected and unlikely occurrence.  He did it! He made us whole again. The album is alive and well. In memory of... So that's my story enjoy the proceeds and remember there's always more... In fact, the last KilPig Recording session will be the third in the trilogy of Missing LPs with the mystery studio owner guitar player filing in nicely. Thanks to the "Voice of Chuck" KilPig exists again in a more pleasant incarnation unleashed on a world where "The Conspiracy to Maintain Mediocrity" as John Lurie calls it is ever more present in our daily lives masquerading as unlimited choices. Technology lets us go backwards and forwards simultaneously. Kudos to Chuck! Neither/but Not Noir. We come to you in pieces. https://www.theguardian.com/artanddesign/gallery/2016/dec/13/rivington-school-in-pictures

Live! From the Vault #4 KilPig "Voice of Chuck" feat. Chuck Corbisiero - 109 Records

These were made for the 8BC Fashion Extravaganzas we put on and I produced MC'd and DJ'd at the legendary East Village club named for being between Avenue's B and C. Run and curated by Cornelius and Dennis whose motto was 50% bands the rest performance art, theater and in our case fashion shows. My first tune I spun was David Bowie's "Panic in Detroit" from Alladin Sane and it set the right mood while the glitterati was held outside due to overcrowding. The doorman calmly told Details editor Annie Flanders who pulled up in a stretch limo "I don't care if you're the Queen of Sheba you're not getting in." and we ended up on the cover the next month and 109 was IN. You know if you know! But here's your ticket to the audio. Jennifer Blowdryer's "I Love My New Clothes" from the 109 Anti-Folk comp White Trash, a big hit with a lead Village Voice music section article, was used in a GQ promo video with bold credits for my 109 Records label. We were on a roll of a lifetime. The blend of low and high met in an explosion of color and vibrance and old artworld sophistication with everyone who wanted to be in and participate could, that feat has never been duplicated or experienced before or after. It is what scenes are all about, a temporary blip that changes everything forever, but the scene itself dissolves and all that's left are the tapes videos & books.  All scenes have expiration dates and people move on. The East Village 80's underground fashion theater music performance art scene lives on in the illustrious works of contributors who made it like John Lurie or Eric Bogosian or Ethyl Eichelberger or Keith Haring or Wendy Wild or Pat Hearn, Gracie Masion, Sir Rodney Sir, Sonic Youth, Live Skull the list is long... many, many bands Madonna too. It is what it was and it's better than you think! A rose is a rose is a rose. Left hand yellow! Right hand green! it's Twister! The 80's were better than today artistically speaking. The Conspiracy to Maintain Mediocrity is real. Be different, try something, anything. Learn from us now old fogies not to be too cool to do so. When I got my Thom Burns   aka Joseph James (lead make-up and stylist for 109 fashion shows) my outrageous close-cut sides, fop on top Fun Boy Three style Kamikaze Fashion show haircut (also a KilPig concert) and EV Fashion book release party for the release of THE first of a few books about the entire scene... Pat Field's and 109's rivalry (we were far east she was simply east village oh my!) "Wild Style" by Simon & Schuster promoted by none other than 109 hanger-on Michael Alig who kept bugging me to give him the promo job and he did do a good one packing the cavernous joint with his little club friends. Yes, I got him "The Party Monster" his start promoting shows which I regret but don't regret not getting credit for launching his Club Kids Limelight nights. My mom was horrified with my DJ/MC shaved head "I miss your long hair" and uttered her most famous line "Cool's not cool!" Well, we were fucking cool Mom! and she was proud that day at the breakfast table reading the NY Times and said, "Isn't that your band Robert Palmer is writing about?" and then I went to the New Music Seminar that day and heard Jon Pareles (the other NYT music writer) say at a publicity panel, "The only good thing about publicity is your parents will feel better about what you're doing."  I laughed; he was right. It all means nothing, but nothing is everything. We had it all. Now you can get little pieces of it and make your own art. At least that's what I hope for all you young fashion-conscious arty folks looking for inspiration and a roadmap to the future of underground creativity. Strike a pose! Play a note! DJ an underground party, write a play, star in your own performance piece.  The world's your oyster. Get shucked!
https://stevegabe.substack.com/p/do-the-drag-the-109-st-marks-place

Live! From the Vault #5 "I Love My New Clothes" - More 109 Fashion Show Music Mixes

Back in '88 I went to Dallas for a tradeshow as a salesman. I met a DJ in a club who told me to go to Austin to see his friends the Daylights from the downtown arty Deep Ellum scene that gave us Edie Brickell & the New Bohemians, Rev. Horton Heat and the Daylights who were all on the Island Records comp called the Sound of Deep Ellum. There's an earlier '86 alternate version of Man-O-War in the music section. I got on a plane got picked up at the airport by a SXSW van got driven around at the mostly vacant festival in its 2nd year and saw the band who had been banned from playing Austin play an unbelievably raucous 3 song set before being unplugged. Went up to the stage and signed them that night. Their charismatic lead singer Jay Lavender moved up to NYC with the band. I released their 12" EP on 109 and we became close friends and co-conspirators. He died in '93 but never left me alone. I have been living for the both of us ever since. He kept bugging me to do something, but I never knew what to do until Eric Schwartz of Lone Star Dead Radio (KNON) asked me for the tapes and videos a few years back and he posted them superlatively on YouTube. Still Jay wanted more to be known so I found the oldest tapes added them to Liberty Lunch opener Bad Mutha Goose, the slot giver DDT Decadent Dub Team (9-inch nails electro-hard rock), and the friend Rev Horton Heat and begin with the 2 last rap tunes before he died recorded by Josh at his NYC APT and some home tapes of us jamming, laughing and being creative. It gives an insight into the man, who he was and who he might have become. Don't judge just listen. Irreverent and fun! Just how I liked my acts. Shot (by the law) from the 12" "Shine" EP on 109 Records the metal Daylights could be the anthem we're still looking for about the out-of-control police brutality in our country is sans saxman Danny "Dookie" Connelly who was Dallas' answer to James Chance. Jay was Iggy meets Wilson Pickett. He was one of a kind and broke the mold. He never really made it but maybe now he'll get the kind of career retrospective from '86-93 he deserves. Josh created the sonic template adding soulful call and response back-up vocals when necessary. He played the funk guitar I craved ever since hearing Freaky Styley and Hillel Slovak reinventing the wheel. A real innovator and consummate pro. John (TX) and Marty (NYC) on bass in various Daylights lineups never let the funk bass slip and kept it way up front. Tomas Chess guitar virtuoso on "Shot" 109 EP and "Looking Good" rehearsal tape with another John on drums and Lonny on bass or vice versa rounds out the entire cast of the Daylights characters. I did my best for loving tribute to one of my closest friends I've ever had. And truth be told Jay's still here with me now guiding the selections and knob twisting. To my brother in heaven, I got it done, we're together here in the end and that's what counts. He even played a tune with my kid Vanessa at 5 years TASCAM studio 4 track "My Child". Love may be a dog from hell. Bukowski was Jay's favorite poet; Jay's work has risen from the ashes. To my friend: "You've lived beyond your years. I still shed some tears but maybe now we can celebrate rather than lament. God Bless." Note: some of the tracks could be re-mixed and I will keep the cassettes stored safe in case some real label shows interest or future fans but as a whole I think this is the definitive history of the Daylights and at least a damn good listen to tracks you can't here anywhere else. In the digital realm the Daylights live on forever, never say never as Debora Iyall sang from Romeo Void and I have her post-RV demo she gave me personally at a San Francisco wedding in '88 after I smoked a joint with Peter Fonda and Jack Cassidy (bassist Hot Tuna/Jefferson Airplane) before my own descent into the abyss of law school anonymity. 

All other LFTV podcasts are now exclusively at https://stevegabe.substack.com/

Live From the Vault #6 - The Texas Episode SXSW II The Night I Signed The Daylights @ Liberty Lunch

The last ever recording session of KilPig along with "Oil Company" Live in CT Super "Noise" Group '87 KP rhythm section w/ DEMO-MOE formed in 1985, by ALFREDO CABALLERO (bass, vocal), ANDY THURLOW (guitar) and MICHAEL J. ZWICKY (drums) also Dan and Detta Andreana of 413 lbs. with Arnold Brooks on drums and also 2nd singer; Steve Gabe on Bass and Gnome Synth. KilPig - Nozomi: Vocals; Arnold "Panama" Brooks: drums + lead singing the last two Post-Nozomi "Do You Wanna Dance?" and "World Without End" ending the final installment of the KilPig Missing LP trilogy.  Steve Gabe: Bass; and Sandra Koponen: SAX. The studio was called The Music Box on Avenue B. The guy on guitar and owner were the same person so if anyone knows his name let me know. Urban Rag's Jonathan Ment was there interviewing us as we played. The article came out, Nozomi was on the cover (the same as the pic here), we played the famous Art Gallery and Performance Space Limbo Lounge with a full horn section and a British guitarist, James Ranson, friend of the last sax player Charles Compo. James appears on the last two tracks here having the misfortune of joining the band for the very last gig right before we broke up. We continued and kept recording so all good. All noise. The Rivington School was the latter day 80's art movement in the Lower East Side complete with sculpture garden where bands like us played. KilPig played there too and played No Se No regularly. We had many friends on the scene as well as DAB - Dave A. Bennett our original founding member (also in Womb Service with Angela Repellant, a performance art standout who opened our first 109 Fashion Extravaganza at 8BC writhing to Patti Smith's Piss Factory on a ramp incline while abusing a guy on her way to the top on yet another tape in my basement L.E.S. is More comp) So to sum up along with Nozomi, DAB is a featured guitarist here on "Avenue A." recorded at Rogue Studio played in full (a snippet is on the first Missing LP) It's an earful but if you weren't there it's a great taste and tribute as to where everything culminated back then in sculpture garden metal mayhem. Not for the squeamish it's called "Maximalism" for good reason as it really ended up being the opposite of Phillip Glass' classical school of "Minimalism." I worked at Island Records on the movie soundtrack release of Phillip Glass's Koyaanisqatsi which I have the Island Records studio master cassette duping pre-release tape and a bootleg recorded live at Carnegie Hall. I was a fan and after Island I actually met Phillip at a party for local Irish band The Major Thinkers, "Avenue B is the Place to B" got their demo tape too from 8BC (Glass produced  PolyRock's "Your Dragging Feet" I DJ'd on More 109! LFTV) They were all good friends with our fellow St. Mark's Place store owner across the street, Beverly Bronson, (an ex-pat Brit) from "A Repeat Performance", the second-hand furniture to clothes to light shades and fixtures to antique amps and everything else in between. Many items were formerly props as she had contacts in the entertainment business. They also have bright felt purses and hand puppets made by women in Nepal who are part of the free training program at Ghar Sita Mutu, a home for orphaned children that Bronson founded in 2001. Profits from their sale help sponsor the home.  Our 109 St. Mark's Place Fashion Store and Record Company was a multidisciplinary artist hangout in the early 80's before the East Village rose up and cost real money. We had fun and this is all a part of it. It was a small world of would-be artists and going to be artists back then. Everyone knew everyone who was anyone to know even if you didn't know them. Low or high we were all the same down there back then when the most common East Village/L.E.S.  saying was, "I don't ever go above 14th Street."

Read more here: https://stevegabe.substack.com/p/maximalism-kilpigoil-company413lbs

Live! From the Vault #7 - KilPig "MAXIMALISM" w/ Oil Company 109 Records

I recorded my father in the Summer of '84 on a TEAC four track. He was a master at the Broadway nightclub cabaret style and played piano and sang with the lovely ladies and harmonized with the mad men of his post-war generation, also known as "The Greatest Generation." They had it all after getting through the hell of WWII. They did mostly what they were told to do but he held court at our baby grand (this recording is with his Steinway Grand in '84) at many a festive gathering with their many friends with my mom Sandy looking swell and serving up all the best treats only depression survivors could truly appreciate. They deserved their just rewards. My father was a Veteran, Navy man, although he never saw more action than singing and playing piano at bars in Michigan where he was posted awaiting to be called into combat for the invasion of Japan which was never to be. Truman ordered the bomb dropped and the war ended.  That's what he always said to me, "If not for the bomb you wouldn't be alive today." He supported my musical career, my business career, my law career and any career I chose as long as I had a nice loving woman beside me. He loved my wife Anne and was never prouder than when we got married in 2005. All he wanted was for me to be happy. I buried my father in The Grapes of Wrath in 2012 as Uncle John but in real life he was cremated and died without much to show for it but us. I love my father more now than when he was alive. Here's to you! This three-song epic journey is what I owe him, to give him a shot at immortality: When It's Sleepy Time Down South (Clarence Muse, Leon René and Otis René popularized by Louis Armstrong); Wagon Wheels (Lyric by Billy Hill. Music by Peter De Rose from Ziegfield Follies); and What a Difference a Day Makes... indeed! (a popular song originally written in Spanish by María Grever, a Mexican songwriter, in 1934 with the title "Cuando vuelva a tu lado" "When I Return to Your Side" English lyrics by Stanley Adams.) He could turn any song into his own and he could turn any party into an event. Artists today couldn't hold a candle to him, certainly I can't, but I try to bring what he gave me to every performance. Like Frank Sinatra said when asked what he owed his fans "A good performance." God Bless Us, Everyone! And I was particularly blessed to be his son.

Live! From the Vault #9 Hal Gabe... at the piano "When It's Sleepy Time Down South" (Satchmo)

Youth Gone Mad w/ Lead Vocals: by Joey Ramone & Lee Marie Rivera (See SCAB full album); written by Paul Kostabi & Joey Ramone/Recorded and Remixed @ Giant Studios NYC by Ron Allaire (R.I.P.)

Live! From the Vault #11 "Meatball Sandwich" - Youth Gone Mad w/Joey Ramone & Lee Marie Rivera

Steve Gabe - 1st Lead Guitar
Andrew Gilchrist - 2nd Lead Guitar
James McClymonds - Bass Guitar
Paul Kostabi - Drums

Recorded at Don Fury's Spring Street Studio
Picture: Nightingale Bar 2nd Avenue and 13th Street NYC

"Cleo's Back" (Junior Walker) by Sweet Crude

Steve Gabe - Drums / Lead Vocals
Dan Goitein - Bass
Teri "Sugarcane" Hopkins - Fiddle

"Comin' Down From Tuscon" by Steve Gabe & The Fields

Steve Gabe - Drums / Lead Vocals
James Ranson - Guitar / Backing Vocals
Larry Johnson - Bass

Recorded at Grand Street Recording - Williamsburg Brooklyn
Engineered and Produced by Jake Lummus 

Album CD cover Art: Anne Paule
For 10 song physical CD DM me.

"There's A Place I Go... Every Week for a Night or So" - Roadkill

Steve Gabe - Lead Vocals / Guitar / Harp
Blackie Pagano - Bass (Expert Guitar Amp Repair www.blackiepagano.com)
Paul Kostabi - Drums / Hammond B3 / Omnichord (Producer/Thunderdome Studios)

"Who Cares?" (Don Gibson) by Steve Gabe

Vernon Dalhart, a Country Music "pioneer" recorded in 1924, originally sang this Hillbilly Music genre song just prior to the "Big Bang of Country Music" in 1927 also called The Bristol Sessions. The B side was "The Wreck of the Old 97" on Victor Talking Machine Co. Records. Ralph Peer and Earnest "Pop" Stoneman set up recording sessions in Bristol, Tennessee, for Victor which resulted in the very first recordings by Jimmie Rodgers and the Carter Family, two of the most influential acts in country music history. These sessions are called the "Big Bang of Country Music" because they provided the earliest recordings of modern country music.


In Eddie Huffman's "Doc Watson - A Life in Music" (2025) (introduction p. 4-5) regarding his early exposure to the Country Music genre growing up in North Carolina states: "But no one opened the doors to traditional music and its rich history for me more than Kinney Rorrer, who cohosted 'The Saturday Hall of Fame' on WAKG ('Country Sunshine'), just over the state line in Danville, Virginia- site of the 'Wreck of the Old 97', inspiration for a country standard.  Between testimonials for Big Floyd's hot dogs and shout-outs to listener's relatives, Rorrer offered up country music in all of its glory, from such pioneers as VERNON DALHART to then current 1980's stars such as Lacy J. Dalton. He gave little history lessons along with the records, telling great stories and weaving together the colorful threads of American Music. (Rorrer continues the tradition all these years later with 'The County Sales Radio Hour' on Radio Bristol-you can hear it online. He has played at least one Doc song on every episode I've heard.)" To order the book: https://uncpress.org/book/9781469680354/doc-watson/

The Fats Domino Project is:
Steve Gabe - Guitar / Vocals
Blackie Pagano - Bass (Expert Amp Repair/Restore:  blackiepagano.com/contact)
Paul Kostabi - Drums / Omnichord / Hammond B3  

Produced and engineered by Paul @ Thunderdome Studios Piermont NY thunderdomestudios.com

"The Prisoner's Song" (Vernon Dalhart "Country Music Pioneer") by The Fats Domino Project

"Have You Ever?" Recorded at Waterworks 14th Street NYC (back in the day) Produced and Engineered by Greg Talenfeld (Pavement, Jon Spencer Blues Explosion, Walkmen) https://nyacknewsandviews.com/blog/2014/03/nsl-okrecords/

Steve Gabe: Guitar/Vocals
James McClymonds: Bass
Paul Kostabi: Drums

Picture: Live at Don Hill's '97

"Have You Ever?" by Sweet Crude (Steve Gabe)

Last call. The bar is getting ready to close. Time to make your move. 

Steve Gabe - Lead Vocals; Drums / James Ranson - Lead Guitar / Larry Johnson - Bass

"Did I See You at Otto's Shrunken Head Tiki Bar?" Roadkill NYC

Steve - Vocals, Guitars, and Tremelo Harp
Blackie - Bass
Paul - Drums

"Walk You Home" - The Fats Domino Project (Antoine Domino)

Steve Gabe on Vocals, Guitars and Bass
Tony "Wolf" Mann on Drums and Maracas
Paul Kostabi - Knobs (Thunderdome Studios - Piermont NY)

If Chuck "schooled" Keith on "Carol" guitar technique wonder what he would have done to me! His lawyer said, "He calls me 'Pretty Lady.' Don't upload it to YouTube" See here: https://vimeo.com/18623223

"Carol" - Steve Gabe & Tony "Wolf" Mann (Chuck Berry)

Steve Gabe - Guitars 
Blackie Pagano - Bass (Expert Guitar Amp Repair www.blackiepagano.com)
Paul Kostabi - Drums / Hammond B3 / Omnichord (Producer/Thunderdome Studios)

"The Prisoner's Song" (Dub) by The Fats Domino Project

"Drivin 'Round North Jersey" by Steve Gabe (Demo)

Victor Bailey (March 27, 1960 – November 11, 2016) He was an outstanding American bass guitar player and has his signature basses still produced by Fender. He was the bassist for Weather Report during their final years from 1982 to 1986 and launched a solo career in 1988. Bailey was best known for his signature scat-bass solos. Recorded at Reel Platinum (Lodi NJ) with Danny Hamilton (The Flux w/Lee Renaldo); and Joshua Fried (Atlantic) as producers and musicians with Nozomi tapped as the go to breathy vox. Joshua is best known for remixing They Might Be Giants and a long industrious solo career in the Avant Garde downtown scene. He had erased Victor's bass! But I had instructed him to preserve the track for posterity on this final mixdown which I finally found on an unmarked tape. Joshua was signed to Atlantic by Arif Marden who also produced this track with brother Joe: "Jimmy Because (My Name Is)" on YouTube. Joshua performed this at Limelight when it was released opening for a 109 St. Mark's Place Fashion Show I MC'd and DJ'd for the store and 109 Records EP Release concert for KilPig closing the night. Those were the nights my friends and we thought they'd never end KilPig played a second after hours gig at Sally Randall's club but that's another story on SteveGabe.SubStack.com Do the Drag! Here's Jimmy... https://www.youtube.com/watch?v=o8kCPxv_fUgI

Live From the Vault #15 - Victor Bailey (featured on lead bass) "Luv2LuvUBaby" 109 Records

Theme from Lost in Austin the book: lostinauastinbook.substack.com

Riding to My Dreams (Theme from Lost in Austin)

From NYC / North Jersey now in Greensboro, NC.  For more stories, podcasts and free music go to:

Steve Gabe

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