D/Shon (pronounced Dee-Shawn) is a kinetic and engaging R&B/Pop Performer hailing from Toronto, Ontario. He has performed across his native Canada in addition to shows in the U.S. and Caribbean. He has toured with Jully Black, The Black Eyed Peas and Bedouin Soundclash, and performed in shows that also included Jay-Z, Kanye West, Pitbull and 50 Cent. Other notable Live performances include Alicia Keys’ “Hope Rising” benefit concert, the Vancouver Winter Olympics Opening Ceremony Pre-Show and “LiveCity” Olympic Tour, Toronto “Luminato” Festival, and “Fashion Cares”. He is also a DJ, spinning various Genres including R&B/Soul, House, Electronic, Nu Disco, and Pop.

Currently D/Shon is touring with Juno Award winning artist Serena Ryder, supporting her with live background vocals. He has also provided vocal work for albums by R&B singer, Jully Black including a predominant vocal feature on her Juno Award nominated hit single “Seven Day Fool” and a reprising cameo for the song’s highly rotated video. His vocals were also featured in the Trey Anthony produced “Secrets of A Black Boy” stage play and its accompanying soundtrack.

D/Shon is a Full member of ACTRA (Alliance of Canadian Cinema, Television and Radio Artists), and has made numerous network Television and Radio appearances. Among those performances/appearances are the following: The Juno Awards, CTV’s “eTalk”,, MTV’s “MTV | Live”, CBC’s “The Hour with George Stroumboulopoulos”, CTV’s “Canada AM”, City TV's “Breakfast Television”, CP24/CHUM Christmas “Wish Day, Much’s “Much On Demand”.
He was featured in Global TV's 'Docudrama' "Popstars: Boy Meets Girl", the second season of the popular Canadian reality television series, which set out to form a Co-Ed Pop group. He went on to become a Top 10 Finalist for the group's final selection out of the over 5000 males & females who were auditioned. 

D/Shon is currently working on material for his first solo project and is anticipating a release in the near future!

Katie Anne Clark is a gifted, determined country music recording artist from Austin, Texas. Don't let her baby blues fool you, she is a down to earth, no BS country girl.
Her family hails from as far southeast as West Virginia. 

Music has been the guiding force in her life. As a 7th grader, her honors Magnet Program tried to cut her choir class...she responded with a letter to the principal saying " the only reason I wake up and come to school without a fight is my one hour of choir, please don't take it away!" She lived in that choir room morning and lunches singing, jamming, recruiting all that would tolerate her musical drive.

Comfortable in front of the camera, she has many years of feature film, TV and commercial on set experience in Hollywood, Phoenix, Salt Lake, Baton Rouge and Austin.  Most recently “Pitch Perfect 2.“ She is also a photogenic beauty for still work, but be careful she is a natural ham, from birth. Physical strength and grace also come naturally for this childhood gymnast and high school volleyball player. 

Katie's musical influences can be traced to two very important women; Alison Krauss, Martina McBride and Celine Dion.  

Katie Anne Clark is determined to live her life performing country music. " Don't Mess With Texas," this Lone Star State beauty is a talented, soulful practitioner of traditional country music.

as i stand on this street corner and watch these two roads meet, i finally feel at peace
maybe it’s because it’s my feet at the intersection of two distinct paths, 
merging at a point of vulnerability
maybe because it’s a reminder of you and me 
and a blissful bond we once shared.
without a care in the world, 
your arms wrapped around me to shelter me from the cold. 
two souls kept warm by each other’s company.
two hearts dancing in the rain playfully, two minds with the same thing in mind; you want me to be yours and i want you to be mine.
i don’t know, maybe i’m crazy.
maybe time has finally outplayed me maybe i’ve stopped seeing beauty in the little things, maybe i’ve stopped appreciating the gift life brings. 
maybe i’m in over my head, or 
maybe i miss the familiar contours of your body between the chalk white sheets of my bed.
i don’t know, 
maybe this is normal.
maybe i stopped being myself after you left, maybe this is all a test.
maybe i failed and i
couldn’t clean up the mess
maybe thats why the rain suddenly feels colder on my skin.
maybe thats why whenever i try to apologize i don’t know where to begin or 
where to end all these that I’ve typed in my mind to tell you i just
can’t hit send
maybe i fucked up and i won’t admit it maybe I’m a coward.
seems like I’ve got all the time in the world, maybe i should do something about it i mean
every minute without you feels like an hour
maybe I’m a fool for distancing myself from you
maybe that why i couldn’t end with that i loved you because for some reason 
i couldn’t accept that
maybe 
just maybe you might of loved me too.
-Anonymous (until further notice)

"Guitarist Chambers achieves the distinctly American blues/soul/country/rock sound that the Stones used to aspire to long ago."  - Jerry Shriver, USA TODAY 
Florida born Sean Chambers began his career in the Blues back in 1998 when he toured with the legendary Hubert Sumlin as his guitarist and band leader until 2003. During Sean’s tenure with Mr. Sumlin, Britain's own Guitarist magazine named Chambers as “One of the top 50 blues guitarists of the last century.” 
In 2009, Chambers went into the studio to record his most critically-acclaimed album, Ten Til Midnight.
When Ten Til Midnight was released in October, 2009, it garnered rave reviews and also appeared on the Living Blues chart for the first three months after its release. It received steady airplay in 45 states around the U.S, as well as many markets overseas. The title cut was featured on “The House of Blues Radio Hour” as a “Blues Breaker;” and the album also generated significant airplay on Sirius/XM Radio’s blues channel as a “Pick to Click.” 
Sean Chambers released Live from the Long Island Blues Warehouse in 2011, which featured 10 tracks of mostly originals, along with Sean’s distinctively searing takes on “Full Moon on Main Street,” a highlight song from an early album by The Kinsey Report; as well as a blistering version of Elmore James’ “Dust My Broom,” which recalls Johnny Winter in its approach. 
Live from the Long Island Blues Warehouse appeared on BB King’s Bluesville XM/Sirius Blues Charts as a “Pick to Click” for 6 weeks in a row, as well as 15 weeks on the RMR Weekly Blues Roots Chart and 11 weeks on the House of Blues Radio Chart. The album was voted “Best Live Blues Album of 2011” by Canada’s Blues Underground Network and ranked as one of the Top 3 Live CD’s in Germany by the magazine Wasser Prawda.  In addition it was nominated for a Jimi Award for “Best Live Blues Album of 2011.” Guitar Player Magazine did a full page feature story on Sean in February, 2012, and the same month Vintage Guitar Magazine ran a two page feature story.
On October 15, 2013, Sean Chambers released The Rock House Sessions, on Blue Heat Records. The album  received great reviews and was also nominated for a Blues Blast Music Award in 2014 for “Best Blues Rock Album of the year”.  The album was recorded at Rock House Studios owned by acclaimed keyboardist
-Kevin McKendree (Delbert McClinton Band) –  hence the album name The Rock House Sessions.
On March 17th 2017 Sean Chambers will release his newest album entitled “Trouble & Whiskey” on the American Showplace Music label. The album is produced by Ben Elliott who has recorded classic artists such as Eric Clapton, Keith Richards, Billy Gibbons and Leslie West among others. The core band on the album aside from Sean on lead vocals and lead guitar includes Michael Hensley on Hammond B3 & keyboards, Todd Cook on bass and Kris Schnebelen  on drums. Special guests include Jimmy Bennett on guitar on track 8, John Ginty on Hammond B3 on track 4, and Andrei Koribaniks on percussion on tracks 1 and 7.
Trouble & Whiskey features 10 tracks which include 7 new original Sean Chambers compositions, and 3 well chosen covers including “Bullfrog Blues” by Rory Gallagher, ‘Cut Off My Right Arm” by Johnny Copeland and “Be Careful With A Fool” by Riley B. King/Joe Bihari.

Touring Band:
Todd Cook – Bass / Kris Schnebelen – Drums / Sean Chambers - Guitar/Vocals / Mike Hensley – Hammond B3/Keyboards 

Radio Promotion:  Rick Lusher (917) 742-0254 / rickl11421@hotmail.com
Management: Paul Benjamin (207) 691-0825 / bluesman@midcoast.com

Not since the early days of MC5 at the Grande Ballroom in Detroit, circa 1968, had there been such an organic melding of sheer metalesque maelstrom and free jazz. These archival recordings from the legendary punk club CBGB's capture a moment in time when open-minded musicians from the 'downtown scene' were exploring the possibility of bringing Lou Reed's feedback-infested Metal Machine Music together with Albert Ayler's Love Cry.

Dissipated Face guitarist Kurt Ralkse and special guest saxophonist Daniel Carter provided that implausible link between punk rock and avant garde jazz on these 1986 live recordings. Fueled by the throbbing rhythms of Steve "X Dream" Popkin and Ben "Face" Munves, who alternated on bass and drums, Ralske's twisted, thrashing power chords and shrieking licks blend with Carter's cathartic alto sax wailing to make the perfect union of disparate worlds. And their shouts on the opening track of "Rock is dead, shithead!" is every bit as anthemic as MC5's "Kick out the jams, motherfuckers!" 

Ralske would go on to attain a certain level of indie rock fame with Ultra Vivid Scene and subsequently make an impact as a producer-conceptualist-avant-popmeister and visual artist. Carter would become one of the most ubiquitous figures on New York's free jazz scene, recording with William Parker, David S. Ware, Billy Bang, Alan Silva and Matthew Shipp and the cooperative bands Test and Other Dimensions in Music. But for this one moment back in 1986, their paths crossed with bandmates Popkin and Munves, and the results were frighteningly intense.

Bill Milkowski (written over 500 sets of liner notes and contributes to Jazz Times, Jazziz, Absolute Sound, Down Beat, Guitar Player, Bass Player, Acoustic Guitar, Pulse!, MIX and Interview. Author of “JACO: The Extraordinary and Tragic Life of Jaco Pastorius,”)

The Dissipated Face Story
"Sometime in 1980, I met Kurt Ralske on line at a Fred Frith show at the Squat Theatre in NYC. Kurt was then in high school and played guitar & trumpet. I was about 10 years older and ran a series of jam sessions at my parents house in Linden, NJ whenever they went on vacation. Kurt & I had similar musical interests and became good friends. I invited him to jam with some jazz and rock musicians from the Linden area and some great times were had. Within a year, Kurt helped organize a trio with two friends of his from high school in Merrick, Long Island. This trio were called Dissipated Face and featured Kurt, on guitar,  Ben Face (Munves) on bass and Steve X. Dream (Popkin) on drums. Most of my local musician friends played mainly jazz but they had had rock, blues, folk & even punk influences as well. I remember when Dissipated Face showed up at my house on a Sunday afternoon during a week's worth of jams. They set up, played a one hour set and left quickly to return their borrowed car. They blew the minds of everyone in attendance that day as they would for many times in the future.

What was great about Dissipated Face was that their music was a unique blend of progressive & punk rock, reggae and avant/jazz. They wrote strong memorable songs and jammed. They were ambitious, crazy, fun, serious, talented and much younger than any musicians that I was friendly with. They came to many of the jam sessions at my house and learned from the older cats as well as having their own jams where they lived. I ended up managing them or at least getting them gigs whenever I could because they loved to play and would go anywhere to do their thing. 

Although both Ben Face & Steve X. Dream were talented musicians who often switched off on bass & drums & vocals, it was Kurt who was their secret weapon. Mr. Ralske had a scientific approach to playing guitar and using devices. He was able to control feedback, which is no easy feat, and often took incredible guitar solos. Another thing about Dissipated face that set them apart was they loved to experiment and take chances. I was honored to sit in with them on several occasions playing hubcaps and reciting poetry. 

Another free spirit was of course 
Daniel Carter also jammed with them on several dates. Mr. Carter's motto is, "have horns, will play!" Daniel Carter has always searched for and played with other like-minded musicians who don't care about categories or boundaries. I can recall when he sat in with my young pals some 25 years ago, as well as sitting in with punk/thrash/hardcore bands from NY around the same time! 

Dissipated Face were amazing in their day and were fearless in exploring the better parts of free music. Long live Dissipated Face and Daniel Carter!"

Bruce Lee Gallanter 
Downtown Music Gallery 

“I remember the downtown music scene when I moved into NYC in 1980. There was Rock, Punk, Jazz, Free Jazz, Loft Jazz, Blues, Country, Folk, Noise, experimental and all sorts of art and improvisation being mixed together in every way imaginable. I’d go to a club and see the Ramones, and then Don Cherry would play afterward while someone was painting on the same stage! That time really opened my mind as to the notion that anything was possible. It influenced me to call some of my old Rutgers friends from New Jersey a few years later and start my band, “Machine Gun”, (Based on the FMP record by Peter Brotzmann). Our first gig was at the Pyramid club when we were first called, “Sounds of the Apocalypse”. Half way through the set male dancers started undressing and dancing on the bar.

I met Steve and Ben and started playing with them around the same time, and was really impressed as to how tight they were playing together. Steve would play drums and percussion and Ben would play Bass and Keyboards. We’d get together whenever possible and ask our friends to join us. This included Bill Milkowski, Bruce Gallanter, Ted Goldberg, Daniel Carter, Jay Walk, Richie Rock and many others.
A few years later Steve, Ben, and Bruce would help me start my record company, MuWorks Records. I’m still in touch with all of them and try and jam with them whenever possible. It’s great to see this Dissipated Face album getting released. It’s a great document from a great time from great people!”

Bob Musso
(Daredevil guitarist for Machine Gun and main engineer, collaborator with producer Bill Laswell for nearly three decades) 

Kurt Ralske - the story of a Long Island boy discovering art school noise-pop and conceptual art practice in downtown NYC; the struggles, successes and failures of a pop music career; and finally, reinvention as a visual artist working with experimental film, installation art, and Borgesian invented worlds.

But earlier this year, history took another one of its interesting turns, with Ralske suddenly and unexpectedly reminded of his time playing scratchy, No Wave guitar noise in the Dissipated Face trio, back in the mid-‘80s...

I have always been interested in what happened for you before Ultra Vivid Scene, in bands like Dissipated Face, Crash and Nothing But Happiness. It must have been quite a strange thing for you to be reminded of Dissipated Face, out of the blue.

Kurt Ralske: So I get this email from the drummer of Dissipated Face, who’s been off my radar for over twenty years, and then the same week, two or three other things happen: I have this conversation with you, and then one of the touring guitarists from Ultra Vivid Scene, who I’m friendly with on Facebook, got in touch with me because he discovered this funny interview somebody posted on YouTube. It was really shocking to be reminded I was once that person. [laughs]

What do you remember of Dissipated Face?

KR: I started playing guitar when I was 15, and shortly after, I met two other high school outcasts who wanted to start a punk band. I didn’t really know what that was. I knew quite a lot about music, because my original instrument was the trumpet, and I had worked hard to figure out how to play jazz on the trumpet, so I knew quite a lot about harmony and theory. And I liked prog rock, so when I first picked up the guitar, I was trying to figure out how to [play] King Crimson. It wasn’t like, Okay, I want to be in The Ramones, it was, I want to be Robert Fripp. But my band members had a very strong interest in what was going on in New York, as I did too, but I was more interested in the avant-garde side.

The whole thing was a little bit hardcore, a little bit avant-garde, a little bit punk funk. I wasn’t able to imitate the way most punk rock players played guitar, because I didn’t know the basics, I only knew this weird advanced stuff. So it led to this odd mash-up of styles.

So how did it feel listening back to that recording [Dissipated Face With Daniel Carter, Live At CBGB 1986 (2013)]?

KR: Well, that recording is quite nice, because Daniel Carter is a pretty great musician! He wasn’t a regular member of the group, but he did play with us several times. I think we even rehearsed with him, he would just figure out what to do. When I heard the first track on the record recently, I was impressed, partly because I thought, Wow, there is a dialogue going on between the guitar and the saxophone: I wasn’t just this dumb kid making noise, I was listening a little bit too. So that was a pleasant surprise. I had completely forgotten that I ever played in that style.

A Quietus Interview
Joy & Futurism: Kurt Ralske Of Ultra Vivid Scene Interviewed 
Jon Dale , October 14th, 2013 
http://thequietus.com/articles/13367-ultra-vivid-scene-kurt-ralske-interview

Raymond Pettibon is the EP cover designer artist. Pettibon suggested the name Black Flag and also designed Black Flag's distinctive "four bars" logo. His artwork appeared on many album covers including the Foo Fighters and the 1991 Sonic Youth album, "Goo",  and is well known in the punk rock and art scenes. He has been exhibited at the Museum of Modern Art NY and LA Museum of Contemporary Art . He exhibited in the Whitney Biennial 4 times and, they presented his solo exhibition in 2005. In 2013, he created a billboard for the High Line displaying a drawing called No Title (Safe he called ...).

Roaratorio Records: 
James Lindbloom's belief in the album as a work of art is so strong that he makes packaging a major priority. Lindbloom's predilection for spectacular cover art has been a Roaratorio trademark since the label's start in 2000. His high standards have played a big role in ink already spilled about Roaratorio. His roster includes John Cage, Steve Lacy and other jazz and avant garde artists. 

Reviews:

Wire Magazine 

"Oddball discovery of a live meeting of an early group led by Ultra Vivid Scene’s Kurt Raiske with the always amazing Daniel Carter guesting. Carter’s on sax here, and the blend – right near the end of New York City’s post-SIN Club trajectory – is a very cool collision between free jazz and late period scum-rock readymades. Why was this not known of before?"
Byron Coley (Forced Exposure  NY Rocker, Spin. One of the first writers to have documented indie rock from its inception and author of No Wave, the first book to visually chronicle the collision of art and punk in the NY underground 

MaximumRockRoll 

"Frantic free punk, that reminds me of Easter Monkeys, then Flipper, then Pere Ubu... it's wound up post VU sounds from the streets of NYC when that still meant something, inflections of no wave spurting saxophone and weirdly HC-esque guitars, but the swagger and fuck-you take over and overpower the skronk...It's reminiscent of MC5's incursions into jazz, not jam Ginn band shit, but fucked up on PCP Les Dirtbags out for blood, armed with Sun Ra and the Dead Boys. Sick Pettibon cover art too. Eat it or beat it!"

Volcanic Tongue 

"Amazing archival unearthing of previously unreleased No Wave/free jazz live blats from this wild free rock group featuring saxophonist Daniel Carter: Dissipated Face was the trio of guitarist Kurt Ralske (later in Ultra Vivid Scene et al), bassist Ben Munves and drummer Stephen Popkin and the music was a mutant strain of hardcore with fast, up-tight rhythms over the kinda free guitar crank that would reconcile Rudolph Grey, Arto Lindsay and Keith Levene. Indeed, there’s a weird American hardcore take on Metal Box to some of the music here, colliding with classic No Wave refusal to make for some amazing Demo Moe-style freak. Great songs, with titles like “Rock Is Dead, Shithead”, “Streets Of New York” and “Nazi With A New Name” and when Carter comes in on saxophone the effect is like the MC5 eviscerating Jon Landau’s goddamn corpse live on stage and straight to bootleg. Comes with cool Raymond Pettibon artwork and liners. Too much, totally great and highly recommended."
David Keenan (Scottish critic and musician. Author of England's Hidden Reverse, a biography of Coil, Current 93 and Nurse With Wound)

Black to Comm:

"Don't let the Raymond Pettibon cover fool you---this ain't exactly some SST discard that cluttered up the amerindie record collections of the late-eighties! Dissipated Face, although they could have made it as a fringe signing to that infamous label, are a tad different'n the reams of collegeboy experimental bleats that were getting a whole lotta hosannas from cloistered clods like myself. As if you actually knew, Dissipated Face were a hot trio that was romping through the post-fun era of NYC rock back when they laid these sides down at CBGB on July 31st of 1986, and their mix of everything from free jazz and late-seventies avant-prog to punk rock made for some of the wildest mergings of the form since Red Transistor. Nothing as out-there as that group, but better'n many a similar-minded excursion into freedom aesthetics. What's best is that none other'n noted avant saxist himself Daniel Carter sat in giving a particularly Albert Ayler-ish air to these excursions, so if you were a fan of this guy's various endeavors on the stage of the CBGB Lounge during the final days of Hilly you'll be glad to know that he was in on the punk jazz game for a longer time'n you could've dreamed!"
the Classical

Yellow Green Red:

Dissipated Face with Daniel Carter Live At CBGB 1986 7″ (Roaratorio)
If you’re like me, and you got into standard rock music that had choruses and verses and bridges as a child, but always longed for something more extreme, you probably remember the moment you first heard Septic Death or Albert Ayler or Wolf Eyes or Mr. Bungle or whatever it was that destroyed the musical parameters previously established by your brain. I bet if I stumbled into CBGB’s in 1986, everyone probably would’ve been like “who the hell let a five year-old in here, where are his parents?”, but supposing I was a teenager or something, Dissipated Face probably would’ve cracked my skull open with their flailing, post-no-wave free-rock assault. They sound like one of those early ’80s downtown NY groups like Lounge Lizards or Material or Golden Palominos, had they crashed into Reagan Youth on the cab ride over with the few surviving members improvising live. It sounds dated as hell today; it’s almost quaint to imagine this ever sounded “crazy” to anyone, but if I strain hard enough I can definitely teleport my senses back to a time when every crazy record wasn’t available in two clicks and Glen Humplik was more famous than Glenn Branca. Check out “Streets Of New York” first, that’s my personal favorite, and see what Dissipated Face does to you!

Dusty Groove:

Mindblowing punk and free jazz collision from Dissipated Face – with alto sax behemoth Daniel Carter blowing fiercely out front – a fast, brutal, yet defiantly musical quartet of songs recorded live in 1986 at the legendary Bowery club! This great 7-inch, 33 1/3 RPM EP has four killer tracks – with fast, bashed out guitars, furious rhythms and angry, aggro vocals – really cool underground stuff just on that level, but Carter's brilliant sax truly blows it into on amazing level. Titles include "Rock Is Dead, S**thead", "Nazi With A New Name", "Streets Of New York" and "My Life Is Like An Alligator". (Picture sleeve designed by Raymond Pettibon.)

Midheaven:

Archival recordings from the punk club CBGB that captures the live fusion of punk rock and avant-garde jazz by the open-minded members of Dissipated Face with saxophonist Daniel Carter.

DISSIPATED FACE WITH DANIEL CARTER: Live at CBGB 1986: 7”
Four songs from back when punks were still doing some experimenting in their music, mostly trying to add jazz to the mix. It all comes off like Black Flag adding the most of no wave. As a relic it’s interesting –Rick Ecker Razorcake (roaratorio.com)

Downtown Music Gallery Newsletter

Dissipated Face were and are old friends of mine that I met when they were still in high school in the early eighties. Dissipated Face featured Kurt Hologram on lead guitar, Ben Face on bass & vocals and Steve X Dream on drums & vocals. They were the most ambitious young band I knew and they blended just about everything into their unique sound: punk/prog/jazz/noise/ psych/rock/dub/metal. They were part of scene with friends of mine from New Jersey that would jam whenever and wherever they could. I was glad to help them to get gigs and they never ceased to amaze audiences whenever they played live. They jammed with many members of the early Downtown scene like Steve Buchanan and Daniel Carter. Recently discovered was a set they did at CBGBs in 1986 with the amazing Daniel Carter sitting in. Four fantastic songs from that set are soon coming out as a 7" EP on the Roaratorio label. The cover art was done by the great Raymond Pettibon and the liner notes were written by Bill Milkowski and yours truly.
Bruce Lee Gallanter

The group’s members, guitarist Kurt Ralske, Ben “Face” Munves on bass, vocals and drums, and Steve “X Dream” Popkin, on drums, vocals and bass, met in High school. On November 5, 1981 they played they first gig. Dissipated Face made its debut at CBGB's 2 weeks later on November 21th. The group's name was inspired by a photo of rock legend Mick Jagger as well was their songs, Rock is Dead Shithead and Reagan is a Nazi. This EP was recorded at their very last gig together, 5 years later.  They played at CBGB at least a dozen times as well as 60+ gigs in NYC, LI and NJ. They were contemporaries of Sonic Youth and opened for the Meat Puppets and Shockabilly, Cheetah Crome, Anti-Nowhere League, TANK, and many others, but they never had an official release until now! 

Members:
Kurt  Ralske - guitar 
Influenced by : Fred Frith , Miles Davis 
Ben "Face" Munves - bass, vocals, drums (Streets of New York)
Influenced by David Bowie , Lou Reed
Steve "X. Dream" Popkin - drums , vocals, bass (Streets of New York)
Influenced by The Clash, The Ramones

Collectively they were influenced by the downtown improvisers and John Zorn, DNA, No Wave, Eno,
Bill Laswell, Dub Reggae, King Crimson and James Brown. 

The band broke up  5 years after that first basement gig. Steve and Ben continued as the Dissapated Improv Orchestra with Daniel Carter, Robert Musso, Ted Goldberg, Bill Milkowski, Bern Nix, Robert Quine and others as special guests for a couple of years. 

DISSIPATED FACE With DANIEL CARTER "Live at CBGB 1986" 5 song 33 1/3, 7-inch EP

Produced by Stephen Popkin and James Linderbloom for Roaratorio records. 

This tape was recorded off the board  by the sound man at CBGB. It was converted to digital by Will Dahl,  mastered for vinyl by Carl Saff. Cover by Raymond Pettibone, Photograph by Scott Hiller, Liner notes by Bruce Gallanter.

It’s called soul music because it touches you at the core. 
Soul Mates have arrived to bring to you the best of soul from the 60s and 70s. Enjoy the music of Etta James, Wilson Picket, Al Green, Aretha Franklin, Stevie Wonder, James Brown and many more. Featuring some of Newcastle’s finest musicians and led by the raw, gospel tones of vocalist Tania Searle, Soul Mates delivers the real soul experience.

Soul Mates Repertoire Includes;

At Last – Etta James
Blame It on the Boogie – The Jackson 5
Car Wash – Rose Royce
Do You Love Me – The Contours
Fool in Love – Ike & Tine Tuner
Got My Mojo Working – Ann Cole
Hit the Road Jack – Ray Charles
Hold On, I’m Coming – Sam & Dave
I Don’t Need No Doctor – Ray Charles
I Got You – James Brown
I Just Wanna Make Love to You - Etta James
I Want You Back – Jackson 5
I Wish – Stevie Wonder
I’d Rather Go Blind – Etta James
It’s Alright – Curtis Mayfield
Land of 1000 Dances – Wilson Picket
Let’s Stay Together – Al Green
Little Bit of Feel Good – Jamie Lidell
Midnight Hour – Wilson Picket
Play that Funky Music  - Wild Cherry
Respect Yourself – Aaron Neville & Mavis Staple
Respect – Aretha Franklin
River Deep Mountain High – Ike & Tina Turner
Rock Me Again & Again – Lyn Collins
Rock Steady – Aretha Franklin
Sexual Healing – Marvin Gaye
Shotgun – Junior Walker & the All Stars
Soul Power – James Brown
Superstition – Stevie Wonder
Take Me to the River – Al Green
The Weight – Aretha Franklin
We Are Family – Sister Sledge
What’s Going On – Marvin Gaye
Who is He (and What is He to You) – Bill Withers
Yes We Can – The Pointer Sisters


i walked in a saloon 
at high noon, 
the moonshine sipper;
Spit a new rhyme 
till it's hasta la vista,
The king balloon twister, 
smash your transistor
"It's the High Plains Drifter"
that had to resist the
Sickness of the city life, 
I sat by the river;
A packet of Rizzler 
and a flask full of liquor;
Made the locals ask: "who's the masked figure?"
Fill a page 
with the pain 
it seems 
you can't picture.
The last heavy hitter, 
so many consider me
To be very bitter; 
switching up my delivery
Stitching up my injuries, 
and flipping imagery
Mixing toxins 
till I'm lost in the synergy
Drown in my misery, 
a man of mystery
I stand in the blistering heat as the epitome
Of the anti-hero, 
tipping my Stetson;
Space cowboy 
I drink whiskey with George Jetson

Two thousand and one, 
the space western
Quick on the draw, 
bring a war to your section
Blood Sport veteran, 
contraband cargo
The known desperado 
rolled into Lago

I ride with lost peasants, 
hot stepping across deserts
Letting the dust settle 
for sheep 
who watch shepherds;
Yeah I rock sessions, 
with unorthodox methods
The messenger, 
ready for death 
when God beckons
On frontlines worldwide kids have got weapons,
And grey skies hide sunshine from the heavens,
I'm threatened, 
by the seven sins of my species;
I don't need TV, 
I read tea leaves
Smoke the peace pipe, 
in the chief's tepee;
I speak freely, 
the 3D graffiti 
writer;
Is kinda like the new easy rider
More bad apples in the crew than cheap cider;
I breath fire, 
the propane flamethrower,
Man the fort
for this hostile takeover;
I play poker-faced, 
hold an ace
Tucked up my sleeve, 
leave your mouth 
with a sour taste;
That's just how I play the game nowadays
Apologies to the crowd: I'm a hour late…..

Battling me? 
That'd be 
an embarrassing mistake,
Like promoters 
who don't get the "H" in the right place;
My mic stays in close range, 
I travel the low plains
But drift on a high 
like cocaine;
Exchange words 
with the man with no name,
Inspectors, 
throwing up letters on the ghost train;
I rotate, 
like old brakes 
on chrome plates,
Hunched up, 
punching keys 
till my bones ache
I blow fakes outta the water, 
chucking harpoons,
You can't move, 
running on the spot like a cartoon;
Leaving a trail of destruction when I pass through
The drunk fool, 
fighting off demons with a barstool;
Screaming "Ja Rule", 
my instincts are carnal,
The dirty rascal, 
or the king of the castle?
I'm partial to both titles,
 the soldier's quote in the Bible,
Holding my rifles to false idols
I love the crackle on the old vinyl, 
I rock break loops,
And make moves from my HQ
I stay true to the ancient ways
The herbalist 
curb-surfer 
riding paper waves

LYRICS -  LYRICS - LYRICS

MY FRIEND (HOMME ORDINAIRE)

Early morning, and the wake up call disturbs your happy dreaming
A cup of tea and a piece of toast, fill your flask, leave a note on the freezer

You head off to the factory one more time, wind and rain on your bike
And you do it with no heavy heart

You know it's your life and you know what it takes to put dinner on the plate
Maybe catch some overtime, save a tidy dime, take the kids on a summer break

I can see that it's all enough my friend
I can see that it's all enough my friend

          --------------------

For twenty years with your mates you worked the lines in a furnace of steel
The jokes, the jibes, good times, bad times, a cog in the wheel

Then men like Gods realise from some paradise that in other parts of this world
There's a man ready to do your job

And he gets paid shit, and he don't get health, working thirteen hour days
How in hell can you beat that math, fuck the aftermath, it's the markets all the same

I'm afraid that you don't make the cut my friend
I'm afraid that you don't make the cut my friend

          --------------------

A treacherous night, bonfire flaming bright, blood warm in your veins
Death row vigil like no reprieve tonight, artic break of day

CRS build a wall shadows on the dawn, the drivers back in
One by one the machines are gone
 
You breach that wall, hammer standing tall, sparks as metal on metal grates
Break the tools that once paid your wage you can't help your rage, as the tears run down your face

I can see that you're all cried out my friend
I can see that you're all cried out my friend

          --------------------

The money's gone and the family's hanging on, can't eat your dignity
One of the lucky ones, 'cause they've found you a job in a service industry

Times will be hard, 'cause your wage is cut in half, and the hours God sends
One by one all your dreams have gone

Je n'en peux plus, je ne peux plus m'y faire, d'être témoin et de me taire 
Tragédie nauséabonde qui n'est ni plus ni moins la mort d'un homme ordinaire

I hope you see that I'm all fired up my friend
I hope you see that I'm all fired up my friend





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WISE MAN

You should know by now what the winter holds
Yet you wake every morning fearing wind, rain and cold
You're just as scared of what the next day brings
So come meet the wise man who taught me how to sing

CHORUS
And if you're fine ready willing and able
Sit down and break bread at his table
You'll see one or two things you'll be grateful
Help you to the grave from the cradle
As the red tail-light disappears into the night
And as the dawn breaks on our roof red becomes white

          --------------------

As it was for Moses when the light's went out
All the people around me started to scream and shout
But I know a wise man and he said follow me
I guess sometimes a wise man doesn't need to see

CHORUS
So if you're fine ready willing and able
The wine'll taste sweet at his table
You'll hear one or two things you'll be grateful
Help you to the grave from the cradle
As the red tail-light disappears into the night
And as the dawn breaks on our roof red becomes white

          --------------------

It was Jude who brightened his most obscure nights
I don't know where he found the will for life
That's when the wiseman sat me under a tree
He said this oak will be here long after you and me

CHORUS
So if you're fine ready willing and able
The time wont be lost at his table
You'll feel one or two things you'll be grateful
Help you to the grave from the cradle
As the red tail-light disappears into the night
And as the dawn breaks on our roof red becomes white





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WATERFALL
	
CHORUS

They say I'm in freefall, but this is a waterfall
And by this dark and moonless night I swear I've risked what's left of life
Dove in the cold, black, pool, am I just another fool for you
Or do you dream the dreams I'm dreaming, are you drowning too

These rocks claw my gut
The water's red with blood
I'm engulfed, and that's not all 

          --------------------

My friends say something's wrong, I'm not the same
I shun the life I have, and you're to blame
Though I must give them reason, I can't give them rhyme,
I will not leave this waters edge, I couldn't if I tried

CHORUS

Another place and time, another me
Your faithlessness was fine, we weren't a we
Now I can't stand the wrenching of my once forgotten heart
When I see you with another man the knife rips me apart

CHORUS

I've walked in shadowed veil, these long nights passed
No friends to share the pain, I didn't ask
When you found me on the sidewalk with the bottle at my lips
Was that a saving breath of life you gave or the memory of your kiss

CHORUS TO FINISH

I think we're in freefall, and this is our waterfall
And by this dark and moonless night I swear we'll risk what's left of life
Dive in the cold, black pool, a body and soul of fools
And we dream the dreams we're dreaming and we're drowning too

These rocks claw our guts
The water's red with blood
We're engulfed, and that's not all. 





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SIXTEEN

You're sixteen, Jesus ! how the years have flown
Another couple, you'll be leaving home
I recall being that old
And straying from the fold
Back then, I felt like a fish out of water
In this day and age I'd be like a lamb to the slaughter

          --------------------

Sometimes they'll tell you the man you should be
I don't say they're wrong just tread carefully
If they're not friends you see
They may try to mislead
Trust in yourself and just learn to ignore them
A wolf in friends clothes will lead you like a lamb to the slaughter

          --------------------

I've seen you've noticed all the girls out there
I've seen you with one she's got auburn hair
I've seen the way you stare
And she's nice you've got flair
But son, please don't knock up somebody's daughter
When you get home you'll be like a lamb to the slaughter





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THE BOULEVARD OF CRIME


Hid in the shadows of a concrete awning, in a cautious rain
A street corner in a waking city, could be any place
Night shifters walk from sight, dailies stake their claim
In another civilized parade of mistaken aims

It's like that morning time on the boulevard of crime
It's not that far from the street of shame
If you should choose to walk down the boulevard of crime
Mister don't ever pass my way

          --------------------

Out of sight in a nearby park it's such a perfect day
So many people lying on the grass while their children play
Day trippers take a pause, lovers share an old refrain
Other people come and take their places this goes on again and again

They bask in sunshine near the boulevard of crime
Just one block down from the street of shame
But they don't stray too near to the boulevard of crime
There's such a heavy price to pay

          --------------------

In the wings of the urban theatre of a neon light
Man leaves a bar with his head bowed down like it's a bitter night
They cut him up, they crossed the line, took what they didn't deserve
Left him lying in a pool of lies, just another job of work

Darkness has risen on the boulevard of crime
You could have sworn it was the street of shame
And if you lose yourself on the boulevard of crime
Do you think I'll let you walk away





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STATES OF GRACE

That morning,  I remember I saw her 
Step from the bus into water 
She laughed and I knew I'd fallen
I followed, as she went round the corner 
Straight to the cut I implored her 
It was something I couldn't ignore

Because I fell for that state of Grace 
Her smile it all but sealed my fate

          --------------------
  
We partied, for so many years, how we partied 
No more than two nights parted 
As alive as the day we started
We wandered, over deserts and seas, we marvelled 
As each saw their soul unravelled 
On the best of the roads we'd travel

And as we erred discovering whole worlds
Easy dreams had I for what my life reserved

          --------------------

We married, settled down in a house with a garden 
Kids were soon part of the bargain 
And always our love was as ardent
We struggled, with money and work and the burdens 
Yet of her I was always so certain 
She'd get us through to the final curtain
 
So many moons have since reflected sun
And each day passed is one fewer race to run

          --------------------

We sit now, hand in hand out in that garden 
Hide and seek noises around us 
A feeling of grace abounding
I see her, in their eyes, in the shine on their faces 
She's passed to a third generation 
Is the meaning of life creation ?

And as I watch her slowly watch her life rush by
I recall the day she learned the way she'd die.





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YOUR TIME

Way back when I'd while the days away
Making plans on comets, couldn't decide who I should be
Hanging round the bars never tried to make my mark
Just living the life
Going with the flow, take it kind of slow
That was passing the time, for me. 

And at my back I couldn't hear time's chariot
Be they angels or be they demons, at twenty one I didn't care that much
I thought back then I'd so much time

          --------------------

So many friends who would not lovers be
Couldn't imagine what they'd see in me
Down by the river, in the forest walking
Never letting her know
That every single minute that we spent talking
Was wasting the time, for me. 

Oh if we'd only had both world enough and time
All those moments of talk not touch, wouldn't have been a crime
What could have been if we'd had time

          --------------------

I try to hide from you those sleepless nights
When I ask myself if I was right to give you life
When everyday I see at the window, on T.V.
A pitiless place
No tears in my eyes 'cause another future lies
reflected upon your face. 

We all wake up one morning with no tomorrow left
That's no reason to cry my darlings and you won't if you live your every breath
For what the hell you've got your time.




Denzil Kendrick is following