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Such Hawks Such Hounds (Full Documentary)

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    On pourrait dire qu'une chanson est heavy à cause de la façon dont elle sonne
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    pour moi cela vient plus de l'expérience des personnes qui la composent
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    "je préfèrerai planer ou mourir", ce genre de trucs
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    On peut n'avoir qu'une guitare acoustique et une voix
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    et avoir la chose la plus heavy au monde
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    Etre heavy c'est être énervé, être un seigneur de guerre
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    comme quelqu'un en pleine bataille
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    qui aurait une hache et couperait la tête d'un gars
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    si vous avez un riff qui sonne comme ça, c'est ça être heavy
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    La première fois que les Beatles sont venus en Amérique
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    ils avaient ces amplis minuscules, on n'entendait rien d'autre que les filles qui hurlaient
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    Tout ça a changé quand Marshall, Laney et Orange
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    ont commencé à faire ces énormes amplis
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    d'un coup on n'entendait plus la foule
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    Pour les premiers groupes de hard rock,
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    le principal était de trouver quoi faire de toute cette distorsion et ce volume
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    On peut faire des choses avec un son clean et un peu de réverb
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    qui sont si sombres qu'elles feraient passer Black Sabbath pour Peggy Lee
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    moving away from that idea
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    it's just being like headbanging whatever devil horn heavy rock we're making weird shit
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    "comment on pourrait avoir ce son ?"
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    "on pourrait le mettre dans un placard, ou dans un endroit confiné"
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    "allez, on va le mettre dans un cercueil et voir quelle genre de performance vocale on peut avoir"
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    une quinte diminuée est beaucoup plus heavy que...
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    tu vois ce que je veux dire ?
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    c'est terre à terre, c'est souvent brut
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    et c'est réel
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    whan you get really technically proficient, that sucks the soul out of rock'n'roll
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    when somebody really has something to say
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    and i'm not saying verbally necessarily but emotionally
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    it comes out of the music and it just hits you
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    that's heavy music to me, ti doesn't necessarily has to be all about loud guitars
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    even though i love loud guitars !
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    It seems like, heavy, the modern idiom is always like something with distortion and a lot of volume
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    some sort of reference to the first heavy bands you know
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    Black Sabbath, Blue Cheer and Led Zeppelin
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    The whole experience of coming of age in the early 1970s
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    it was very tense and rife with problems that mainsteam enterntainment was'nt adressing
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    and definitely not even mainstream pop music
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    i would love to go back to the 70s and relive it
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    because, i mean, you had Black Sabbath at their peak
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    you had captain beyond, you had , you had Deep Purple in rock
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    you had Mountain, you had, you had the stooges, you had atomic rooster, dust, groundhog, stray
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    all these incredible bands
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    since 72 it's actually been done - downhill - yeah, after volume 4 was released
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    sabbath, unnecessary to point the discussion
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    i keep referring back to hawkwind because they were a really really big influence on me back in the day
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    Someone in the green river days discovered hawkwind and i've been in love with those
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    four or five records ever since
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    zeppeling, free
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    like all kids our age i mean, kiss
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    we had all of dick taylor's records
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    james gang
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    neil young
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    leafhound or
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    mahavishnu orchestra
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    alioce cooper, aloice cooper was like the first cool record i ever got
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    of course i like sabbath, i mean, that's the obvious
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    they know sabbath nand it's great, but sabbath is played out
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    a lot of bands we were into bobby and i specifically were into
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    is what i call like, b level bands or c level bands, like
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    dust, baltimore
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    baltimore i mean i did'nt know these until a couple years ago and i heard it
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    and i juste started cracking up cause it's fucking gnarly
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    you play these recorrds
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    it's not barracuda it's not supertramp
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    in a way, black sabbath was nzever on the radio, but people went to gigs,
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    and i think thats' why there was more moeny for these bands touring
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    making platinum without getting on the radio
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    in the 70s there was a lot more regional hard rock
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    there were bands like pentagram in washington dc that were a part of the major label system
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    pentagram formed in the late 71
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    bobby was the first
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    i would tell you that
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    bobby liebling was the first
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    literally, one night bobby and i were sitting at a frined's house
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    getting stoned like we did, just about every night
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    we said you know, why don't we put together a band that does exactly what we both wanna do
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    during the time i was in the band, 71 to 76, i'd say we were a hard rock band
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    maybe a heavy hard rock band, but we weren't a heavy metal band
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    we didn't wanna play clubs, because clubs didn't want us to play them
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    because we doidn't do covers
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    if you listen to bobby's songs, they werecreative, incredibly inventive songs,
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    with weird beat changes, weird chord progressions, weird time signtures and stuff
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    but the labels would say this isn't radio , we can't sell this, we don't hear a single
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    we waned to just, record our own material and og straight to getting signed
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    so we had various managerswho stuck with us for various perdios time
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    that would take us to the studio, pay for the stessions, and try to get us a record label deal
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    and each time they failed
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    crabs in columbia, the wanted bobby
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    and that's were bobby got some kind of big audition in new york city at a big studio
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    thats was the straw that definitely caused a lot of damage to the camel's back
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    because, bobby basically blew our columbia record deal
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    we wanted to do better vocals, but the guy paying for our session, columbia records,
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    said don't worry about it and that should be the end of the subject
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    and bobby wanted his way and so there you go, that was the end of columbia records
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    the problem really became the drugs
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    and bobby got
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    and bobby sat on the edge of being a fucking legendary rockstar his entire life
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    pentagram i missed the first time around
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    i thing their records were almost impossible to find
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    and i didnt even hear about pentagram until the records started getting reissued
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    bobby had all this stuff and believe it or not even back then
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    this stuff was even of those 8 tracks sometimes 4 tracks, it was amazing quality
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    bobby worked out a deal with relapse
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    and they wanted to pull out a compilation of a lot of our 70s demo
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    the studio demoes we had done we several managers
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    i loved it, i loved the pentagram stuff of the 80s
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    and i'm really proud of bobby for keeping pentagram going for all these years
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    becauseif he hadnt kept the band going
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    you wouldnt be talking to me roight now
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    we just got like a basic structure
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    you know, we got the skeleton but then theres so much space
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    you know those parts lasts maybe 5-10 minutes in a run
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    and then we just like go off for 20 minutesand its always gonna be different
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    its always playing off each other
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    i always call it the cosmic nod
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    i think that its a very spiritual thing
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    especially i mean like for us when we play definitely at length
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    that way we can maybe ride a note for 5 minutes
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    and just kinda noodle over it
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    it does give you to think
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    just kinda explore whats in your head whenyou drift off
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    we talk about it and we were like "shoulod we try to write some songs or should weget a singer"
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    just kinda said "we kinda like it how it is"
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    metal in the 80s became very formula (?)
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    lokk at judas priest turbo album
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    and compare that to things like stain glass or sin after sin and you cans see what happened to music
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    in the 80s
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    early psychedelic hard rock
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    ened when the drug of choice became cocaine
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    all of the negative aspects of studio recording
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    are amplified by cocaine used by the engineers the musicians the producers
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    i wanna be hinged on production sounding just exactly like in the studio
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    and then you had your weird underground stuff
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    venom, metallica was kinda stradling the pumpkin metal thing
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    i wasnt really part of the wholde ozzy osbourne
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    judas priest crap
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    you didnt really have punks going to metal shows
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    and metal people going to punk shows
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    and then around84 85
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    the line started to get blurred a litlle bit
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    it was actually a defining moment
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    when the obsessed was accepted by the punk community
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    its like when, we play ths little bar and the pa went out
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    and instead of stopping we just played the whole set without pa
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    screaming in ,playing things like twice as fast
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    afer that, sam said"ok, i gotta throw up"
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    i thuink a lot of the dc hardcore bands
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    were kind of what got me into doing
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    bands like sping, void ,
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    somebody told me if you think is fast, you should check dri and coc
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    hardcore bands from the early 80s
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    the very first time we saw the melvins
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    i realised a band could completely clear a room
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    or completely change somebody's life
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    faster faser faster, and then the melvins came along
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    and we were like "awesome"
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    motorhyead doesnt get enough credit i would say that
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    they were the real first punk metal hybrdi
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    was na perfect exemple of
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    even black flag was so popular fans were willing to go anywhee
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    just sit nhere
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    black flag played in the desert
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    probably like in 1981
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    ou konw the desrert, even so now, but more so 15 20 years ago
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    was primarilly a retirement community
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    its like a vaccum of like you know musiuc culture
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    there was no question of going to la
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    i never went to la
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    i mean if i went to palm springs it was like a day thing
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    there was no record store
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    it was all about the desert and
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    it wasnt something we cdlebrated
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    maybe like it might be today
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    the desert is a place for the newly wed and the nearly dead
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    i mean its that place
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    the bands were coming and they were like punk rocj bands
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    they were developing out there
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    the earlier ones were like dead issue
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    and skabies babies
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    there was a band called dead issue i was a paret of
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    that became across the river with marlow raollali
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    alfredo hernandez was also in tha band
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    he played in kyuss for a xwhile
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    queens of the stone age
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    they were few other people but
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    i would say like
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    the earliest if you wanna say across the river
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    was klike one of the ones that
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    i just remeber so vividly that was like a moment of change
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    the whole sstc that was like our idols
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    black flag, meat puppets, minute me,
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    october faction
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    here are hot pepper sear
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    these are some bana pepper saer
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    these are ta mere dragons
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    when these turn red these are hotterthan hekll
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    what is doom
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    first of all, what ly understanding of the styke of music
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    that we want to call doom
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    is kinda jut like i said before a gut, a real visceral
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    emotional
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    pull
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    something that will make you cry
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    what i think
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    when i really moved into like a concrete form of
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    i'm in a doom band
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    definitely the same
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    we played a few shows with st vitus
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    when they had their old singer, scott
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    then they got the new guy
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    wino
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    his first show was on ly 21st birthday in 1986
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    at this little community center in palm desert
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    dri, st vitus and across the river
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    it always felt like across the river was onto something really special
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    we have albums by, everything from mountin to black sabbath
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    early metallica
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    all kinds of stuff
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    we were kinda combining that swith the feelings we got from punk rock
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    soeakers just fucking melting in front of you
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    i love that sound
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    so we started going back and instead of (poum poum tchak tchakl prrllrllrll)
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    it was just slower, slow down, voilume, saturation, blues
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    they like, just alienated themselvres from that whole game of like
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    playing fast and riffing around, the whole punk metal thing
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    they just bypassed that straight to nrock
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    noone was really dpoing i
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    towards the end of across the river
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    soundgarden was starting to make waes in seattle
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    and they were actually part of sst
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    same kind of stuff was brewing up there that was brewing out here
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    nobody... everybody knew me as the singer of st vitus
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    but nobody knew i played guitar
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    kind of interesting situation where i think it aws
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    scott mars from band across he river
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    we jammed at a partu near ventura, by the beach
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    i was playing drums, he was playing guitar
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    i didnt know he could play guitar
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    mario lally was playing bass
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    and we did this crazy jam
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    afterwards it was like "man what kind of fucking band is this"
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    caught up scott, and we agreed to forge ahaed as the obsessed
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    thats what we did it was me, scott reeder and greg rogers
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    after struggling a little bit here and there
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    scott reeder left to join kyuss
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    thats when kyuss basically exploded
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    they were like the only band in the desert touring
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    they were the ones, they were the ones that basically stared perpetuated our univers out there
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    it was like a blueprint for desert rock i guess it would be it
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    guys like mario lally and kyuss really took it
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    to the next step by not only saying
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    you know were ? so maybe we dont know what the hip thing is
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    but they actually embraced that instead
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    not only "were gonna reject the hip thing" but "were gonna reject tje lmasses at the same time"
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    i mean i hate to say it but a lot of it had to do with we just started smoking grass
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    you tzke a group of kids
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    digging aggressive music and certainly like hardcore punk
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    and they start smoking dub, interesting things happen
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    thats an interesting music
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    what happened with the obessed was thrash it
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    slayer and that type of music is just too big
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    that was it thats what the 80s became
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    either you were a hair band
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    or you were a thrash band
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    anybody deserve to be a rock star, be that guy
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    its like heaven
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    youre cursed to be the underdog, theres no way out
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    you just gotta be there
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    but people love you because you stayed that way
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    because you stuck to your guns
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    and never stopped playing what you play
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    we formed comets in 1999
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    ben machin and i formed the group in santa cruz california
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    youn know he and i were in the just like anthemic rock lmusic
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    grand funk and some punk rock
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    just kinda old favorites and stuff like that
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    and we were just getting in further out stuff like
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    coltrane and free jazz stuff
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    its not just a synth that makes fun sound
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    no it s a
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    so tyou can put the scene effects on your
Title:
Such Hawks Such Hounds (Full Documentary)
Description:

Such Hawks Such Hounds explores the music and musicians of the American hard rock underground circa 1970-2007, focusing on the psychedelic and '70s proto-metal-derived styles that have in recent years formed a rich body of unclassifiable sounds.

his is a great documentary film by John Srebalus about heavy music of USA. Music , interviews, live and some of the heavy metal, stoner, doom and drone legends from 1970 till now. More than one hour of great music, historic point of views, attitude and great people.

Chat with : Mario Lalli, Eddie Glass, Tom Davies, Greg Anderson, Stephen McCarthy , Geof O'Keefe, Al Cisneros, Chris Hakius, Lori S., Joey Osbourne, Mark Arm, Isaiah Mitchell, Scott Wino Weinrich, Mario Rubalcaba, Mike Eginton, Joe Preston, Scott Reeder, Tony Tornay, Larry Lalli, Brant Bjork, Matt Pike, Ethan Miller, Noel Von Harmonson, Ian Christe, Joe Carducci, Tony Presedo, Laurel Stearns, Chris Kosnik, Bob Pantella, Finn Ryan, Michael Gibbons, Jenny McGee, Billy Anderson, Arik Roper, Randy Huth, Josh Martin, Jason Simon, Steve Kille, Nicky Emmert, Stephen O'Malley, John Gibbons, Isobel Sollenberger

No copyrights infrigment Intended. The copyrights belong to their respectful Owners. Go buy the dvd and support the scene,If owners wants this video to be deleted it will.

Buy the DVD.Support the scene.

http://www.suchhawkssuchhounds.com/
http://www.facebook.com/pages/Such-Hawks-Such-Hounds-Scenes-From-the-American-Hard-Rock-Underground/107952221237
http://www.imdb.com/title/tt1377796/
more » « less
Video Language:
English
Duration:
01:24:17

French subtitles

Incomplete

Revisions

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