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 Mad Parade's Profile |
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SEX AND VIOLENCE since 1982 |
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| Location: | Whittier/Los Angeles, California |
| Country: |  United States |
| Last Login: | Jan 19, 2008 (690 days back) |
About Me |
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TEXT MySpace Background provided by MyWackoSpace.com . "For a long while, our stuff was all over the radio, and we seemed to be getting bigger and bigger," says Kelly. "But at the same time, our egos started to get big, and we started thinking, `Hey, let's ask for more money. Let's live it up like rock stars.' So then we go on tour and we play these shows, and 25 people show up. Ten people show up. Five people show up. A show gets canceled. And we're like, `Wait a minute, now. It's time to get back to reality.'" The reality was, Mad Parade embraced a sonic aesthetic unfamiliar to fans of early SoCal punk, playing polished melodi-core in an era that reveled in the loutish muck of the Dils and The Germs (who, despite the fierce brilliance of G.I., are widely reputed to have sucked live). In contrast, Mad Parade gleaned its sound off of British bands like the Buzzcocks and 999--first-generation punk bands that mixed spit and shine, grunge and gloss. Says Kelly: "Nowadays, punk-pop is huge. Just look at like Blink-182. But back in the day, no one was doing the stuff we were doing. A lot of British bands were doing it, but nobody in L.A. It was all hardcore. It was all Circle Jerks and Black Flag and GBH and stuff. You couldn't find a melody anywhere." And the passage of years didn't help Mad Parade's cause. As the epochal seesaw tilted to the latter half of the eighties, public opinion skewed dramatically toward metal, and punk bands (most notably, T.S.O.L.) began growing their hair long and slowing down--even resorting to the glitz and glitter of glam--to save their dwindling audience. Before long, Mad Parade was headlining for L.A. Guns and members of Guns 'n Roses. "I remember seeing Axl Rose play before us when he was in another band," says Kelly. "It was obvious that things were changing for the worse." Still in a desperate bid for relevance, Mad Parade made a half-hearted go at the "metal thing" (Kelly admits that even he let his hair shag down to his shoulders). But hairspray and acid-wash proved a poor substitute for buzzcuts and Chuck Taylors, and the band splintered off into other projects. It wasn't until 1993 that they reunited, finally burying the hatchet of wounded pride and cranking out albums with the verve of punks half their age. Since then, they've been rediscovering old fans and winning over new ones--all to the familiar, catchy refrains of clean punk from back in the day. "We can't write thrash, man. We can't write too poppy, either. We can't be like the NOFXes and all their clones. It's just garbage to me. You know what? We're not going to change. If people like it, they like it. If they don't, well, fuck 'em." http://www.athlens.com/myspace-backgrounds/upload/uploaded/3 77608712_m.jpg ------------------------------------------------------------ -------------------- Copyright © Las Vegas Mercury, 2001 - 2005 Stephens Media Group MySpace Background provided by MyWackoSpace.com .I edited my profile at Doobix.com Myspace LayoutsI edited my profile at Doobix.com Myspace Layouts |
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My Interests |
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Music:Member Since: 5/25/2006Band Website: !!! " !!! Band Members: "Were we bitter?" Mad Parade vocals/ guitarist Joey Kelly. "Big time." Although there's no definitive reason why Mad Parade held the early '80s punk-rock gravy train, Kelly attributes at least part of their to premature ego inflation--swollen self-conceptions that couldn't handle the reality of public opinion. Much like a certain local band of suspect repute (ahem, Clockwise), Mad Parade was thrust onto a scene that wasn't quite ready for its sound. And not even a barrage of industry hype could dent the public's resolve. JOEY KELLY...VOCALS GUITAR DTs..............GUITAR VOCALS MIKE SOSA...DRUMS & FLASH STEVO..........BASS VOCALSThere was once a time when punk rock wasn’t so much about squeezing the most distortion out of a Marshall stack or how many beats per minute can be beat out of a poor, overworked snare drum, rather, it was about crafting an honest-to-goodness rebel sound.There’s few bands left together that can boast roots that stretch back to punk’s earliest era—Mad Parade is one of them, and its finest moments from the ‘80s punk scene are gathered on this compilation. As the Californian punk scene made strides to separate itself from hardcore, Mad Parade laid out these early tracks and tempered its fury with a mid-tempo precision that’s almost forgotten since punk’s early days. While Re-Issues collects a couple full lengths (Mad Parade and A Thousand Words) as well as a couple EPs (Right is Right and Second Chances), this album doesn’t just dust off some old tracks: it shows just how powerful a band with its own sound can be, regardless of its lack of high-strung punk trickery.About as classic as mid-‘80s punk can get, Mad Parade helped define an era, a fact this compilation showcases with nearly every track. Though the band’s guitars hold the same sound as other bands of its era like Youth Brigade or Wasted Youth, Mad Parade’s music holds a slightly more aggravated tone to its music. Whether the band takes a ragged riff and pushes it across an upbeat, anthemic "Praying for a New Day," or cranks out a frenzied rocker with "Facing the Crowd," the quartet delivered a sound that wore punk’s street-smart roots proudly on its sleeve.Mad Parade wasn’t just another pack of angry punks, however. There was a genuine love for rock’n’roll inspiring the band, a love all too often absent from the arsenal of many a punk band. Full of guitar-centric riffs and in-the-rafters backing vocals, this album also shows Mad Parade could old-fashioned rock just as good as any British band. Songs like "Hollywood Vampires," with its expansive backing tracks and horror-rock material and the slow and easy "Laughing," which shows the band could pull off a heavier vibe when needed, bear a passing resemblance to the Damned’s interplay of vocal and guitar melodies.Though Mad Parade does throw some curves into its sound on this collection, Re-Issues does have a tendency toward redundancy. With more than 78 minutes of Mad Parade to dig through, this album somewhat outlasts its lifespan, simply by a matter of overexposure. While never completely overbearing, the band’s songs lose some of their spice by the end of this album. As an alternative to several previous releases, however, this record does offer fans a ton of material for a cheap price.- Matt Schild Home | Privacy Policy | Advertising | Contact Us ©1999-2007 Aversion Media, LLC All rights reserved. All material is property of Aversion Media, LLC and may not be reproduced without expressed written permission. http://punkrockdemo.com/shows/madparadeprd80.mp3.. Influences: Sounds Like: LEGENDARY. Record Label: various. THANKS to Dr. Strange & everyone else! Type of Label: Indie |
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| Occupation: | Music Artist (Punk) |
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