The first time I saw and read about KIDD COMET was about 9 months ago, when I received Bam Magazine from L.A. When my eyes caught Casey and Co. I was sure that this band was just my cup of tea. I contacted the band and soon received a copy of their debut EP, and a real killer it turned out to be KIDD COMET plays glam with so much power that it puts most other bands of their ilk to shame. I would compare them to early CRUE with a touch of POISON and WHITE LION thrown in for good measure. But to find out more about the KIDD COMET glam clan let’s bring in vocalist Casey Lee Michaels.
Casey, when was the band formed? Tell our readers how it all started?

“Well, in early 1988, I contacted a friend who lived in Los Angeles and ran a musician’s referral service. Ronny (North, guitar) had been playing around with some half-assed rock outfit called JADE, who seemed to have a lot of money but little else. Out of 200 prospective guitarists I chose Ronny and took his photo and bio to the band. We made the necessary phone calls, set up the meeting and exchanged tapes.”

So, who are your influences? “The band holds great respect for and is influenced by too many factors to really bother putting into words, but speaking strictly in the genre of rock music, there is definitely a common KISS bond within the group. I always thought Paul Stanley was the epitome of what a rockstar should be: a great songwriter, great vocalist, and a fantastic stage performer – not to mention that he looks and acts the part.”

How did you come up with the name KIDD COMET? “Comic books were my means of escape as I was growing up, and KIDD COMET was a character I created. Batman had his Robin, Captain America had Bucky etc, so KIDD COMET was the ultimate sidekick, except there was never a partner. The first night we met (the band) we hit it off right away and when the topic of group name came up, I offered KIDD COMET.”

You have just recorded your debut EP, could you tell us more about It? “The debut EP is called, “Kiss….Kiss….Bang! Bang!”, which includes the title track plus, “When it’s Over”’ about a psychotic’s obsession with a girl, “Ignite The Nile”’ which is about an experience I had when I first moved into Hollywood, and “Learn To Live” which offers a story line loosely based on a girlfriend of mine who moved to Hollywood to seek fame and reached a little too far.”

How would you describe your music? “It’s story board rock’n’roll, there’s no deep messages here. It’s escapism. It’s something to help take you away from the boredom of everyday life. It’s something that says ‘It’s Okay To Be You!’. That’s certainly nothing new, it is what it is, a product that gives you KIDD COMET seven days a week, every week.”

How much gigging does the band do? “We try to play out as often as possible, but at the same time you don’t want to flood the market. We’ll do the strip twice a month and concentrate on other venues, it’s a big world out there and L.A. is a very small needle in a very large haystack, an important little needle, but ultimately rock fans are everywhere!

Are you getting interest from any major labels? “Ah yes! The big LA myth. Of course we’ve had our fair share of labels offering us the dotted line, but we’re looking at the big picture – the take two steps back before you shoot picture. We’re in it for the long run, not to be someone’s tax write-off. Demo deals are not record deals, and record deals only count when you’re three records down and still selling strong with a point figure that allows the band to earn a living and not just the record company counting profits. To say the band doesn’t have the material is incorrect – we do. We’re just waiting for the right deal, we want full artistic freedom. KIDD COMET is not a ‘fad’ band. I don’t think you’ll ever see a KIDD COMET rap album!”

Well, as you can see, Casey has certainly got his head screwed on right, and he is ably supported by three talented musicians, namely Ronnie North (guitar), Mark Blaso (bass) and the recently recruited Denny Foxx (drums), and with the right breaks KIDD COMET could well be a name that’s on the tips of everyone’s tongue come the end of the year.




THE ULTRA VIOLET is a Chicago based modem rock’n’roll band, who put out an LP in 1986 titled “Mother Victim”. The band has an image somewhere between GUNS N’ROSES and DEF LEPPARD, but sound just the opposite falling between TOMORROWS CHILD, RAIN ON FIRE and FIFTEEN MINUTES. The bands current line-up reads: Chris Schneider (lead vocals), Angelo Vancheri (drums), Bob Pucci (guitars) and Bob Tyrell

All their songs show major hit potential, from the vibrant “Shattered World” to the wildly commercial “Sanctuary” and the weirdness of the ballad “Shadows”.

There’s a helluva lot of U2 in there too and a lot of other comparisons too numerous to mention. If any band ever featured in this Demolition section had any chance of any real commercial success, then this is the band.





FIFTEEN MINUTES are a new L.A. based band featuring David Walker (lead vocals/guitars), Darby (drums), Joe Ferrario (bass) and Mark O’Connell (lead guitar). The band took their name from an Andy Warhol statement and have their roots deeply embedded in the post-punk era. Basically, FIFTEEN MINUTES play straightforward rock with a psychedelic tint.

“Hurry Up Man” is my favourite cut, being both bluesy and commercial, whilst “Closet Man” is a weird kinda psychedelic sounding number, one minute DOORS sounding and the next getting real heavy.

“Impossible To Talk To You” is blues of the highest order and David Walker’s bizarre vocals make it totally original sounding. There is no doubt in my mind that FIFTEEN MINUTES will get signed and they’ve already picked up a publishing/artist development deal with Chrysalis, so big news is surely just round the corner.






JUNGLE ALLEY is bassist Gary J. Corso’s (ex-ROCKNEE) new act. Joining Gary is his brother Joee (lead guitar), Steve Phillips (lead guitar), Muke Russo (drums) and Bump Scott (lead vocals).

“Ready” hits off the demo in fine AEROSMITH-like style. “Too Loose For Love” has some killer axework from Joee and Steve with the whole song structured around a kind of funky, but really meaty riff.

“Even Though” is a ballad reminiscent of “Sweet Child O’ Mine”, where Bump Scott’s vocals and the band’s harmonies come across exceptionally strong.
‘Tired Of Your Love” has a more commercial feel to it with keyboards and a memorable chorus, plus some more excellent dual axework.

Finally, ‘On My Way” has a mid-west rock’n’roll feel to it and closes a happening demo.

JUNGLE ALLEY has been working with Tony Thompson of the POWERSTATION and keyboard extraordinaire, Jeff Loiter who helped produce this demo, and I’m sure the band will be tearin’ up L.A. by the time you read this.

Jungle Alley from their  myspace page






BILLIONAIRE BOYS CLUB is none other than my old buddy Nigel Itson (ex-LONDON/RUBY SLIPPERS). “After the demise of RUBY SLIPPERS, it was pretty obvious that l wasn’t going to make it doing the OTT glamour thing,” explains Nigel, “so I decided that l would do the thing by myself.

I found four scum buckets that were already in a band and we formed MILLIONAIRE BOYS CLUB, but due to inflation we changed it to BILLIONAIRE!”

Being a big tan of Nigel I couldn’t wait to get my lugholes around his latest affair.

“Sealed With A Kiss” hits off the demo, and is Nigel at his trashiest yet, being backed up by the weirdest bunch of junkie punks I’ve seen in a long time – in the form of Robert Tracy (guitars), Billy (guitars), James Frey (bass) and Tony Purvis (drums). It’s not surprising the band sound trashy.

“Twinkle Twinkle” is the glamiest anthem around, Nigel turning in his finest vocal performance to date. “You Girl” is another glamour anthem of the finest order, showing Nigel’s MOTT influences.

I think Nigel stands a better chance than ever before with B.B.C., the image Is more streetwise, which will help ‘cos a lot of people were offended by RUBY SUPPERS – sometimes they were just too OTT.




 NIAGARA – The Marquee, London

Whether it was just curiosity or actual interest in the band I couldn’t say, but the Marquee had a large crowd for Spain’s hottest new export: (just edging ahead at San Miguel lager!) NIAGARA.
From the offset they were out to impress – their stagecraft, learnt on stages far larger than this one tonight, was fluid, projective and perfectly executed – culminating in a SCORPIONS style synchronised set-piece (note the alliteration!) which served as an introduction to “Now Or Never” one of the band’s most potent cuts.

Vocalist Tony Cuevas has the voice and the look of a star – his English is virtually flawless and his mike-spinning acrobatics make him the centre of attention, a compliment indeed bearing in mind the quality of the band beside him.

Although touted as a ‘melodic rock’ band NIAGARA really crank it up live. Guitarist VIM. has the ability to caress your ears one minute, then hit you in the guts the next! – which makes for an interesting show I can tell you!
Clearly NIAGARA have got what it takes to be the next big thing their material is excellent, check out the beauty of “Take My Hand”, or the aggression behind “Power” (a fantastic instrumental). The latter displays the perfect Interplay between keyboardist Ricky Castaneda, bassist Angel Alias, drummer Joey Matos, and, of course, guitarist V.M. Arias.

Needless to say the crowd lapped it up, which seemed to spur the band to even greater heights and resulted in a singing contest which actually worked (!) and a couple of encores, one being a cover of DOKKEN’s “Into The fire”.
Hopefully NIAGARA will remove the stigma that so far has been synonymous with Spanish rock.


KERRANG! ISSUE 145 April 1987

IT SEEMS as if Poison have opened a bottomless can of lip gloss Luthers, FlexNet Frasers and Chanel Chesters. In the platinum stiletto wake of Bret Michaels’ bombastic buccaneers come the likes of LA Guns (who’ve just recruited former Girl/Tormé lead vocalist Phil Lewis), Jet Boy, Cat House, Guns n’Roses (not a glam band but certainly cast in the slack-eyed image of the Stones, Aerosmith et al, the same dyed-in-black roots as the genuine glamsters) and, perhaps most exciting of all, Faster Pussycat (pictured below).

Faster Pussycat – the name says it all really, sleaze winders possessed of marinated claws that dig deep with a slovenly, sly slouch – and a taste for the loosest pf morals. It reflects in the music, too. Couched in the sort of rifts an’ rhythms first dragged through an alcoholic daze by those same Stones, Faces, Aerosmith and the New York Dolls, this is wonderfully gyrating sleaze souped up for the late Eighties and given the perfect production balance between latter day tightness and a barroom brawl attitude by Ric Browde, who has previously worked with such luminaries as Ted Nugent, Victory. . . and Poison.

So, just who are these band’s line-up is Taime Downe (lead vocals), Eric Stacey (bass), Bret Muscat/Greg Steele (guitar) and Mark Michals (drums). They’ve been together now for nigh on a year, originally under the management guidance of Vickie Hamilton, who also handled affairs for Poison in their early LA crazy maze. It was through her that the band first got in touch with Browde. . . and the rest can be heard on the aforementioned, quite sensational vinyl debut slated for release during June on the Elektra label and set to perhaps follow Poison up to the platinum plateau.

“We’re influenced by bands such as the Faces, Stones and Aerosmith”, Downe told me recently on the phone from LA. “In fact we’re highly interested in all good scuzz music!

The LP itself took three weeks to record at Amigo Studios, Browde producing and mixing the tapes with engineer Jim Bomba in close attendance, with tracks such as the rollicking ‘Cathouse’ (at first titled ‘The Best Whorehouse In Town’ but

changed in order to facilitate the possibility of mainstream radio airplay), ‘Babylon And On’ (rap technique meets red tints in the eyeglass), ‘I Got Your Number On The Bathroom Wall’ (the title says it all) and ‘Bottle In Front Of Me’ (tease-wallowing, guttersnipe alcoholism) set to become flash faves in the coming months.

The five -piece (who also run the hottest new night spot in LA – The Cathouse Club) intend to follow the release of this album with a major US tour (“we’re hoping to pick up the support slot with a big act,” explains Downe) and with Warren Entner (Black N’ Blue, Quiet Riot) now managing their affairs things certainly seem to be slotting into place.

Faster Pussycat a band gradually going nova with the heat of their own talent