Black Roses Original Motion Picture Soundtrack (1988): The King Kobra Album Hidden Inside a B-Movie

Black Roses Original Motion Picture Soundtrack (1988): The King Kobra Album Hidden Inside a B-Movie

In 1988, a straight-to-VHS satanic panic horror film called Black Roses went nowhere fast. The movie itself is, by any honest assessment, terrible: bright red fake blood, rubber monster suits, Vincent Pastore as a concerned father, and a teacher who kills a possessed student with a tennis racket. What the film left behind, almost accidentally, was a soundtrack worth arguing about. The musicians behind the fictional band Black Roses are King Cobra's [https://en.wikipedia.org/wiki/King_Cobra_(band)] core lineup: Marcie Free [https://en.wikipedia.org/wiki/Marcie_Free], Mick Sweda [https://en.wikipedia.org/wiki/Mick_Sweda], Carmine Appice [https://en.wikipedia.org/wiki/Carmine_Appice], and Chuck Wright. They show up alongside Lizzy Borden [https://en.wikipedia.org/wiki/Lizzy_Borden_(band)], Bang Tango [https://en.wikipedia.org/wiki/Bang_Tango] (in their first commercial recording ever, predating Psycho Cafe [https://en.wikipedia.org/wiki/Psycho_Cafe] by a year), Tempest, Hallow's Eve [https://en.wikipedia.org/wiki/Hallow%27s_Eve_(band)], and a second King Kobra lineup featuring Johnny Edwards [https://en.wikipedia.org/wiki/Johnny_Edwards_(musician)], who later sang for Foreigner [https://en.wikipedia.org/wiki/Foreigner_(band)]. Metal Blade Records [https://en.wikipedia.org/wiki/Metal_Blade_Records] put full-page ads in every metal magazine. The CD now sells for $50 to $300 on Discogs. Patron Keith Miller paid $100 for his. This week, Jay, Tim, and Chip work through whether this is a hidden gem, a curiosity, or something more complicated: a record that does not fit the artist album model or the showcase compilation model, and lands somewhere between the two. 🎧 Listen to the episode on DigMeOutPodcast.com [http://DigMeOutPodcast.com] Episode Highlights Intro (0:00): Poll reveal. Black Roses wins a four-way race at 30.4%, beating Venom, Death Angel, and Marry My Hope. Patron Keith Miller spent $100 on the CD to make this happen. 6:23: The movie. Jay watched it on Tubi: satanic band, small-town teacher, monster from a speaker, tennis racket murder, Vincent Pastore, an open ending where Black Roses heads to Madison Square Garden. 14:07: Is it fun-bad or just bad? Jay: "Worst movie I've ever seen." Taken completely seriously, no camp wink at the camera, zero budget. 17:45: The Keith Miller subplot. An actor named Keith Miller appears in the film's credits. Running gag: he is possessed, much older than we realize, a satanic demon. 20:07: Rock Invasion. Carmine Appice's drumming is most audible here; a conventional anthemic verse gives way to a minor-key trippy middle section nobody expected. 22:27: Two versions of King Cobra on one record. The Black Roses band is the Marcie Free/Mick Sweda/Carmine Appice lineup; "Take It Off" is King Kobra with Johnny Edwards, who later sang for Foreigner. 26:34: Paradise (We're On Our Way). Power ballad that divides the hosts: sounds like Winger or Stan Bush's "The Touch," overly positive, no edge. 30:10: Bang Tango's first commercial recording. "I'm No Stranger" predates Psycho Cafe by a year. Joe Leste's name is spelled differently in the liner notes. 32:13: Me Against the World. The best song on the record by a clear margin. Used twice in the film. Already had a video before the movie existed. 36:03: Take It Off (King Kobra). Johnny Edwards, later of Foreigner. Jay: "Could have been a Gene Simmons song." 41:40: Trick or Treat comparison. The 1986 Fastway soundtrack as a contrast: bigger budget, theatrical release, now retroactively a Fastway album. Future episode pairing suggested. 44:38: Carmine and Pink Floyd. While filming in Canada, Carmine walked into a record store and heard himself on A Momentary Lapse of Reason for the first time. Nick Mason had a hand injury; Floyd called Carmine for "Dogs of War." 47:07: Bill and Ted comparison. Black Roses falls between a cohesive all-artist album and a showcase compilation, satisfying neither. Hosts rattle off both Bill and Ted soundtracks from memory. 53:20: Dance on Fire. Jay: "I kept singing Bon Jovi's 'In and Out of Love': same cadence." Could have had a Headbangers Ball video. Outro: Verdicts delivered. Keith Miller shoutout. Subscribe to Dig Me Out at digmeoutpodcast.com [http://digmeoutpodcast.com] Join the community at dmounion.com [http://dmounion.com] for polls, picks, and deeper dives. Have a lost or forgotten album that deserves the spotlight? Suggest it here. [https://airtable.com/app356TrsQzwKOddY/pagITslz557viDn90/form] This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.digmeoutpodcast.com/subscribe [https://www.digmeoutpodcast.com/subscribe?utm_medium=podcast&utm_campaign=CTA_2]

Gang of Four’s Entertainment!: Punk, Funk, and the Politics of Rhythm

Gang of Four’s Entertainment! is the moment post‑punk stopped being a scene and started sounding like a threat. This 1979 debut didn’t just tweak punk’s formula—it rewired it, turning guitars into percussion, bass into a funk‑driven anchor, and lyrics into a full‑frontal critique of capitalism, modern life, and what it even means to be “punk” in the first place. In this episode of Dig Me Out, Jason, Tim, and Chip dig into how Entertainment! won a razor‑thin community poll over The Damned, Lone Star, and Throbbing Gristle, then unpack why listeners still fight for this record decades later. They trace the band’s tangled history (from Jon King and Andy Gill’s art‑school origins to ever‑changing lineups), break down the album’s knife‑edge guitar work and robotic‑yet‑human rhythms, and explore how songs like “Ether,” “Damaged Goods,” “At Home He’s a Tourist,” and “Anthrax” smuggle political theory, biblical references, and literary nods into two‑to‑three‑minute agit‑funk blasts. Along the way, they connect the dots from late‑70s Leeds to 2000s dance‑punk, Red Hot Chili Peppers, Local H, and beyond—asking what it really means for a rock record to be influential, not just influential‑sounding. If you’re into post‑punk, punk, or art‑damaged guitar music that actually swings, this one’s for you. Fans of Wire, Public Image Ltd., The Clash’s more experimental side, and 2000s bands like The Rapture, Bloc Party, and Franz Ferdinand will hear exactly where their favorite angular riffs and dance‑floor grooves came from. --- Episode Highlights • 0:00 – Intro – How a community poll pitted Gang of Four against The Damned, Lone Star, and Throbbing Gristle, and why Entertainment! edged out the win • 5:12 – Setting the stage – Late‑70s Leeds, art school punks, and how Gang of Four stitched punk, funk, reggae, and dub into something new • 13:30 – “Ether” – Opening track breakdown: rhythmic knife‑edge guitars, politicized lyrics, and the groove that anchors the chaos • 20:45 – Rhythm as revolution – Why the band treats guitars and vocals like percussion, and how their subtractive choruses flip rock song structure on its head • 27:10 – “Natural’s Not In” & “Not Great Men” – Capitalism, bodies as “good business,” biblical and literary references, and the link to Manic Street Preachers‑style lyric nerdery • 34:30 – “Damaged Goods” – The band’s de facto anthem: from angular verses to that stripped‑back chorus, and how it became a template for generations of bands • 42:05 – “At Home He’s a Tourist” & “5.45” – Melodica lines, TV‑age dread, and the way the record feels both 1979 and weirdly timeless • 50:20 – “Anthrax” – Dual vocals, anti‑love‑song energy, and how the band turns noise, rant, and groove into something iconic • 58:40 – Influence and aftershocks – From Flea and Red Hot Chili Peppers to The Rapture, Bloc Party, Franz Ferdinand, Local H, and Run the Jewels sampling “Ether” • 1:06:15 – Does it still work front to back? – The guys debate the 40‑minute runtime, favorite cuts, what they’d trim, and whether Entertainment! is best as full album or curated gateway • 1:13:50 – Final verdicts – Where Entertainment! lands in the Gang of Four catalog, why it’s still required listening, and who this record is really for --- If you love digging into the stories behind post‑punk, late‑70s rock, and the records that quietly rewrote the rulebook, hit follow and subscribe so you don’t miss future episodes. Dive deeper into past shows, reviews, and polls at digmeoutpodcast.com [http://digmeoutpodcast.com], and if you want to help pick which albums we tackle next (and vote in the kinds of polls that put Entertainment! on the table), join the Union at dmounion.com [http://dmounion.com]. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.digmeoutpodcast.com/subscribe [https://www.digmeoutpodcast.com/subscribe?utm_medium=podcast&utm_campaign=CTA_2]

The Hummingbirds Gave the Lemonheads Their Biggest Hit

Returning Dig Me Out Union patron Josh Page is back from Australia with his second pick, and this one is geo-locked to his home country for most of the world. The Hummingbirds [https://en.wikipedia.org/wiki/The_Hummingbirds]formed in Sydney in 1986, signed to rooArt Records (the label founded by INXS manager Chris Murphy), and recorded their debut loveBUZZ [https://en.wikipedia.org/wiki/LoveBUZZ] in 1989 with producer Mitch Easter [https://en.wikipedia.org/wiki/Mitch_Easter], the same man behind R.E.M.'s Murmur and Reckoning. The album hit ARIA #31, the single "Blush" reached #19, and they went Gold in Australia. Outside Australia, almost nobody has ever heard it. Jay, Tim, and Chip dig into the record with Josh, covering the intricate boy-girl vocal harmonies that draw comparisons to early R.E.M., The Lemonheads [https://www.digmeoutpodcast.com/p/lemonheads-history-of-the-band], Throwing Muses, and Belly; the punchy drumming that gives jangle pop some actual weight; and the Lemonheads connection most fans don't know: Robin St. Clair and Nic Dalton co-wrote "Into Your Arms" during this era, Evan Dando recorded it, and it became the biggest hit of the Lemonheads' career. Timestamps: 5:05 Band history and Mitch Easter connection | 6:09 The Lemonheads origin story | 14:19 "Alimony" | 19:17 "Get On Down" | 28:51 "House Taken Over" (and the unauthorized house remix) | 38:48 "If You Leave" | 42:08 Verdicts The hosts split 2-1, and the community voted 80% Better EP. Head to digmeoutpodcast.com [http://digmeoutpodcast.com] to listen to the full episode and share your take. 🎧 Listen to the episode on DigMeOutPodcast.com [http://DigMeOutPodcast.com] Episode Highlights Intro: Blush: loveBUZZ opens the episode exactly how it should, no preamble, just the single. 1:11: Josh Page returns from Australia: back with his second patron pick, and this one isn't on US Apple Music. 2:37: The album title before Nirvana: loveBUZZ got its name before Nirvana broke, then the Australian industry came knocking for "the next Nirvana." 5:05: Band history: from Bug-Eyed Monsters to a Gold record: started in 1986, signed to rooArt (INXS manager's label), Mitch Easter producing, "Blush" hit ARIA #19, 40,000+ copies sold. 6:09: The Lemonheads connection: Robin St. Clair and Nic Dalton co-wrote "Into Your Arms" while he was filling in for her; the Lemonheads turned it into their biggest hit. 9:03: Into Your Arms (The Lemonheads): clip played to illustrate the co-writing story; this is a Lemonheads track, not a Hummingbirds song, written by St. Clair and Dalton. 13:08: What works: the harmonies: three to four interlocking voices, women singing low, men singing high, more complex than The Bangles and closer to the Mamas and the Papas. 14:19: Alimony: originally an EP single smuggled onto the full album; Chip and Jason both flag it as a standout. 19:17: Get on Down: aggressive rhythm and hooky drum fills give this jangle pop record some actual weight underneath. 22:52: Hollow Inside: multiple hosts call it a keeper; plays during the open what-works discussion. 28:51: House Taken Over: called a "shoegazy dirge" by Jason; Josh reveals a rooArt executive secretly remixed it as a house track for the UK market without telling the band. 33:27: Miles to Go: Chip calls it "half a song"; it builds to a cinematic crescendo and just stops; all four agree it is the wrong album closer. 38:48: If You Leave: deep, moody female vocal with a Stevie Nicks vibe; Josh and Tim agree this should have closed the album instead. 42:08: Verdicts: the hosts split 2-1; the community voted 80% Better EP; the minority position won the popular vote by a wide margin. Outro: Blush: loveBUZZ opens the episode, and it closes it the same way. Subscribe to Dig Me Out at digmeoutpodcast.com [http://digmeoutpodcast.com] Join the community at dmounion.com [http://dmounion.com] for polls, picks, and deeper dives. Have a lost or forgotten album that deserves the spotlight? Suggest it here. [https://airtable.com/app356TrsQzwKOddY/pagITslz557viDn90/form] This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.digmeoutpodcast.com/subscribe [https://www.digmeoutpodcast.com/subscribe?utm_medium=podcast&utm_campaign=CTA_2]

Stevie Wright's Hard Road Is the AC/DC Prequel Nobody Told You About

The name Stevie Wright probably doesn't ring a bell. It should. Wright was the lead singer of The Easybeats, Australia's first international rock act and the band that gave the world "Friday on My Mind" in 1965. Then he made Hard Road. Released in 1974 and produced by Harry Vanda and George Young, the duo who would immediately go on to produce AC/DC's first six albums. Hard Road features Malcolm Young on guitar and a teenage Angus Young as the live touring band. The title track is, as patron Gavin Reid puts it, "Highway to Hell was a slower Hard Road." The blueprint was right here. And then there's "Evie," a 10-minute, three-part rock opera that hit #1 in Australia in 1974, one full year before "Bohemian Rhapsody." Gavin also argues it may have been the template for the Queen epic. Contested, but compelling. Jay and Chip walked into this episode having never heard of Stevie Wright. What happened when all three hosts sat down with the record, and how the patron community voted: that is the episode. Sonic touchstones: AC/DC, The Easybeats, Rod Stewart, Slade, Mott the Hoople, Queen. Timestamps: 0:39 Prior knowledge check | 4:17 Band history and AC/DC connection | 17:01 What works | 43:54 What doesn't | 52:01 The verdict Episode Highlights Intro: Didn't I Take You Higher, the album's Funkadelic-flavored groove sets the tone 2:19: Friday on My Mind (The Easybeats), Stevie Wright's origin story and where the story starts 17:40: Hard Road, the title track and the riff that sounds like Highway to Hell's blueprint 21:44: Evie (Let Your Hair Hang Down), ten-minute rock opera, #1 in Australia, predates Bohemian Rhapsody by a year 26:00: Dancing in the Limelight, early AC/DC energy; Chip's standout non-Evie pick 27:11: Life Gets Better, the soul-influenced side of Stevie Wright with a Marvin Gaye warmth 28:59: Didn't I Take You Higher, Funkadelic stomp with a White Lines-style groove 32:29: The Other Side, 50s rock feel, the album's most surprising left turn 40:21: Evie (I'm Losing You), the suite's emotional closer and the moment the whole record earns its ambition Outro: Hard Road, the verdict lands and the blueprint is confirmed Join the Metal Union and pick the next album at digmeoutpodcast.com [http://digmeoutpodcast.com]. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.digmeoutpodcast.com/subscribe [https://www.digmeoutpodcast.com/subscribe?utm_medium=podcast&utm_campaign=CTA_2]

Metal Church's The Dark: The Album That Got Buried By 1986

You Opened for Metallica. You Got MTV Airplay. So Why Does Nobody Know Your Name? The strange disappearance of Metal Church and The Dark The Dark earned its place on the turntable the way all our episodes do: through community vote. It pulled 47% of combined Patreon and Substack poll votes, beating out Fastway, early Pantera, and Metallica to claim this week's dig. If you have an album you think deserves a closer listen, suggest it here [https://airtable.com/app356TrsQzwKOddY/pagITslz557viDn90/form] and let the community decide. You toured with Metallica. You got MTV airplay. You peaked at #92 on the Billboard 200. So how does an album just disappear? Metal Church released The Dark in October 1986, opened for Metallica on tour, and landed Watch the Children Pray in MTV rotation. They had every ingredient for a breakthrough. And yet, most people who love 80s metal have never heard a note of this record. This week Jason, Tim, and Chip work through all eight tracks, argue about whether the second half holds up, and make the case for David Wayne as one of the most underrated vocalists in the genre. They also dig into the band's origins in the Bay Area thrash scene, their move to the Pacific Northwest, Terry Date's early engineering work, and the real (and fictional) connections to Metallica. Highlights: what makes Ton of Bricks the perfect opener (23:00), the Queensrÿche-ish shading in Watch the Children Pray (19:44), the Lars Ulrich rumor and how Vanderhoof debunked it (33:14), and the honest case that the second half sags (35:16). 🎧 Listen to the episode at DigMeOutPodcast.com [http://DigMeOutPodcast.com] Episode Highlights Intro: Scene-setting and poll results context, how The Dark beat Fastway, early Pantera, and Metallica for the community vote 0:47: Poll Results: The Dark Wins at 47%: breakdown of the combined Patreon and Substack vote and why the margin surprised the hosts 6:08: Band Background: Metal Church origins in San Francisco, relocation to Aberdeen Washington, Vanderhoof as the constant creative force, the Elektra Records signing story 12:23: What Works: The Thrash-Meets-NWOBHM Sweet Spot: Jason's overview of the album's tonal range and why the combination of aggression and melody holds up ~13:30: Method to Your Madness: the tempo shift, the quiet section, and why this track shows the band's range beyond pure speed ~15:00: Start the Fire: the chorus guitar hook and how it holds up as a melodic anchor on the record's strongest side ~19:44: Watch the Children Pray: the genuine ballad argument, the half-tempo arrangement, and the Queensrÿche-adjacent shading that makes it an outlier ~22:00: Burial at Sea: the driving cadence, the Testament comparison, and why this track closes side one with such momentum ~22:30: The Dark: the title track's haunting atmosphere and the creepy quality that justifies the album name ~23:00: Ton of Bricks: the case for this two-minute-fifty-five-second opener as the most efficient Metal Church statement on the record 29:09: Terry Date Connection: how the engineer of this record went on to shape the sound of Soundgarden's Louder Than Love, Badmotorfinger, and Pantera's Cowboys from Hell 33:14: The Lars Ulrich Rumor: Vanderhoof's 2016 debunking of the Shrapnel audition story and the real documented Metal Church/Metallica connection through John Marshall 35:16: What Doesn't Work: The Second Half Sag: Psycho, Western Alliance, the reverb-heavy drum sound, and the honest case that the album runs out of ideas before it runs out of songs 43:38: The Verdict: where all three hosts land on The Dark after working through every track and its context 49:08: Outro: Jay's Operation Rock and Roll 1991 cassette sidebar (Metal Church, Alice in Chains, Judas Priest, Motorhead, Fishbone) and the standard community CTA Subscribe & Connect Subscribe to Dig Me Out at digmeoutpodcast.com [http://digmeoutpodcast.com] Join the community at dmounion.com [http://dmounion.com] for polls, picks, and deeper dives. Have a lost or forgotten album that deserves the spotlight? Suggest it here. [https://airtable.com/app356TrsQzwKOddY/pagITslz557viDn90/form] This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.digmeoutpodcast.com/subscribe [https://www.digmeoutpodcast.com/subscribe?utm_medium=podcast&utm_campaign=CTA_2]