"Anything, Anything" IS now on our page!
Category: Music

After several months of super double secret negotiations, messages to far off lands, and phone calls that never really did take place (or did they?), the powers that be--and powerful they do be--have sanctioned us to put "Anything, Anything" on our page.

It's up, listen and enjoy.

We, however, are in no way soliciting, advising, or suggesting that you do the same.

Whatever you choose to do, you do so at your own risk.

The song/album is still readily available at many of your local neighborhood record stores as well as on iTunes, Amazon, and other online sources.

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E! Online "Everybody Dies" review

Dramarama  Everybody Dies

Artist / Band:  Dramarama
Record Label:  33rd Street Records
Release Date:  October 25, 2005

Our Review:
Everybody dies, but some things get a second chance. After getting back together for VH1's Bands Reunited show, the guys behind the hit '80s single "Anything Anything" got so much love (and so many gig offers) they decided to keep the party going. Taking a collection of songs originally penned for frontman John Easdale's solo album, "Dies" covers all sides of the strange SoCal band's personality perfectly. The title track is a weirdly happy song about death (and a tribute to a close friend of the band), "Try 5 Times" kicks out the down 'n' dirty blues riffs, and "Dropping the Curtains" takes a psychedelic-rock turn. Meanwhile, some more folk-based tracks showcase Easdale's sharp lyrics. Add the fact that there are so many hidden tracks here the CD never seems to end and it's clear these guys are far from over.

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ALL MUSIC GUIDE "Everybody Dies"

Review

by James Christopher Monger

VH1's Bands Reunited finally yielded a long-term success with their episode on New Jersey critic-favorites Dramarama. (thankfully, the Kajagoogoo reunion was a one-time event.) Bandleader John Easdale had been putting together a solo record, and based on the good vibes from both bandmates and fans, decided to bring in Peter Wood and Mark Englert to put the Dramarama seal of approval on it. Opening uncharacteristically with a sparse mandolin and vocal, the ghoulishly titled Everybody Dies neatly picks up where 1993's Hi-Fi Sci-Fi left off, with Easdale leading the band through another taut set of snarly rockers, poignant ballads, and sly pop deviations. The title track, inspired by a close friends losing battle with esophageal cancer, takes on the afterlife with hedonistic glee—"I know lots of dead people/you know lots of dead people/every single second something dies." It's like a Grim Reaper Romper Room sing-along. Easdale keeps the irony factor high throughout, aping a 1950s night club crooner on "When Did You Leave Heaven" and taking potshots at white trash America on the second of thirteen "Untitled Track"s—only four of which are legit—but there are enough moments of soulful sobriety to keep the whole affair balanced, which makes Everybody Dies a sure bet for longtime fans. Let's just hope the rest of the world gives them a listen this time.

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DRAMARAMA 101

Dramarama 101

(Courtesy All Music Guide, Robert Christgau, etc.)

Probably the greatest rock release that almost no one has ever heard, Cinema Verite is a simply fantastic album. Blending everything from British Invasion panache and glam influences to punk energy and back again, its cult legend was established by L.A. DJ legend Rodney Bingenheimer. He played "Anything, Anything (I'll Give You)" to death on his show and created a sizeable following for the New Jersey band in Southern California. It's no surprise why: "Anything, Anything" simply smokes, a rave-up for the modern day that starts with a blasting riff before hitting a high-speed punch that doesn't stop, while singer John Easdale details the highs and lows of a relationship with a breathless yowl. There's much more to Cinema Verite than that song, though, as even a casual listen demonstrates. Guitarists Mr. E Boy and Peter Wood distill the kick of performers like Keith Richards, Mick Ronson, and Mott the Hoople-era Mick Ralphs into a hot-wired combination…Add in everything from the anguished kick of "Questions?" and the building explosion of "Some Crazy Dame" to the concluding elegance of "Emerald City," and this isn't a cult classic, but classic, period. Rhino's welcome reissue (now out of print) tacked on eight bonus tracks, including demo takes and sparer, nervous early singles, and two extensive essays celebrating both the band and this wonderful record. -- Ned Raggett, AMG

Box Office Bomb is another strong blast of energetic classic rock-via-punk treats that shows the band still in outrageously good form. Lyrically reflecting the group's transplantation to Hollywood's environs in more ways than one, including the album's slamming lead single "It's Still Warm," an unsure, uneasy reflection on their new locale and the cost it incurred, musically Box Office Bomb otherwise stayed true to its roots…Standouts include the clearly Stooges-inspired "Spare Change" and the smart ghost-of-Blondie rush of "Out in the Rain." Rhino's reissue of the album (now out of print) is the equal to its similar revival of Cinema Verite; besides more entertaining liner notes, six bonus tracks appear, including a great demo take on the later Stuck in Wonderamaland standout "Last Cigarette" and a solid cover of the New York Dolls' "Private World." -- Ned Raggett, AMG

Continuing its regret-tinged look at the life of the almost-famous in L.A., Dramarama on its third album continued polishing its abilities at both straight-ahead rock and gentler affairs on Stuck in Wonderamaland. Beginning and, in a brief acoustic reprise, concluding with the title track, a wistful strum with some prime feedback burn added in the midsection, the band happily turned firmly away from the bad-glam-addled idiocies of late-'80s Sunset Strip sleaze to keep pursuing its own muse…. The group still kicks with a sharp energy even at its calmest moments. Easdale's signature semi-rasp if anything became even more emotive with time, while the guitar team of Wood and Mr. E Boy remained able to tackle full-on riffing to softer shades with aplomb. The great "Last Cigarette" continues the Dramarama tradition of strong lead singles, hitting and ripping with the prime energy of early New York glam/punk and even earlier rave-ups without sounding dated in the least. Then there's "70s TV," which makes the addiction to such a seeming pit of hell downright cool. When the group tries for calmer material, it does so in ways that make the then-prevalent "power ballad" trend look like the weak cheese it was. "Fireplace, Pool and Air Conditioning" hits a lovely slow burn that sounds like an updated Love if Tom Waits was the lyricist, while "Try" simply shimmers with a gorgeous acoustic/electric combination, a lovely eternal sunset. -- Ned Raggett, AMG

Dramarama maintained the overall course of its career with Vinyl, combining smart pop/rock kicks and a sense of hip cool for grand overall results. "Haven't Got a Clue" keeps up the winning streak of brilliant first singles from the band's releases, starting with a sample from the legendary Tube Bar crank call series and hitting a great mid-paced groove with a gently descending glam melody. Another great moment comes with "Classic Rot" -- a knowing trashing of groups that have lasted way too long, it draws the line clearly between simply re-creating and re-listening to the same old hash and, as the band itself does, taking inspiration from the past and creating their own sound. Even tastier is the identity of the guest guitar player -- as the liner notes proudly say, "THE Mick Taylor, of Rolling Stones fame." …All in all, Vinyl shows Dramarama still in rude creative health, right down to the neat artwork and the bold Marc Bolan song lyric on the back of the CD booklet: "John Lennon knows your name/and I've seen his." -- Ned Raggett, AMG

Hi-Fi-Sci-Fi

The raucous, pile-driving intro title "Introduction/Hey Betty" leads into the almost radio hit "Work for Food." With Dwight Twilley lending a hand on backup vocals, "Work for Food" is a driving and delightfully hooky tale of resilience from the point of view of a homeless person -- the twist being that the protagonist is revealed to be a failed musician. Other standouts on this consistently engaging album are numerous. Benmont Tench appears again playing piano on the lovely ballad "Senseless Fun," which also benefits from Martin Tillman's cello, and "Right on Baby, Baby," is another ballad with intelligent, poignant lyrics, Pete Wood's slide guitar, and Nicky Hopkins' added piano. On the rocking side, "Don't Feel Like Doing Drugs" is an amusing take on the aftermath of such endeavors. Hi-Fi Sci-Fi is, perhaps, the finest moment for an under appreciated band. -- Tom Demalon, AMG

Christgau Consumer Guide Reviews

Cinéma Verité [New Rose, 1985] In these days of acoustic punks and live Paul Revere elpees, six guys who salute their roots with Reed and Bowie covers are like unto a breath of springtime--and so unfashionable that though they reside in Wayne, New Jersey, they had to put out their album in Paris, France. One John Easdale would seem to be the auteur, if you'll pardon my French. Sounds a little like Richard Butler without the delusions of Vaughan Monroe, and the main things he has going for him are an acerbic but not self-serving way of describing his woman problems and a band that rocks without hyphens--in other words, plenty. A-

Box Office Bomb [Questionmark, 1987] They'd rather stay home and make records than go out and play bars, which gives them less of a shot at a jealous following and more of a shot at you and me. Album two's songs don't leap out quite so fast, but everything has more kick--John Easdale's deeper, edgier vocals, Mr. E Boy's articulated guitar, and especially Jesse's drums. And soon what you play for just one more post-Pistols taste shakes down into articulated tracks of surprising emotional range. A-

Hi-Fi Sci-Fi [Chameleon, 1993] Although "Incredible" uses the present tense to hail the perfect love of younger days--she smokes his brand of cigs and runs up a $12.37 electric bill ("our great expense") because (the historicizing clincher) she never turns off the radio--the bloody snot and lost year of "Prayer" and "I Don't Feel Like Doing Drugs" suggest a maturity move. What's confusing, and a stroke, is that with Clem Burke pounding the skins and the band mixing and matching, it rocks louder, harder, and faster than anything they've done since going pro--or ever. Assuming the content is autobiographical, which given John Easdale's gift for covering his tracks is only a conceit, this makes it the best just-say-no advert since "Tonight's the Night." Neil's, not Rod's, and you'd best believe pop polymath Easdale knows and admires both but prefers to evoke Neil, whose sister does a backup turn. He also lifts "Prayer" from "Search and Destroy." A-

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VIRGIN MEGA MAGAZINE 2/2005

Dramarama …. They're Back!

Dramarama, for those of you who don't know, broke into the airwaves back in 1985 when they were discovered by The Mayor of Sunset Strip, Rodney Bingenheimer, on his radio show, Rodney On The Rock. The track that made them famous and is remembered by anyone who lived in the ‘80s is “Anything, Anything” from their impressive debut, Cinéma Vérité. Their second album, Box Office Bomb, became a fan favorite. They had a bit of glory with their third album, Stuck In Wonderamaland, and the indie hit “Last Cigarette.” Then in 1991 they released Vinyl, which by many is considered their finest album-ever with tracks like “What Are We Gonna Do?” and “Train Going Backwards.” Their last album, Hi-Fi Sci-Fi came out in 1993 with the hit “Work For Food.” Then, the band disappeared. Anyone who wasn't paying attention might not have noticed (and let's face it, by 1993 most of the world wasn't because grunge had come along to steel electronic pop's thunder). The lead singer, John Easdale, went on to write and edit for a music magazine, and the rest of the band went out and found other jobs too (as a side note, Chris Carter, the bassist, went on to be a mainstream “radio guy” and to produce the film Mayor Of Sunset Strip). And that seemed like it was the end of the story.

But something funny happened: ‘80s music started making a comeback. Dramarama were featured on the VH1 special about bands reuniting and they were invited to play at KROQ's Inland Invasion concert where they ended up being very well-received. So, a few of the original members and a couple of new members got together and have reformed Dramarama. They have released an internet only EP, and a new album is on the way. In January, (1/14) they played at the House of Blues in Los Anegles where Virginmega.com caught up with John Easdale.

The band's gig on a Friday night at the House of Blues on Sunset Boulevard attracted a lot of people. It seemed a bit mad for the people who worked there but one really nice employee at the box office helped us hook up with John Easdale. She had no idea who he was and she kept confusing the names of the bands … I tell her again that John is the lead singer of Dramarama, not General Public, and that I'm here to interview him. After going upstairs and coming back down several times I approach the box office once again and I see the imposing figure of John Easdale. Hovering somewhere over six feet tall, he's got an impressive stature and an air about him that suggests he's been around. Then he sees me looking at him questioningly and he smiles an easy smile, reaches out his hand and says, “I'm John. We keep missing each other on the stairs. Let's go somewhere a little more private.”

So, you've been busy lately, working on a new album … but what have you been doing for the past 11 years?

John Easdale: Well, I edited for a magazine for about nine years. That went out of business a couple of years ago. It went out of business in April, and VH1 came by the house in, well, by the summertime and asked about the reunion show. They caught me, well, not with my pants down, but with my shirt off – which is worse! We did the TV show [VH1] over a weekend, and then we were invited to play at Inland Invasion. KROQ called and asked – and well, if not for KROQ, you know, the whole thing would be…

You also recorded a solo album a couple of years ago. How was that?

Easdale: Oh, that was just a tremendous amount of fun! I played all the instruments on some of the tracks. That's why some of the songs sound like that!

And that's out on Eggbert Records?

Easdale: Yeah. That's my own label now. I inherited it from my best friend, Greg Dwinnel. My business was shut down on April fools day, and Greg was in the last days of his life at that time. I was spending everyday with him. He passed in June, and then my mom passed in July, and August came along with VH1. We recorded the new song, “Everybody Dies.” It was a direct reaction to all this stuff happening. It's like rock ‘n' roll is calling once again.

Even though “Everybody Dies” is about death, it's not really a dark or depressing song.

Easdale: Yeah, I mean, if you're gonna go away, it's better to look at it with a smile instead of fearing it. Death is really taboo – and rightly so, but it's swept under the rug, nobody wants to talk about it. This song does.

And you recorded a cover of the Dead Kennedy's “California Uber Alles” at around the same time, right?

Easdale: Yeah, in fact, Arnold actually called the studio the day we were recording that.

So, did you vote for him?

Easdale: (Laughs) No comment! It boggles the mind. I guess Jesse fuckin' Ventura went all the way, and he's a fuckin' wrestler! A wrestler!

Any thoughts on the other election, with George W?

Easdale: I'm a cock-eyed optimist. I thought there was a fighting chance. I was fooled. But God love ‘im. It's America, greatest country in the world. VM: Speaking of current events, do you have any thoughts on the tsunami?

Easdale: Horrifying. It's just so sad, and incredible.

Yeah, it is. Sorry, I didn't mean to bring the mood down! Let's get back to Dramarama. “Anything, Anything” is your best known song, but do you have a favorite?

Easdale: I'm overwhelmed with surprise that that song has such a shelf life. I can only be grateful. Do you have kids?

Nope.

Easdale: Well, if you did, you wouldn't be able to pick a favorite. I've got four girls, 10, 12, 14, and 16. They're great.

That's great. And no favorite? Kidding! That's crazy though, you've got them spread out like clockwork, every two years?

Easdale: Yeah (laughs). They're all between Thanksgiving and January.

What about your albums? Any favorites there?

Easdale: I'm really proud of the entire body of work that we did. I mean, there are moments that are embarrassing to listen to, or where I wish I had more experience in the studio at times. I mean, naturally you wish every song would connect with people, but they don't always.

Did you know that any of the songs were going to be hits? Like when you were recording “Anything, Anything” did you think, “Damn, this song kicks ass!”?

Easdale: (Laughs) Oh no no no no… it's just self expression, and I get really excited about it, like I'm a kid. But no. I just say thanks all the time. I'm enjoying it all even more now.

Thanks a lot for your time!

Easdale: My pleasure.

Then the lead singer left to perform an unbeatable live show. It was simply fantastic. The band played 22 songs including nearly every hit and a few surprises. They opened the set with “Steve & Edie,” a fan favorite that builds from a mellow whisper into a frenzied melee where Easdale is yelling, “I'm falling, I'm falling, I'm calling, I'm calling! Ayeyayayaye!!” It was the perfect opener for getting the crowd ready for what was to come. You could feel the energy in the air.

They played “Scenario” and “I've Got Spies” and then went into “Prayer,” which is about getting clean and sober. It was a poignant moment that reminded me of a time when they played in San Francisco in the late ‘80s and Easdale couldn't remember the words to the songs and he mumbled a lot of the rest. But that was a far cry from the band onstage this night in Los Angeles. Everyone was sharp and focused and the songs sounded sharp.

Mark Englert (aka Mr. E-Boy) looked a bit older, but he was rockin' out and playing spot on. Although, there were a few times where the mix was bad and you couldn't hear his solos very clearly, when it did come through the tone was sweet. Peter Wood (on the other guitar) was equally adept. After a few more songs they played their new song, “Everybody Dies.” It was so catchy that it stayed lodged in my head like a jingle. Most of the audience hadn't heard the song before, but after the first four chords everyone was dancing and by the second chorus everyone was singing along, “Everybody dies, everybody's gotta die!” Then the band took it down a few notches and Easdale played several acoustic songs by himself, including “Pumps On A Hill.” Then he played the beginning of “Wonderamaland” and the whole band kicked in at the end. The classic ballad, “Train Going Backwards” was another crowd pleaser. Another song for the fans was “It's Only Money,” which still hasn't been officially released. At this point in the show, a division in the crowd became apparent: those who knew all the songs and those who only knew “Anything, Anything.” The latter were getting restless for their favorite tune, but the rest of the crowd were ecstatic hearing all those classic tracks that only true fans can really appreciate.

A little while later the show was coming to a close with the song, “Last Cigarette.” As soon as it was over, everyone knew that the next song would be their very last. Dramarama always ends with “Anything, Anything.” And they didn't disappoint. The players tore into the classic tune with a ferocity not found in many bands that are 20 years older. The guitars seemed to be turned up to 11, the crowd was enraptured and the band was on fire. Then it was all over. No encore necessary. It was a brilliant end to a magical night.

- Spencer Robinson
  February 2, 2005

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ROLLING STONE 10/2003

Rocking the vote

Dramarama Take Aim at Arnold California band recasts Dead Kennedy's classic

Dramarama, who earlier this year reunited after a nine-year break, have re-recorded the Dead Kennedy's politically-charged classic "California Uber Alles," with a new set of anti-Arnold Schwartzenegger lyrics reflecting the group's embarrassment at the state of affairs in their adopted home of California.

The new song is available to download as an MP3 on Dramarama frontman John Easdale's Web site (johneasdale.com) and includes lyrics penned by Easdale both mocking the circus that the state's gubernatorial race has become as well as Schwartzenegger's alleged history of sexual misconduct and making comments of admiration about Adolf Hitler.

Easdale says that the song was a last-minute project, written and recorded on the fly on Sunday. "It's funny, that same day we got a phone call from the pre-recorded robot Arnold reminding us to vote," he says. "It was surreal, but I guess most everything about this election has been that way, like why he's a more viable candidate than Gary Coleman. It's like you see this hero on TV, therefore he must be the hero that can save our state."

In addition to providing a catchy platform for Easdale's thoughts on the election, the song also speaks to the resilience of the Kennedys' original, which sounds as urgent as it did when it was recorded twenty years ago. "I tried to soften it as much as possible," Easdale says. "And I hope we didn't offend anybody, but mostly we did it for the love of rock & roll, the power and the strength of it. And who knows, if he wins, if we become the laughing stock of the nation, it might have something of a shelf life."

As for the band, which formed in New Jersey in the early-Eighties, Easdale says that there's a good chance that the reunited Dramarama will convene to record a new album that he had initially plotted as a solo release. The reunion was actually prompted by VH1, which contacted the band for a show about unsung musical talent from the Eighties and Nineties. "They showed up and it was like an ambush," Easdale says. "They asked, 'Do you want to play some with your old bandmates?' And the cameras are rolling. So we did it. I think ego wants me to be a solo artiste [laughs], but if there are people out there who want us to play and who would support it, it would be stupid not to. I've seen the power that's in a name."

Lyrics to Dramarama's "California Uber Alles":

Vote for me on Tuesday
I am Governor Arnold S.
I'll soon clean up this mess
I have inherited

I'm jingling all the way
from the Southland to the Bay
I'll govern all of you
Your kids will all lift weights in school

The Golden State is getting worse
Need Mr. Universe
I am a movie star
and drive the biggest, dumbest car

This hero always wins
Conveniently forgets his sins
Jumpin from the master race
and always wears a happy face

Here comes 2004
Knock knock on your front door
It's my very own secret police
come to pick up your ugly niece

March quietly to the camp
You'd make a lovely lamp
Don't worry it's just a shower
for your clothes here's a pretty flower

Body builder's in control
100 percent natural
Say goodbye you lousy pest
if you mess with Governor S.

ANDREW DANSBY
(October 7, 2003)

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UPSTAGE MAGAZINE

Dramarama and The Smithereens Rock in 2005 by Gary Wien; Photo by Laura Schneider The Starland Ballroom in Sayreville kicked off the last night of 2004 and the beginning of the new year with a pair of legendary New Jersey based bands in The Smithereens and Dramarama. A couple thousand people were on hand to enjoy the show. They filled the club with party hats and noisemakers and took advantage of a two hour open bar to get truly into the holiday spirit. Beggar's Canyon opened the night with their blend of funky, metallic rock and roll. It was a rather interesting choice of opening bands for an 80s-oriented crowd, but the band definitely seemed at home on the Starland stage which often features harder bands. They even joined in the 80s vibe with a cover of Pink Floyd's "Another Brick in The Wall" - complete with a splash of Survivor's "Eye of the Tiger" in the beginning to catch everyone's attention. The Smithereens were up next along with the announcement that their set was going to be recorded for an "instant CD" that could be purchased after the show for $15. The band's set largely focused on their classic first three albums. They opened with "Drown In My Own Tears" and went on to play such hits as "Only A Memory", "Top Of The Pops", "Yesterday Girl", "Miles From Nowhere", "Girl Like You", and the big two from their debut record "Behind the Wall of Sleep" and "Blood and Roses". The opening bass lines of "Blood and Roses" have become almost mystic in Jersey music history and never fail to send the crowd into a frenzy. Highlights during their set include Dennis Dikens remarking about how New Year's just doesn't seem the same without Dick Clark and the band's cover of "Blue Christmas". Following the Smithereens' set, the video screen was dropped to allow everyone to see (and count along) with the ball being dropped in New York City. The club provided a free champagne toast for everyone, but kind of skimped a bit on the amount in each glass (at least in our section). Nevertheless, there's nothing like hearing thousands of people counting down the end of the year. And then it was on to the main attraction. Dramarama, featuring the main players in the original except for Chris Carter and Jesse, started out with "Steve & Edie" and went on to play a spectactular set that mixed the bands "big hits" and eclectic favorites. Tunes included "My Scenario", "I've Got Spies", "Stuck In Wonderamaland", "Train Going Backwards", "Tiny Candles", "Ain't It The Truth?", "Haven't Got A Clue" and many more. Some highlights included another scorching version of "Everybody Dies" from the band's upcoming new release and a wonderful sing along with the crowd during "Work For Food". The set also included "Bright Side" from John Easdale's solo record and another cut from the upcoming record - "Gotta Get Up For Work Tomorrow". As with tradition, John Easdale reminded the crowd that they weren't going to do the "normal" music thing of leaving and then returning for some encores before ripping into "Last Cigarette". A Dramarama fan mentioned to be that this was the first time she had ever seen Easdale actually hand some of the cigarettes, which were thrown on stage, back to the audience. Maybe John's resolution in 2005 is to actually quit smoking? The night's live music ended with the song that is still played several times a day throughout California - "Anything, Anything." All in all, you can't beat ringing in the new year with some of the best musicians New Jersey has ever produced. And chances are that more than a few people left the Starland with the music still ringing in their ears...

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PHOENIX NEW TIMES 8/2004

LIVE WIRE

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THE AUSTIN CHRONICLE 3/2004

Spotlight: Dramarama

1am, Elysium

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USA TODAY 3/2005

Reunited, and it feels so — wait, who's reuniting again?

...............................................................

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