The Obelisk Questionnaire is a series of open questions intended to give the answerer an opportunity to explore these ideas and stories from their life as deeply as they choose. Answers can be short or long, and that reveals something in itself, but the most important factor is honesty.

Based on the Proust Questionnaire, the goal over time is to show a diverse range of perspectives as those who take part bring their own points of view to answering the same questions. To see all The Obelisk Questionnaire posts, click here.

Thank you for reading and thanks to all who participate.

The Obelisk Questionnaire: Jim Healey of Blood Lightning, Set Fire, We’re All Gonna Die, Etc.

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How do you define what you do and how did you come to do it?

I am a singer, guitarist and songwriter. I’ve been in a bunch of bands and my newest one is Blood Lightning.

I came to music probably the same way a lot of people did. My dad was really into music and had a decent/weird record collection that he was always playing. Depending on the day, we’d hear anything from The Righteous Brothers to The Beatles, the Moody Blues, Roy Orbison, Roger Whitaker, Bee Gees, Sandy Nelson etc. We had a couple of acoustic guitars kicking around in the house (although my parents weren’t musicians) so I would always try to bang around on those. My Dad showed my brother and I a remedial version of the “Satisfaction” riff on one of the acoustics one day at that was it. He got us electric guitars and drums from the Sears catalog the next Christmas, and I never looked back.

Describe your first musical memory.

I remember listening and dancing around to the old 45’s from my parents. My brother and I had a small Sears record player, and we would spend afternoons just playing through as many of these 45’s as we could. “A Taste of Honey” by Herb Alpert and the Tijuana Brass was a favorite.

Describe your best musical memory to date.

There are many, but I would have to say We’re All Gonna Die touring Ireland in 2007 opening for Diamond Head. We were just three dopes from Boston, and we were received and treated well. Definitely a high-water mark for touring.

When was a time when a firmly held belief was tested?

I find that in the current political climate, this is an everyday occurrence.

Where do you feel artistic progression leads?

Artistic progression leads to being a better artist. I think the more you strive to be better player, singer or writer, the more “doors” that will open in your creativity.

How do you define success?

“Success” has been a moving target over the years. I find that now, I must be content to write and release music the I like and am proud of and just hope that someone vibes with it. Over the years, the best feeling has always been that one person who comes up to me after a show and tells me that they get it.

What is something you have seen that you wish you hadn’t?

The heavy answer is my Dad dying.

The light answer is Chris Cornell releasing a dance album.

Describe something you haven’t created yet that you’d like to create.

I’d like to write a perfect album. I figured with all the downtime from the pandemic that I could have started on my The Dark Side of the Moon, but that hasn’t quite panned out yet.

What do you believe is the most essential function of art?

I believe art should convey emotion. Regardless of the medium, I feel that it’s the emotional response to art that keeps the world alive and moving forward.

Something non-musical that you’re looking forward to?

I’m looking forward to my family being able to hang together for the holidays this year.

I’m also really looking forward to The Matrix 4.

https://www.facebook.com/bloodlightning
https://bloodlightning.bandcamp.com/
https://www.youtube.com/channel/UCzK8wKH5BET_4DWg_2Hp3hw
https://www.facebook.com/JimHealeySolo/
http://www.jimhealey.net/
https://jimhealey1.bandcamp.com/

Blood Lightning, “The Dying Starts”

Jim Healey, Nodo (2021)

The statistics of COVID-19 change with every news cycle, and with growing numbers, stay-at-home isolation and a near-universal disruption to society on a global scale, it is ever more important to consider the human aspect of this coronavirus. Amid the sad surrealism of living through social distancing, quarantines and bans on gatherings of groups of any size, creative professionals — artists, musicians, promoters, club owners, techs, producers, and more — are seeing an effect like nothing witnessed in the last century, and as humanity as a whole deals with this calamity, some perspective on who, what, where, when and how we’re all getting through is a needed reminder of why we’re doing so in the first place.

Thus, Days of Rona, in some attempt to help document the state of things as they are now, both so help can be asked for and given where needed, and so that when this is over it can be remembered.

Thanks to all who participate. To read all the Days of Rona coverage, click here. — JJ Koczan

Days of Rona: Jim Healey of Set Fire (Boston, Massachusetts)

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How are you dealing with this crisis as a band? Have you had to rework plans at all? How is everyone’s health so far?

Well, like most everyone, we haven’t been rehearsing. Jess and I have both been doing some writing at home. We have had to cancel/reschedule a handful of shows, and we will see how the others we have booked pan out. We were in the midst of recording, so that is on hold until things start to level off. Everyone’s physical health has been good so far, but the mental toll of isolating is taking some getting used to.

What are the quarantine/isolation rules where you are?

I’m in Boston, and Massachusetts has been shut down for a few weeks now. There is a “stay at home” order, and all non-essential businesses have been shut down. I have to go into work for my job a few times a week, and it’s pretty stressful, but I’m thankful to have a job right now when so many don’t.

How have you seen the virus affecting the community around you and in music?

Many of my friends are musicians, bartenders, booking agents, sound people, door-staff, recording engineers, etc, so there has been a huge impact. First and foremost, I worry for all of my friends trying to stay physically safe and financially afloat during all of this. After that, I wonder how this is going to impact the smaller venues, studios and such in the long run. That said, I am happy to say that I have seen people I know really stepping up and rallying around each other to try and make sure that everybody can get by.

What is the one thing you want people to know about your situation, either as a band, or personally, or anything?

When all of this is said and done, I don’t think I will ever take another rehearsal for granted. I’ll be really excited to get back to recording and playing shows. I hope that everyone looks out for one another, because if anything good can come from this, I would like it to be that humans can be more compassionate towards one another.

https://www.facebook.com/setfireband/
https://setfire.bandcamp.com/
https://www.facebook.com/JimHealeySolo/
https://www.instagram.com/jimzero/
https://jimhealey1.bandcamp.com/
https://jimhealey.net/

Later this month, Boston singer-songwriter Jim Healey will issue his latest EP, Just a Minute More, in DIY digital fashion. Known for his work in heavy rock/metal acts like We’re all Gonna Die, Black Thai, Shatner and Set Fire, Healey‘s solo output — which, on this outing as it often does, features a full band behind him — resides in a soulful and emotional context all of its own, and the same voice so capable of channeling aggression into his heavier work once again proves itself capable of expressing a broader range of wistfulness and regret on songs like the new track “Faced” that’s streaming below as a first sampling of the upcoming release.

If you make your way over to Healey‘s Bandcamp, you’ll find plenty more to dig into as well, including his 2015 full-length, This is What the End Looked Like (review here), which continues to resonate as well. Healey‘s something of a well-kept secret of the Boston area, or at very least of greater New England, but his work translates regardless of region or other factors with the honesty of his performance and quality of his songcraft.

Here’s info on the release and the “Faced” stream, courtesy of Healey via the PR wire:

NEW SOLO EP BY JIM HEALEY – “Just A Minute More”

RELEASE DATE: Tuesday, September 26, 2017

Jim Healey will release his third solo release entitled JUST A MINUTE MORE Tuesday, September 26, 2017.

JUST A MINUTE MORE is the follow-up to Healey’s second solo album, THIS IS WHAT THE END LOOKED LIKE, released in 2015.

The five song EP was recorded and mixed between February and June of this year at New Alliance studio in Cambridge by Jon Taft. The album was mastered by Nick Zampiello at New Alliance East Audio in Cambridge.

The album features performances by Jim Healey (vocals, electric and acoustic guitar), Joe McMahon (electric bass, keyboards, backing vocals), Kyle Rasmussen (drums, keyboards), Glenn Smith (electric guitar, e-bow guitars), and Jess Collins (backing vocals)

JUST A MINUTE MORE tracklisting (all songs written by Jim Healey)
1. The Road
2. You and I
3. Swamp Thing
4. Faced
5. Burn Up

https://jimhealey.net
https://www.facebook.com/JimHealeySolo
https://jimhealey1.bandcamp.com
https://twitter.com/jimhealey

Jim Healey, “Faced”

Guitarist/vocalist Jim Healey, known for his work in Boston acts We’re all Gonna Die, Black Thai and most recently Shatner — whose debut recordings are eagerly anticipated — is set to issue a new solo album on May 5. Its coming heralded by a month-long residency at O’Brien’s in Allston comprised of four shows each Wednesday night of the month with a different supporting cast for Healey and his band, the full-length This is What the End Looked Like is Healey‘s second behind 2010’s Dreams of Odessa, and will boast cuts like “World War Eight” and “Some of Me,” which have been staples in live shows for the past few years.

The PR wire brings album details and the residency lineups:

NEW SOLO ALBUM BY JIM HEALEY THIS IS WHAT THE END LOOKED LIKE RELEASE DATE: TUESDAY, MAY 5, 2015

PLUS MONTH-LONG RESIDENCY WITH THE JIM HEALEY BAND AT O’BRIEN’S PUB, ALLSTON WEDNESDAYS IN MAY: 6, 13, 20, 27

The Jim Healey Band will release its second album, entitled THIS IS WHAT THE END LOOKED LIKE, Tuesday, May 5, 2015. To celebrate, the band will host and play a month-long residency at O’Brien’s Pub in Allston (3 Harvard Avenue), Wednesdays in May, 2015. The new album will be available for $9 on CD in person at the residency, and online here. The residency live shows are 21+, doors open at 8pm, and tickets are $8 at the door or online here.

THIS IS WHAT THE END LOOKS LIKE is the follow-up to Healey’s first solo album, DREAMS OF ODESSA, released in 2010. “This new album’s main theme,” Healey says, “is the ‘endings’ in life. Whether a relationship, or the loss of loved ones–and moving on from them. It’s something that everyone has to deal with.”

The nine-song collection was recorded and mixed over the past year at Amps VS Ohms studio in Cambridge by Glenn Smith. According to Healey, “I worked with Glenn for over a year on this record, and it really was the most productive, fun, and fulfilling set of recordings I’ve ever done.” The album was mastered by Nick Zampiello at New Alliance East Audio in Cambridge.

The album features performances by Jim Healey (vocals, electric and acoustic guitar), Joe McMahon (electric and acoustic bass, baritone and electric guitar, organ, keyboard, backing vocals), Kyle Rasmussen (drums, percussion), Dana Fisher (cello, backing vocals), and Bridget Nault (accordion, backing vocals). “Having a wealth of talented friends,” Healey says, “is really what brought these songs to the elevated state they became on the record. I can’t say enough about everyone that contributed — but special thanks goes to Joe McMahon, because these songs wouldn’t be the same without him.”

THIS IS WHAT THE END LOOKED LIKE, Track-listing (all songs written by Jim Healey)
1. Downtime
2. On and On
3. A Whole Lot of Nothing
4. Powerless
5. Still Warm
6. Some of Me
7. Radio
8. Tomorrow’s Gone
9. World War Eight

Residency Performance #1, Wednesday, May 6, 2015
Jim Healey Band
Gold Blood and The Associates
Crooked Horse

Residency Performance #2, Wednesday, May 13, 2015
Jim Healey Band
Floodwatch
Mill Pond Falls

Residency Performance #3, Wednesday, May 20, 2015
Jim Healey Band
Aaron Shadwell
Chrissy V

Residency Performance #4, Wednesday, May 27, 2015
Jim Healey Band
Matt Charette
Doug Wartman
Jeremiah Tall

In addition to fronting his solo project The Jim Healey Band, he is also singer/guitarist for heavy bands Shatner, Black Thai, and We’re All Gonna Die. As an actor he has appeared in the films Fat and It’s Not Funny Anymore. He is originally from and currently lives in Dorchester.

https://www.facebook.com/JimHealeySolo
https://www.facebook.com/events/1740439849515635/
http://jimhealey1.bandcamp.com/
https://www.facebook.com/shatnerboston
http://www.obrienspubboston.com/

Jim Healey, Live at O’Brien’s Pub (2012)

I kept a steady pace rolling up the Maine Turnpike (aka I-95 but they charge you for it; I’d bitch, but NJ does the same thing), not looking to get pulled over both because it would involve talking to cops and because my car’s not registered, but with the sunset on my left, the rising supermoon on my right and big, old growth pines on both sides of the road, it would’ve been hard to complain had anyone been around to listen. Last time I was in Portland, it was also for a show at Geno’s Rock Club — Ogre‘s CD release, back in March (review here) — and though I had a hard time picking out familiar landmarks without a foot of snow on the ground, I eventually found my way to the same spot for the third of We’re all Gonna Die‘s three Summer 2014 reunion shows, with locals Murcielago rounding out the bill and support from MA’s Tigerman Woah and Maple Forum alum Blackwolfgoat.

The latter opened, going on around 9:30, with Darryl Shepard (Milligram, The Scimitar, etc.) starting out his Blackwolfgoat set with some new material from the forthcoming Small Stone release, Drone Maintenance. It’s his third LP under the Blackwolfgoat moniker — The Obelisk’s in-house label released the first CD pressing of the second one, Dronolith — and the most accomplished, Shepard beginning to veer toward a songwriting impulse to match the project’s progressive drone soundscaping. I was pleased to hear Dronolith opener “Building Buildings” in the mix, distinct for its layers of rhythm and melody, and it made an interesting lead-in for “Cyclopean Utopia,” the only Blackwolfgoat song to-date with vocals, for which Shepard got on mic and let loose a succession of ambient screams.

His time cut somewhat short when the strap on his guitar broke, but I guess part of the fun of having an outfit like Blackwolfgoat is that when something like that happens, you can roll with it. Still screaming over his loops and feedback, Shepard strummed the guitar a few times with his shoe before kneeling down to twiddle knobs on his pedal board. That wash of feedback continued even as he began to pack up his gear, but eventually the amp got shut off. “Cyclopean Utopia” was about half-done, but that strap was all-the-way done, and that seemed to win out. It was about as disparate a lead-in for Tigerman Woah as one could ask, the Lynn, Massachusetts, four-piece offering standup bass, banjo ukulele and rockabilly-ish revelry of a much more riotous and beery sort.

I live on the South Shore of Massachusetts, under Boston. On the other side of the city is the North Shore. I haven’t been up there much in the year that I’ve lived in the state, so I can’t necessarily speak to the geography of the place, but what I’ve seen has been way more Upper-Middle-Class-mall and way less a setting befitting the Appalachian mountain punk that Tigerman Woah proffered, but I’ll give it to those dudes for both selling it well and every now and again going on a tear of gang vocals and guitar solos that were likewise duly infectious. Plus who knows what lurks in those old foothills. They weren’t really my thing — and they were definitely the odd band out on the bill — but Tigerman Woah kept me glued to my spot on the floor at Geno’s with their twanging party vibe, gravely vocals and enviable beards.

After two prior shows, in Boston and Manchester, New Hampshire, it wasn’t such a surprise to find We’re all Gonna Die pushing through their set with workmanlike fluidity, but what stuck out to me most from watching them for the first time in I don’t know how many years was how dead-on they came across. Sometimes when a group plays for the first time in a while — I think in the Boston trio’s case, it’s been five years — they’re both rusty and overexcited. Material gets rushed. For guitarist/vocalist Jim Healey, bassist Jesse Sherman and drummer Scott Healey, it was more like seeing a band who’d been doing shows all year. They were plainly glad to be there, but they played like pros. The slow parts stayed slow, the fast parts were crisp in their pummel, and Healey‘s voice — a powerful instrument, forcefully wielded — was on point throughout and one could only stand in awe as solo after solo was thoroughly nailed. Something in me doubts this will be their last show.

Rounding out the night, Murcielago would keep that theme going, as the highlight of their set was a sudden turn that had guitarists Matt Robbins and Ian Ross (see also: Roadsaw) duking it out “Dueling Banjos”-style as they went back and forth, solo for solo. It was my first time seeing the band and they’ve only released a couple recorded tracks as downloads, so the bulk of their material was new to me, but came across steady in riff-heavy form, bassist/vocalist Neil Collins handling most of the singing with Robbins backing while drummer Brian Chaloux held it down smooth behind. Even during the aforementioned solo tradeoffs — which got a laugh as well at one point when Robbins flipped Ross off following a particularly impressive showing — Collins and Chaloux kept a central groove going as a bed, and Murcielago not only returned to that song’s chorus, but finished their set with another cut after.

That was about one in the morning, and I had two and a half hours of road time ahead, so I made my way out of Geno’s on the quick and back down the still unfamiliar Congress St. to my car, the Maine Turnpike lit blue by the near-full moon and save for a few swerving cars, empty with the well-worn evening.

A couple more pics after the jump. Thanks for reading.

Read more »

Click here to listen.

You may or may not have noticed, but on the updates page for The Obelisk Radio, you can now see the playlist for the entire day. Mad and thoroughly appreciated genius that he is, Slevin set it up so that even when a song doesn’t have an ID3 tag — as some of the older included mp3s obviously don’t — the filename itself appears, so you can still find out what was played. It goes back to July 10 now, because that’s when it was launched, but my understanding is it will just keep adding days, so there will be a full archive from here on out of what was played. I’ve been nerding out on it all week.

And primarily what it’s underscored for me is just how much good shit there is on that playlist. It’s unreal. Please feel free to peruse. Here’s some more stuff that just went up.

The Obelisk Radio Adds for July 18, 2014:

Bongripper, Miserable

Chicago four-piece Bongripper once more crawl out of the muck with another collection of lurching, extended instrumental tracks, proliferating malevolent riff worship and lumbering, head-slung hopelessness. Like Pelican‘s evil twin, they offer a couple catch-your-breath moments throughout “Endless” (somewhat ironically the shortest track at 17:49), “Descent” (18:52) and the insurmountably mammoth “Into Ruin” (28:25), but the bulk of their sixth album is dedicated to destructive crash and vicious low-toned riffing, and even when they drone out in the last six minutes of “Descent,” the mood remains dark and crushing. All the more fitting as a lead-in for “Into Ruin,” which has its own breaks for good measure but makes its impression more in the tectonic weight of its impact. Everything heavy. All heavy. Nothing not heavy. Bongripper have been at it for nearly a decade now, and they’ve only gotten meaner. Miserable gets bonus points for the Mike Miller cover art. One would be hard pressed to think of something more appropriate. Bongripper on Thee Facebooks, on Bandcamp.

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We’re all Gonna Die, These are the Old Ways

When Boston heavy rockers We’re all Gonna Die — the lineup of guitarist/vocalist Jim Healey (also Black Thai), bassist Jesse Sherman (also Never Got Caught) and drummer Scott Healey (also Gut) — announced their return a short while ago for three summer shows, they sent word of a new single “Pleurisy.” That single, included on These are the Old Ways, has been expanded to include a collection of previously unreleased cuts from the band’s history, resulting in the 24-minute These are the Old Ways. Lineups and recording vibes vary — the EP caps with two instrumentals that show off some solid riffs but are clearly incomplete demos — but “Pleurisy” itself and “I’m Free” showcase the driving, forward rhythms and Healey‘s towering vocals following the riff, and “The Day I Walked Away,” while rougher sounding, offers the most memorable hook of the release. Round it out with a cover of Lynyrd Skynyrd‘s “That Smell” and the aforementioned instrumentals “Small” and “Awash,” and These are the Old Ways adds intrigue to the new single and reminds of the variety that We’re all Gonna Die were always able to bring to their gritty, aggressive approach. We’re all Gonna Die on Thee Facebooks, on Bandcamp.

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Sufferghost, Thaw

In historical hindsight, it’s tempting to think of Connecticut’s Sufferghost as a prelude to guitarist/vocalist Ron Vanacore and bassist Richard “Cheech” Weeden‘s work in Curse the Sun, but the truth is, it’s an entirely different band. Vanacore, still on vocals, plays drums on Sufferghost‘s recently-unearthed 2007 outing, Thaw, and the guitars are handled by Anthony Buhagiar, whose burst aortic aneurysm would effectively end the band in 2009, leading to the founding of Curse the Son. There are some consistencies of method between the two — riffs lead the way, albeit less tonally developed than Vanacore would be by the time Curse the Son put out 2012’s Psychache (review here), which has just been released on vinyl through STB Records — but Sufferghost had a musical personality of its own as well, and while “Leave the Church” offered stonerly roll, and “Neuralgia” engages righteous, mostly instrumental Sabbathizing, “Summer Insane” and the slower “Land of the None/Evilled” have some shades of burlier Black Label Society-style metal, and that’s terrain Vanacore and Weeden (who’ve been in bands together since the mid ’80s) have avoided in their subsequent act. Thaw makes you wonder what might’ve been had Sufferghost continued to develop, and gives listeners an opportunity to explore the roots from which Curse the Son sprouted. Sufferghost on Thee Facebooks, on Bandcamp.

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Planet of Zeus, Vigilante

Vigilante is the third LP from dudely Athens-based riffers Planet of Zeus, and while Clutch remains a primary influence, songs like “Burn this City Down,” “Tornado” and closer “The Beast Within” find the four-piece come into their own sound more than did 2011’s sophomore outing, Macho Libre. Still, moments will ring familiar, if roughened up, and the bluesy roll and organ of “No Tomorrow,” the gospel preaching of the title-track and the start-stop funk of “Second Coming” would seem to continue the pattern. They do it better than most who try, and for the touches of individuality, the impact of the production, and for the ease with which they move into instrumental psychedelia on “The Beast Within,” Vigilante (released on Ihaveadrum Records) makes a catchy endeavor for the already converted. Some of the harder-edged vocals from guitarist Babis might surprise, but it’s easy enough to get oriented throughout, and if Planet of Zeus have a more aggressive take on an established style, that only furthers their ability to stand out within it. Planet of Zeus on Thee Facebooks, Vigilante on Bandcamp.

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Liquido di Morte, Liquido di Morte

Made up of three recorded-live psychedelic jams that spread smoothly over the total runtime of 37 minutes, Northern Italy outfit Liquido di Morte‘s self-titled debut is marked out by some post-rock sensibilities in the guitar and the lead/rhythm dynamic that periodically merges into bigger, more lumbering grooves throughout. The double-guitar four-piece use samples or guest speakers for vocals and the feel across the tracks is pretty vast, but there’s also clearly a consciousness at work on opener “Ozric Pentacles,” and as the riffy largesse mounts backed by chaos swirls and loops, it’s hard not to be reminded of some of Ufomammut‘s earliest goings, though that’s just one element at work. “In Death of Space/Of Death in Space” pushes further with the plotted feel, a tension and intensity trading off as movements weave in and out and open and close, culminating in a noisy wash that only highlights how much Liquido di Morte have known all along where they were heading, and the 18-minute finale “144” builds from an effects-laden early few minutes into their most hypnotic and consuming roll yet, spoken word guest vocals emerging late to pipe a last-minute sense of reality into what had clearly, by then, departed from it. A more than impressively cohesive first offering — all the more because it was recorded live — from a band whose potential is writ large in their material. Liquido di Morte on Thee Facebooks, on Bandcamp.

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As ever, this isn’t even close to everything that joined The Obelisk Radio playlist this week. For the full list and to check out today’s playlist, visit the updates page.

Thanks for reading and listening.
 

It’s been six years since Boston’s We’re all Gonna Die released their third and to-date final outing, Kiss the Ground, Curse the Sky on Underdogma Records, and a half-decade since they last played a show. In the interim, drummer Scott Healey has played in the crusty sludge/thrash outfit Gut, bassist Jesse Sherman has moved onto Tired Old Bones and guitarist/vocalist Jim Healey has been fronting Black Thai and performing as a solo artist. Not like these dudes haven’t kept busy in the meantime, but after five years, We’re all Gonna Die are about due to book a gig or two.

Or three. They’ll play in Allston, Manchester, New Hampshire, and Portland, Maine, over the next month, a Saturday series that will be further marked by the release of new single “Pleurisy,” which was written during their initial run but never released. Among heavy rockers in the middle part of the last decade, We’re all Gonna Die was always a little darker, a little more aggressive than the stoner bunch, but still more melodic than outright sludge would warrant. They toed that line well, and it’ll be good to see them again after so long.

The PR wire brings confirmation:

AFTER FIVE-YEAR HIATUS, BOSTON FAVORITE HARD ROCK TRIO WE’RE ALL GONNA DIE REUNITES FOR THREE SUMMER SHOWS AND RELEASES NEW SONG “PLEURISY”

SPECIAL LIVE IN-STUDIO RADIO PERFORMANCE — BOSTON EMISSIONS, WZLX 100.7, SUNDAY, JULY 13, 11PM

Boston hard-rock favorite trio WE’RE ALL GONNA DIE reunites this summer for three shows at Great Scott (Allston, MA), The Shaskeen (Manchester, NH), and Geno’s (Portland, ME). To celebrate they will also release a new song, “Pleurisy,” recorded this spring and be a special guest performing live on WZLX’s Boston Emissions.

Saturday, July 19, 2014 Great Scott Allston, MA Doors @ 8:30pm $10 21+
with special guests Cocked N’ Loaded, Murcielago, The Humanoids, and Wolfsmyth

Saturday, August 2, 2014 The Shaskeen Manchester, NH Doors @ 9pm 21+
with special guests Thunderhawk and Hey Zeus

Saturday, August 9, 2014 Geno’s Portland, ME 21+
with Murcielago and special guests Blackwolfgoat

WE’RE ALL GONNA DIE formed in 1998, recorded three full-length albums on Underdogma Records: Kiss the Ground, Curse the Sky (2008), The Wreck of the Minot (2005), and Go to Hell (2004). They toured the U.S. and Ireland before going on hiatus after their September 2009 performance at the Stoner Hand of Doom festival in Frederick, MD. The trio’s current line-up features Jim Healey on vocals and guitars (also plays in Black Thai and the Jim Healey Band), Jesse Sherman on bass (also plays in Tired Old Bones), and Scott Healey on drums (also plays in Gut and Give Up!).

“We haven’t played in 5 years,” says WE’RE ALL GONNA DIE front-man Jim Healey. “I felt it was time to get together, play a few shows, and see where things went from there. The band will probably only ever play a few shows a year, but it’s great to play together, and see the fans.”

“We recorded a ‘new’ song (written in 2007, but never rerecorded) called “Pleurisy,” Healey says. “It will be available for download along with 5 other unreleased WAGD tracks, spanning the history of the band in all its member formations.”

For more WE’RE ALL GONNA DIE information:
http://www.wereallgonnadie.com/
https://www.facebook.com/wereallgonnadieboston
http://wereallgonnadieband.bandcamp.com/
http://wzlx.cbslocal.com/show/boston-emissions/

We’re all Gonna Die, Kiss the Ground, Curse the Sky (2008)