Friday, February 27, 2015


The Sounds Of New York City
Rock - Punk - Industrial - New Wave - Gothic and more

Rockumentary about the New York City Underworld Live Music Scenes.

The evolution from the 80's and 90's until today.

by award winning producer/director
Wolfgang Busch

Coming in 2018
Our History - Our Story - Our Legacy
a labor of love production



Our Music - Our Experience - Our Memorable Moments

New York City went from a thriving economy & live music scenes, with many opportunities, collaborations and D.I.Y.
and a bottle of Heineken at the Limelight was $4

economic crisis, the death of the live music scenes, clubs were forced to close down by city agencies,
real estate developers and greedy Landlords; 
and a draft beer in a plastic cup is $9.

The Bands, Musicians, DJ's, Booking Agents, Promoters, I
ndustry Professionals and 
the people behind the scene who made it all exciting and happen.

Larry Mitchell







please check back for updates

New York New Rock archive links, including music from original demo cassettes with art work and more than 600 live performances.

Original Demo Cassettes On Soundcloud



Rest in piece F.L. 

Wolfgang Busch, New York New Rock TV
best known for his interview with GWAR.

Today WAre


The Sounds Of New York City

One of the local musicians that changed the musical landscape in New York City is Phoebe Legere, a multi instrumentalist, performance artist, painter, a classical trained pianist with a four octave vocal range with cult status from the east village. Phoebe didn't become a household name, because it wasn't about becoming a famous rock star, it was and still is for many musicians like her to work hard to follow your dreams and to express yourself through music and performance art. 

Their definition of success is to make a living playing music and to write and perform music like it was meant to be. They lived in the moment expressing themselves without borders and filters and they had the artistic freedom without compromising in how they dressed, their sexuality and to express what they wanted to say artistically.

During the 80’s, NYC had a thriving live music economy and a new club was opening up on a regular basis. Some clubs lasted only a few weeks, others a few months like Beowulf, The Grand, Zone dk, Spo-Dee-O-Dee and the Marquee.

Musicians and music supporters from the Tri state area, region, country and the world came to NYC to follow their musical and creative dreams. Some came to New York looking for a challenge, because they plateaued within their local scene or country and they moved to New York City to grow as a musician. No matter if they were making money, broke even or made a few bucks, they all knew that NYC was a cultural melting pot where they can meet, work together and to reach that goal. 

During the 80's and 90's, a lot of people on the scene were involved in a cool project or they were working for a record company, magazine, publisher or something creative.

Glam punk rocker Neon Leon from the Jersey Shore and Broomhellda from the Bronx were treated like rock stars in the club scene by their fans, promoters, booking agents and club owners. As some bands were blessed and signed that first time $250,000 recording contract such as Gods Child and they were the ones who got booked for those special private VIP events like the band Carboy and they became the industry’s sweethearts for the moment. They experienced many highlight moments and a moment of what it is like to be a rock star; Limo's picking them up, free travels to meet the record company executives’ and music industry icons during the record company signing process.

When Tommy Gunn proposed a Wednesday “Glam” night at the Cat Club, he was told that it would never work. But that didn’t stop him from trying and he proved to his bosses that they were all wrong. Tommy created one of the most influential and successful hair metal nights in New York City at the Cat Club on 13th street and Broadway. Skin & Bones was a "Bands" band that sold out and headlined the Cat Club many times. The word was, they were just as good as Guns and Roses. Tommy Gunn’s Wednesday nights provided Lovemaker and Larry Mitchell with the opportunity to build their fan base and many bands got signed to a record label right after they played the Cat Club.

Animation- Lorenzo Perez, Music- Man Parrish, Vocals- Phoebe Legere, 
Concept Wolfgang Busch for Art From The Heart Films.

Adam Bomb proclaimed himself as one of the hardest working rock and roll guitarist. Adam wrote the heavy metal anthem “I Want My Heavy Metal” released on Geffen records and was signed to Leber and Krebs management. Today Adam is an independent artist living the Rock and Roll lifestyle to the fullest and is still rocking and touring hard. Adam received the rock star treatment at the Limelight, played the club as often as he wanted AND got the drink tickets. Some local favorites never paid for admission, drinks and drugs. Adam Bomb and his wife Claire O’Conner, the right hand to Limelight’s owner Peter Gatian, convinced Peter to start a rock night at the Limelight. Pamela Britt and Nicki Camp, who used to design the invitations for Limelight, started the Rock & Roll Church on Sunday nights, which became one of the best new rock music venue’s of all times for local acts like the biker band Cycle Sluts From Hell, Blitzspeer and alternative rock band Spiritual Love Affair.

Local Industrial bands organized themselves such as Virus 23, Fractured Cylinder and Mosaic Kisses and goth bands Caroline Bokeman from Sunshine Blind, Bryin Dall from Loretta’s Doll, Mark Walsh from The New Creatures, Myke Hideous, Lisa Hammer from Requiem In White and the vampire goth band Jerico to create a new industrial/goth scene. This collective process opened up the opportunity to reach larger audiences, more exposure and they got the recognition they earned and deserved. As their momentum and fan base was building and growing, the Limelight started “Communion” on Tuesday nights, produced by DJ Tony Fletcher and promoter/booking agent Neville Wells during the early 90’s, catering to the Industrial and Goth scene and the “Alternative” music, featuring also the early Techno music. Chumley Twist was a regular DJ and VJ and Darryl Hell did special Industrial DJ appearances.

On Friday nights at the Limelight, Wolfgang Busch, founder of New York New Rock TV was booking mostly up and coming bands to bring them up to the next level and those bands that didn't fit the Sunday Metal or Tuesday Goth/Industrial format like the world music band Crimes Of Passion, synth pop rock artist FL Bangbop & The Blue Wazoo, rock band Cha Cha Fernandez & the Slumlords, glam band Sweet Revenge and established artists Phoebe Legere, Larry Mitchell and from England Jon Dunmore. During the late 80’s and early 90’s, Limelight had three nights a week of live music on a regular basis and was one of the most popular venues for local acts to perform and to socialize. 

The Limelight was a place were you could live your Rock & Roll dreams and fantasies, from having sex and doing drugs in the bathroom to meeting your favorite rock star in the Library VIP room. If a band was selling out the Limelight and was a headliner, you received the full VIP rock star and red carpet treatment.

The nature of the music industry with all its glamor and fabulousness was also for many bands and musicians a bitter sweet experience. While a very few bands got that $500,000 mayor label investment deal, others experienced exploitation, pay to play and discrimination, like Neon Leon, an African American glam punk rocker from Atlantic City. Neon, a Chelsea hotel resident and an Andy Warhol child left the NYC rock scene, because he was accepted and respect in Europe, and his music was climbing up the charts to #1 in Sweden.

During the early 80’s, Black and Hispanic rockers were told by club owners if they wanted to play their club than they can play R&B or Salsa music, but no rock and roll. The Staten Island club owners didn't want original music until they learned that they packed the clubs like funk/rock band Bam Bam did. In a man's dominated entertainment industry environment, the stereotypes against female musicians was that they don’t know how to play an instrument and how to carry a tune and if they didn't sing in the perfect pitch such as Sally from the band Smashed Gladys, they had to do a retake, while it was more acceptable for the male singer to get away with it. 

Having to face those realities in New York City, there was a strong need for grass-root musician’s movements, who could address those issues and educate themselves about the music business in a safe and supportive environment. It became imperative to learn how to survive and exist within the music industry. As a result of it, during the mid 80's and early 90's, it gave birth to music organizations such as the Staten Island Rock Coalition co-founder Tom Taaffe, Christian Musicians United founder Sal Baldino, the Rock R&B Committee founded by the Local 802 the Musicians Union and the Women in Music co-founder Anita Daly and the Black Rock Coalition co-founder Vernon Reid, who are celebrating  now their 30th anniversary.

This grass-root movement continued to flourish during the late 80’s and during the early 90’s it was happening in the Gay community. Tom McCormick and Michael Mitchell founded GLAMA, the Gay Lesbian American Music Awards. They met at OutMusic, an organization for LGBT singer songwriters providing open mics, networking and socializing for the local LGBT musicians. Tom McCormick and Michael Mitchell took grass-root organizing to another level. They put their blood sweat and tears into GLAMA and they worked with all the mayor and indie labels and artists to honor LGBT artists and their supporters like Ani DeFranco and Bob Mould. Unfortunately they couldn't maintain the GLAMA awards due to lack of financial support and sponsorship.

Within the LGBT local singer songwriting scene, Robert Urban a multi instrumentalist, producer and engineer, recorded many LGBT artists and produced many showcases, including the first Tran-sexual Rock concert. Zecca who had his claim to fame with his band Get Wet in the 70’s was producing and managing Marco from Cha Cha Fernandez and the Slumlords and Michael T became known as a performer and events producer at the legendary Pyramid. Members from the LGBT community were very influential in the early punk movement such as Wayne County and Miss Guy, the lead singer for the Toilet Boys. Before the AIDS epidemic in the early 80’s, NYC was also a musical melting pot for all genders and they played a large role in the overall development of the music scene in NYC. A highlight moment was the SqueezBox party at Don Hill’s on Friday nights.

The natural progression of the grass-root organizing turned into filing 501 (c) 3 not for profit organizations and they have become an important infrastructure and cultural vehicle to educate its members, friends, the industry and the community at large. They have been making a difference in musician’s life for over three decades and they continue to grow and flourish.

The mid 80’s and early 90’s also gave birth to many Public Access Music TV shows, because the government provided the community with free Public Access TV programming, including free video production and post production facilities. This started a whole new trend for individuals to become public access tv producers, hosts, directors, camera operators and editors. Let’s not forget the early access to video effects for the producers for the first time during the early 90’s, which gave the music video’s and interviews a psychedelic look and was used way to much in the beginning.

The early shows were Louis Perego’s International Music Video, John Culkin’s Citirock, Wolfgang Busch’s New York New Rock TV, Jason Starr’s Rock Underground, Tucci Live, The Jon Hammond Show, Uncle Floyed, U68, Dick Craig’s – Not Just Rock & Roll, Underground Railroad, Videowave, Chumley Twist’s Big Video Dynamite, and Howie Zappa’s Rebel TV. This incredible opportunity was a new level of exposing and promoting many of the local talents on Manhattan TV. Each show was reaching a weekly audience of 250,000 households. It became another outlet for musicians to build their fan base, showcases and for the band Skimax from the Bronx, Howie Zappa and Wolfgang Busch, they became local celebrities. Because of the TV exposure, bands were offered contracts like Planet Virtue from Long Island and Public Access TV became an important vehicle for the local bands and scene.

With all the opportunities NYC had to offer, the Goth band Sunshine Blind had everything going for them and everybody said you are going to be the next big star. They had a record, publishing and management deal and a “You Can’t Stop Me“ …. attitude … BUT… as we all know “Shit Happens”… 9/11 happened when they were just about to hit the road to promote the record… After such a set back, Lisa Hammer and the band Sunshine Blind got back up and started all over again and how life can be, again they were ready to hit the road…. Than the financial crisis happened…. Hearts were broken, friendships dissolved and the band broke up.

Other very common stories why bands didn't see the light of day and didn't become a household name was the fact that the A&R guy who signed the band was fired or moved to another label; the record company was sold or ran out of money and filed for bankruptcy and the Record or CD got shelved, or they loved the band and the music, but they already had a Gun’s and Roses on their roster and they passed on the band Skin & Bones.

A very few musicians became independently successful like Larry Mitchell and Phoebe Legere, some toured with big stars like Alex Alexander, because they either had a good sense of business, worked hard or had natural talents. They say, the only thing I know is how to play music and be creative. Others got involved in mixing live sound at clubs and became also producers and engineers like Freddie Katz from the band The Gift and Craig Randall from the band Buzzby. Steve Bondy was building the sound system for the Limelight and hired Sonny Waysack to run the sound board. Steve Remote started out doing live recordings at Max’s Kansas City and became a multi Grammy and Tech award winner. Some are playing in a cover or tribute band for fun or teach music like Bruce Mack the executive director for 10 years for the Black Rock Coalition and Arty Blaurock from the band Sweet Revenge and Dorian Grey.

Many musicians left New York City, because they couldn't find work anymore during the end of the 90's, Fred Schreck from Shoot The Doctor and The Ancients band moved to Nashville, Michael Ferentino from the band Dog and Noli Novak from Gluegun moved to Florida, Bryin Dall from Loretta’s Doll moved to Denver, Kraig Tayler and Leo Canneto from the band Virus 23 & Jon Dunmore moved to Los Angeles and Adam Bomb, Linda Moore and Howie Zappa to Las Vegas.

Many musicians can’t make a buck anymore playing original music in NYC and they moved on to play in a cover or tribute band for fun. There is no scene in New York City like it used to be during the 80’s and 90’s to play original music where all those bands went out to support each other and they had the opportunity to play 7 days a week and go to multiple clubs on any given day of the week to hang out. If you play original music today, those gigs are a one stop concert where you play in front of your own fans only, because the clubs don’t have their own scene and audience anymore like it used to be.

Everybody appearing in the rockumentary feels very passionate about this project and they are looking forward to give back to the community what was once taught to them and they are ready to pass on the Rock ‘n Roll torch to the next generation.

This labor of love production is produced by humanitarian award winning director and executive producer Wolfgang Busch, founder of New York New Rock TV and Art From The Heart Films. Wolfgang united some of the most talented and influential members from the rock/music community to produce the rockumentary...

The Sounds Of New York City

Proceeds from the documentary go towards art in education programs such as lectures, workshops and seminars, to bring back a thriving Rock/Music scene that New York City once was. 

And who knows we may build a Music Community Center and a Health Clinic for musicians!

The Sounds Of New York City
Forever In Our Hearts

is dedicated to

Hilly Kristal from CBGB's, Don Hill, Steve Mach from Skin n Bones, Drew Bernstein, Joey & Dee Dee Ramone, Dean Johnson, Claire O'Conner from Limelight, Klaus Nomi, Genghis, Jamey Heath, Johnny Thunder, Bobby Chouinard,Jack Pavlik from East Coast Rocker & Sweet Convulsions, Stiv Bators, Arthur Kane, Linda Lust, DJ Reese,Marco aka Cha Cha Fernandez & The Slumlords, F.L. Lombardo, Theri Kennedy from Sanctuary

Hilly Kristal from CBGB's

 Don Hill

Claire O'Conner, music by Adam Bomb
Mobile Video Link


Rest In Piece Brothers and Sisters
Please submit the names of the loved ones we lost along the way.
They will always be remembered.

 About the Director: 
Wolfgang Busch was at the center of that history since 1985. He started out as an organizer, seminar and showcase producer at the largest Musician’s Union, the Local 802, which was funding the Rock R&B Committee with a membership of 1200 musicians. For 15 years, Wolfgang contributed to the NYC live music scene as a night club promoter, host and booking agent for the legendary Limelight, Palladium, Danceteria and China Club, he still is a community activist and the co-founder of PURE (Promoters United for Rocking Events) and the founder, producer & director of New York New Rock TV, producing over 300 television shows for Manhattan Neighborhood Network, featuring interviews and performances by Nina Hagen, Gwar, Hilly Kristal (CBGB), Phoebe Legere, Larry Mitchell, Darryl Hell, the Black Rock Coalition, Women in Music and many others.

His video archive of local bands includes about 700 bands performing live at various clubs in Manhattan, original demo cassettes with art work, CD's, records, band T-shirts, band photo’s, gig flyer's, fanzines and newsletters are a treasure trove of historical records from that era.
            Wolfgang Busch has previously produced documentary films on New York City and San Francisco nightlife culture, dance culture and gay rights, including How Do I Look (2006) about the Harlem Ballroom community, which received best documentary and humanitarian awards; A True Lesson in Humanity (2007) about people with disabilities in the performing arts and Flow Affair (2011) about the flagging and fanning LGBT flow arts community. He received 25 awards and honors, including the "Keeping The Dream Alive" Martin Luther King Humanitarian Award for "How Do I Look" and his community activism. His company, Art From The Heart Films, received Best LGBT Company in 2015 for making a difference in the community. Mr. Busch is published in the “Award Winning Men” book and was inducted into the LGBT Hall of Fame. Today he is one of the most honored and recognized individual in the LGBT community for his dedication and achievements.

Charles Gilmore, Noli Novak, Mark Walsh, Melissa Mermaid,
Juan A. Fonseca, Michelle & Dorothy Burrus, Kayhan Irani,
Art By Davey, Art From The Heart Films, PASS Grant

Darryl Hell, administration, producer, video production and consultant

Tom Taaffe, administration, producer, consultant

Jordyn Thiessen, administration and consultant

Richard Jannaccio, administrationconsultant

Man Parrish, composing and mixing the audio track to the Limelight animation

Phoebe Legere
, vocals on the Limelight animation and Mick Oakleaf for audio engineering

Jon Dunmore, Keep The Dream Alive song, composing, vocals, producing and recording

Jerico DeAngelo, Keep The Dream Alive song, lyrics

Eric Scealf, The Unsatisfied segment producer

Simon Walsh, Burning Bush segment producer

Lenny Mitchel, consultant, Planet Virtue segment producer

Freddie Katz, producer and host of the “Rock Clubs Walking Tour”, consultant

Richard DieguezLegal
Gaye Carleton, publicity

3D Animations,
Lorenzo Perez, Danijel Radenkovic, Rudhie Kurniawan, Chandon Roy, Kunal Sharma

on-line promotion
Sal Sirchia, Mark Walsh, Fernando Carpaneda, Alina Oswald, Kevin Omni Burrus, Thom Jack, Noli Novak, Richard Jannaccio, Melissa Mermaid, John Demarco, Father JuneBug Ultra-Omni, Maria Esteves.

special thanks

Jerry Adams, Ming Tan, New York New Rock, S6K, Carpazine Underground Art Magazine, Darryl Hell, Tom Taaffe

The Sounds Of New York City

The Sounds Of New York City
check back for updates ....
if you would like to be considered in the "My 90's" rockumentary, please contact us
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Copyright © 2017, Art From The Heart Films, All rights reserved.


For further information, contact:
Wolfgang Busch
Art from the Heart Films
28-15 47th StreetAstoriaNY 11103

Ph: 646-355-3233