Boss Diablo is pleased to announce that "End of Days" from their "Don't Act Right" CD has just been added to Neil Young's Living with War Today "Songs of the Times" Top 1500! Check it out and listen regularly to help us climb the LWW Today Top 1500 chart! Muchas gracias Neil.

Pittsburgh City Paper's research has concluded that, as of January 6, 2007, Boss Diablo's debut CD "Don't Act Right" earned the band the #1 spot on the "5 MOST-PLAYED PITTSBURGH COUNTRY ARTISTS" chart on MySpace

Pittsburgh City Paper 's Aaron Jentzen reviews the "...fiery chaotic guitar, electric-blues boogie, harmonica wails and badass heroin-country strut" on Boss Diablo's debut CD "Don't Act Right"

Ex-Cynic and Frampton Brother Tom Hohn’s been hitting the skins in Boss Diablo for less than a year, but in that time the group has rocked countless local stages, and now is setting itself apart from lesser blues-rock cover bands with a heaping helping of originals. Boss Diablo’s debut record, Don’t Act Right, is a compelling compilation of fiery, chaotic guitar, electric-blues boogie, harmonica wails and badass heroin-country strut. Whether it’s Chuck Beatty’s guttural Tom Waits voice or Hohn’s convincing Jagger sound on lead vocals, the songs lurch along with an eerie, fuzzed-out menace. The band celebrates the CD’s release at Moondogs with the Pump Fakes. AJ

8 p.m. Moondogs, 378 Freeport Rd., Blawnox. 412-828-2040.

Observer-Reporter's Harry Funk reviews Boss Diablo's debut CD "Don't Act Right"

5/16/2006

'Don't Act Right'

When bands are taking requests between songs, I often put in my two cents: "Play something original!"

Sure, it's great to hear tunes you might know and love, but why not give the musicians an opportunity to put their writing skills on display.

When I saw Boss Diablo on a handful of occasions last year, I was mightily impressed by the band's choices of songs to cover: Go back in the archives and read my raves about such fare as "Help Me," "Homework" and "We've Gotta Get Out of This Place." Great material, and stuff you don't hear every day.

Still, I looked forward to hearing what the members of the quartet would put together on their own. A demo CD they put together last year gave an inkling, with a couple of originals included, highlight by a slice of social commentary (including "special guest commentary by George Dubya," as the band puts it) called "End of Days."

That song is one of nine originals among a dozen tracks on Boss Diablo's debut album, "Don't Act Right," just released on Blawnox-based Moondog Records. And for anyone who's caught the band's live set, the CD doesn't disappoint, bringing together the band's varied blues and rock influences in a well-produced package.

Guitarist Chuck Beatty had a hand in composing all the originals, and he shares vocal duties with drummer Tom Hohn, well-known around this area for his work with the Cynics. Chuck also handled much of the production duties, with Tom taking care of the vocal arrangements. They're ably augmented by the other two band members, bass player Brian Washington and harmonica player Stanley J. Mikolajek.

Many commentaries about albums start with words about the opening track. But let's begin here with the closer, which would seem a natural as the band's theme song: "The Ballad of Boss Diablo." Over an instrumental arrangement that would make Ennio Morricone proud, Hohn delivers a story line about "one bad hombre" from south of the border "dealing black tar and fragrant buds of green." Move over, Panama Red!

Some other highlights:

* The near-title track, "You Don't Act Right," shows a strong rockabilly influence, with various band members harmonizing for the chorus: "Can't take you out in the daylight, 'cause baby, you don't act right." Chuck plays a suitably crunchy guitar break, without a pick, no less.

*"Light a Candle," a primarily acoustic song featuring Chuck using his growling vocal style to a melancholy effect, and an outchorus that's reminscent of mid-period Rolling Stones.

* "Shake Some Dust" is a Beatty-Hohn composition that has a sinister ambience throughout, from Stanley's filtered harmonica to Chuck's strategic use of reverb and slide guitar to Tom's "desperate times call for desperate measures" vocal delivery.

* "King of the Urban Jungle," the band tells us, is Chuck's tribute to the late James King, a bluesman of some renown around the Pittsburgh area. Beatty makes his low-pitched vocals resonate and his guitar sting through a song that sounds something like John Lee Hooker meets Magic Sam.

The cover songs are some of the band's stage favorites: Tom Waits' spooky "Way Down in the Hole" (Chuck's vocals are practically a dead ringer for the original), the jump blues "I Love You Honey," and "Midnight Train," as popularized by the great Buddy Guy.

And to close, let's talk about the opener. "Darker Side" is co-written by Beatty and Washington, D.C., lyricist Matthew Aquiline, addressing some of what's wrong of the American dream: "Promises made every day, then broken/Things that beat you down become security/Sends you down to your darker side." Chuck gives the song a very distinctive flavor with his tasteful use of tremolo throughout.

Accompanying the basic quartet on a couple of tracks is keyboardist Bill Maruca, a regular in the Grateful Dead tribute band Fungus. And adding vocals on a couple of other songs are two ladies who also have the last name of Beatty, Elisa and Ruth.

Everyone combines for a musical document that shows the members of Boss Diablo are capable of coming up with some quality material of their own to go along with their superb choices of old favorites (of mine, at least) to play for new audiences.

CD RELEASE PARTY: 8 p.m. Friday, May 19, at Moondog's, 378 Freeport Road, Blawnox. Plus special guests the Pump Fakes.

posted by Harry Funk @ 10:24 PM

The Weekly Recorder's Steve Chess spills the facts on Boss Diablo's debut CD "Don't Act Right"

PREVIEWS & REVIEWS

Early last year, Previews and Reviews made brief mention of the new Roots band Boss Diablo. Friday, May 19th, any and all Weekly Recorder readers are welcome to the Boss Diablo CD release party at Moondog's in Blawnox, PA. The CD, “Don’t Act Right,” (available at several music stores and at www.buythiscd.com) is being released on Moondog Records. The album is composed primarily of original songs with a few select cover tunes to season the mix.

The four regular members of Boss Diablo are Chuck Beatty (guitar/vocals), Tom Hohn (vocals, drums/percussion), Brian Washington (bass/vocals) and Stanley J. Mikolajek (harmonica, vocals/accordion). Beatty (with Hohn's assistance) produced the album. Fortunately, the CD is not overproduced. When roots music is overproduced, it tends to sound like a fast food commercial. Actually, Boss Diablo’s promotional material characterizes their music as "combining elements of Roots Music, Big City Blues and TexMex flavored Country.” Implicit in the term, “Roots Music,” is the use of simple musical structures that lend themselves to broad interpretive variations. The “Don’t Act Right” CD reflects this approach, as does the average Boss Diablo live show.

The first cut on the album, “Darker Side,” leans heavily on a vintage tremolo guitar sound which loosely paraphrases Creedence Clearwater Revival. The vocal harmonies suggest (to this writer) influences of Crazy Horse and Buffalo Springfield. The second cut, "You Don't Act
Right,” was composed by Tom Hohn. The engaging 50’s Rock tempo and humorous lyrics hint a lineage to early R&B/Rocker, Tommy Tucker. Another highlight (on a CD full of them) is a cover of Tom Waits’ “Way Down In The Hole". Chuck Beatty's deep baritone vocals, combined with his smokey reverb guitar, make the lyrical admonitions (against following the Devil on the path of evil) sound like a prophetic cry from the wilderness. The effect is enhanced by the eerie accordian of sometimes sideman, Bill Maruca. Maruca also plays (to similar effect) on the Beatty composition, “End of Days,” an apocalyptic vision of currente events.

“Ruby Ruby” lightens the atmosphere a bit with what is billed as “a foot stompin’ back porch feel". It seems that any song ever written about a woman named Ruby has a “feel good” aura about it. This one written (and sung) by Chuck Beatty is no exception. The Freddy Williams cover, “I Love You Honey,” employs the considerable vocal talents of Tom Hohn. The harmonica comping (by Stan Mikolajek) exhibits a command and feel for the instrument not usually seen in a man only in his early twenties.

One of the best instrumental hooks of the album (I believe) belongs to “King of the Urban Jungle". This is a tribute composed by Chuck Beatty to the late Pittsburgh Bluesman, James King, for whom Beatty played bass during King's heyday. The instrumental dialogue between the guitar and harmonica in this song is exciting to hear. “Midnight Train,” (the 11th track) is a Buddy Guy hit ably sung and played by Brian “TooSweet” Washington. The song’s energy steadily gains momentum, building to an explosive coda. Though written by schoolteacher Roger Reale (and John Tivin) in the 1990s, the song has a classic heavy R&B feel about it. The final track, “Ballad of Boss Diablo,” purports (tongue-in-cheek) to be the genesis of the band's name. It tells the story of an aggressive Mexican immigrant’s rise to power. This song has a distinctive Tex-Mex, Southwestern flavor.

The new CD gives an accurate window into a Boss Diablo performance, but to fully appreciate this band, a live performance is the ultimate way to go. The two oldest members of the band (Beatty and Hohn) are veterans of many successful bands. Chuck Beatty has a folksy, self deprecating stage persona (he’s actually a trained civil engineer) that engages an audience to the point of audience members frequently asking the band historical questions concerning some of the more obscure cover tunes being played. Combine this rapport with the fact that all of the members of the band work very hard to hone their skills as emsemble players and you find that Boss Diablo gives listeners a great value for their entertainment dollar.

8 p.m. Moondogs, 378 Freeport Rd., Blawnox. 412-828-2040.

Pittsburgh Post-Gazette Weekend Mag Editor Scott Mervis covers the debut Boss Diablo CD "Don't Act Right" in "Weekend Calling"

BOSS DIABLO

Members: Chuck Beatty (vocals, guitar); Tom Hohn (vocals, drums); Brian Washington (vocals, bass); Stanley J. Mikolajek (harmonica).

Style: Blues-rock a la early Stones.

Experience: Frontman Beatty has been playing since the early '70s and is a veteran of such bands as James King and the Usual Suspects, Bob Beach Blues Band and Gary Belloma and the Blue Bombers. Hohn has been behind the drums for the garage kings The Cynics and the Frampton Brothers, among others. Washington was in the Orchid Room and Mikolajek, the Masons.

Formed: In 2004 when Beatty and Hohn, both veterans of the punk and garage scenes, realized they shared a passion for roots music.

Debut CD: "Don't Act Right," on the local Moondog Records, showcases Beatty's growling vocals and guitar work that's dark, bluesy and occasionally psychedelic on nine dangerous originals and three covers, including Tom Waits' "Way Down in the Hole."

Special ingredient: Originals like "End of Days," "King of the Urban Jungle" and "Ruby Ruby," with its distorted vocals, fit right into a set of dirty vintage blues rock.

Live set: Boss Diablo spices its set with covers by the likes of Sonny Boy Williamson, John Lee Hooker, Howlin' Wolf and early Stones, while also dipping into the classic country of both Hanks, Merle Haggard and Buck Owens

Release party: 8 p.m. Friday at Moondog's with the Pump Fakes and Slim Forsythe and the Parklane Drifters.

Further research: www.bossdiablo.com .

-- Scott Mervis, Post-Gazette Weekend Mag editor

Observer-Reporter's Harry Funk covers Hohn's drums on "Children of Nuggets" CD box set

When it comes to rock music compilations, there's nothing quite like "Nuggets" for staying power.

Lenny Kaye (future member of the Patti Smith Group) came up with the idea in 1972 to feature songs from some of his favorite bands of the garage/psychedelic era, music that had unceremoniously faded into obscurity within merely half a dozen years or so. Through his efforts, groups like the Electric Prunes, the Standells, the Barbarians and the Blues Magoos gained new listeners.

The original pressings of the two-LP "Nuggets" didn't stay in print for too long, and finding a copy was both difficult and expensive just a few years after its release. For those of us who read about the set and were aching to hear it, we had to wait until Rhino Records (still in its fledgling stages) issued an expanded series of "Nuggets" LPs in the early '80s.

Meanwhile, unbeknownst to most of the listening audience of that era, plenty of brand-new "Nuggets"-type music was making its way onto the scene, primarily in limited-release fashion. Bands like the Dukes of Stratosphear, the Stems, the Spongetones , the Inmates and the Cynics were drawing their sound, look and stage act from the garage/psychedelic heyday of a couple of decades before.

Plenty of that music resurfaced for a mass audience just this fall in another Rhino compilation, the four-disc "Children of Nuggets: Original Artyfacts from the Second Psychedelic Era 1976-1996." This release comes on the heels of two other four-disc "Nuggets" sets of '60s materials, both of which are extremely highly recommended, and continues the tradition 33 years after Lenny's groundbreaking set.

Personally, I knew next to nothing about the artists represented on "Children of Nuggets," besides a few of the ones that gained a modicum of popularity: the Smithereens , the Flamin' Groovies (which actually started in the '60s), the Soft Boys and the Chesterfield Kings , for example. And, of course, I knew about the Cynics , the Pittsburgh-area band that made quite a name for itself in the late '80s and early '90s.

In my quest for knowledge about local bands, I ran across Tom Hohn, who drums these days for Boss Diablo but previously did the same job for the Cynics . And his drumwork is featured on the Cynics' representation on "Children of Nuggets," a song called "Baby, What's Wrong," the leadoff track on the band's 1990 album, "Rock 'n' Roll."

The tune features a heavy fuzztone riff by guitarist Gregg Kostelich and anguished vocal by Michael Kastelic (the co-authors) that point to definite '60s influences, but advances in recording technology give the song a sonic depth that their forerunners weren't able to match.

About playing on a track that has made it onto a "Nuggets" compilation, Tom says, "It's an honor. It's almost like you're part of history, to make it onto one of the boxed sets.

As for the Cynics , they went on hiatus in the mid-'90s, then came back for a stand at the garage-rock festival Las Vegas Grind in early 2000, sharing the stage with such legends as the Standells, Barry and the Remains, and the Lyres .

"It ended up being a whole lot of fun," Tom recalls. "I don't remember who said it first, but it was, 'Why don't we keep it happening?'"

The Cynics proceeded to tour various parts of the world - they're huge in Spain - and recorded another album, "Living Is the Best Revenge." Along with new originals, it includes three really cool cover songs: the Electric Prunes' "You Never Had It Better," the 13th Floor Elevators' "She Lives (In a Time of Her Own)," and "Making Deals" by the Satans, a '60s aggregation so obscure that the All Music Guide doesn't even have anything listed about it, but which Tom calls "a true garage band."

Speaking of Tom and bands, Boss Diablo is working up material for a new CD that should be recorded and shopped to labels early next year. In the meantime, you can catch a highly recommended peformance this Friday, Nov. 11, at Michael's in McDonald (no, that's not Michael McDonald). The band also has just added a gig at Pickles in Washington on Wednesday, Nov. 23, the day before Thanksgiving.

Listen closely, and some "Nuggets" nuggets might turn up in Boss Diablo's set, as well. posted by Harry Funk @ 5:11 PM

Observer-Reporter's Harry Funk on the scene "Mixing It Up"

Since the beginning of time - or at least since the beginning of Classic Rock - bands have relied on a handy stable of cover versions to please the typical audience member.

Of course, I'm not your typical audience member. And Boss Diablo doesn't have your typical set list.

It's been many moons, for example, since I've heard anyone tackle Sonny Boy Williamson's "Help Me." Boss Diablo did it in style, with guitarist Chuck Beatty playing the signature riff through a menacing layer of reverb, while harp player Stanley J. Mikolajek, who's in his 20s but wails away like he's been hanging out with the spirit of Little Walter, put a genuine blues stamp on the 12-bar classic.

That was just the band's second song of the evening, and it had me clapping like a seal on Saturday night at Otto's Pub in Canonsburg.

The guys continued to trot out some tunes I really enjoy throughout the evening, and stuff you don't hear too many other people play: Wilbert Harrison's "Let's Work Together," Warren Zevon's "Carmelita" and Otis Rush's "Homework," to name a few.

Even their Rolling Stones selection steered away from the usual fare, with the Jagger-Richards composition "I'm Free" followed some tunes the Stones covered themselves: "Hitch Hike" (originally Marvin Gaye), "Crackin' Up" (Bo Diddley) and "The Hip Shake" (Slim Harpo). Plus Brian's singing and Stanley's harp made for a strong rendition of the disco-flavored "Miss You."

Throw in some country-flavored Buck Owens and Hank Sr. tunes, and some good old rock 'n' roll standards like Steppenwolf's "Born to Be Wild" and the Animals' "We Gotta Get Out of This Place," and it certainly made for one eclectic and rip-roaring night.

The band's repertoire may have been impressive, but Boss Diablo is a quartet of crack musicians. Veteran drummer Tom Hohn and bassist Brian Washington combine for a formidable rhythm section, and Stanley's harp adds plenty of depth to the sound while serving as a second lead instrument to Chuck's guitar.

Speaking of which, Chuck impressed me considerably by playing without a pick all night and by coming up with a wide array of tones to suit the band's variety of song styles. For example, during "Them Changes," a song recorded by Buddy Miles and Jimi Hendrix in the short-lived Band of Gypsys, Chuck struck up an inspired Jimi-type lead that jived perfectly with the fluid bass playing of Brian (who doesn't use a pick, either).

Tom, Chuck and Brian shared vocal duties throughout the evening, coming up with tight harmonies in combinations of two or three singers. Chuck gave a particularly effective reading of Tom Waits' gravelly voice for "Way Down in the Hole," as well as a heartfelt nod to Lowell George with a lengthy version of Little Feat's "Willin'."

So ... mark Oct. 28 on your calendar and check out Boss Diablo for yourself, if you like to hear stuff you don't usually hear. The guys will be at Auggie's Roadhouse, right off Route 19 in South Strabane Township.

posted by Harry Funk @ 7:27 PM

McKeesport Daily News' Brian Krasman reports
"Former Cynic Tom Hohn visits his roots for Boss Diablo"

Tom Hohn is getting back to his roots.

After spending years rocking Pittsburgh crowds in such notable bands as the Cynics and the Frampton Brothers, Hohn and his new band Boss Diablo are digging back into their record collections to find new inspiration.

Boss Diablo has been playing to local crowds since June and are beginning to develop a following. Hohn, who plays drums, said the quartet, which also includes Charles Beatty, Stan Mikolajek and Brian Todd Washington, came together when he saw an ad on www.pghmusicads.com.

Hohn said he wanted to get back to a more primitive, garage-style rock sound, and the ad placed by Beatty seemed to speak to him. And because the band mixes in various sounds such as country, blues and hard rock, he said Boss Diablo allows him more diversity than his former bands.

"This is a little broader and lets us branch out into other genres," Hohn said.

The band members bring together a wide arrange of different musical tastes, which add to the group's tendency to venture into unchartered waters.

Hohn said he and Beatty cut their teeth on old punk rock, and perhaps some of that is what's helping the band turn on new fans. He also said that because younger people are latching onto the garage rock style and the bands that helped pioneer that sound, which has its roots in the 1950s and 1960s, the chance of attracting a wider audience is more apparent.

"As they broaden their musical horizons," Hohn said of young listeners, "they realize, 'Hey, this old stuff's pretty hot.'"

He cited the White Stripes as a perfect example of a newer band that's conscious of its roots and isn't afraid to let it show in their music.

"Jack White is obviously a fan of old-time blues," he said. "I hear a bunch of stuff in his music that if you're not hip, you probably don't know what it is."

Boss Diablo began to come together last December, and by summer the group was a fixture on the local scene. They've become regulars at the Thunderbird Cafe in Lawrenceville, Paparazzi's on the South Side, and the Large Hotel in Jefferson Hills.

Hohn said the band is playing a good helping of covers, which encompass several genres, and have mixed in some original songs.

He said the upcoming show at Versailles American Legion will give attendees a chance to hear Boss Diablo and to sample home-cooked food.

And there are other perks to hitting an American Legion show.

"At an American Legion, you can't beat what it costs to get a buzz," he said.

For more on the band, visit www.bossdiablo.com

Written by Brian Krasman on Thursday, September 29, 2005

Gateway Newspaper 's Brian Knavish gasses with Stanley J in
"Troy Hill harmonica player fuels Boss Diablo"

For his 13th birthday, Stanley Mikolajek's parents bought him a harmonica. Not exactly the standard gift for a teenager in the mid 1990s, but while other kids got video games and hip-hop CDs as presents, Mikolajek was thrilled with his harmonica and instruction book.

Stanley, a Troy Hill resident, got to work learning, practicing, playing and falling in love with the harp. He started listening to blues music and recreated the sounds with his new toy, the harmonica.

Now, at the age of 23, the LaRoche College student plays with Boss Diablo, and his gritty harmonica work helps give the Pittsburgh band its Chicago blues sound.

The band's vibe is one of authentic blues rock'n'roll, complete with deep, soulful vocals and a mellow, rhythmic beat. This allows them to execute covers -- well-known classics and more obscure album cuts -- with flare that's both historically accurate and uniquely Boss Diablo.

"People always say they like the mix," said Mikolajek. "There's harmonica and guitar, but it's not crammed with too many instruments."

In addition to Mikolajek's tuneful, fluttering harmonica work, the band consists of Tom Hohn on drums, Chuck Beatty on guitar and Brian "Too Sweet" Washington on bass guitar. All four members sing.

While Mikolajek is the rookie of the group at age 23, the other members have been around the music scene for years with numerous groups. But Boss Diablo, itself, is quite new, playing their first gig in June.

Hohn and Beatty formed the band in December of 2004, tapping into their mutual love of spicy rock and electric blues. Washington joined shortly thereafter, and for six months they sang the blues in a practice setting, fine tuning their smooth sound before taking the show to local bars and clubs.

Beatty had worked with Mikolajek on previous recording projects, and on one of these early rehearsal nights -- even before Boss Diablo officially existed -- the harmonica player joined the group for a jam session.

"We invited Stan over to jam with us, and when he started, we all looked at each other and said, 'This guy is good,'" recalled Hohn. "But he was involved in other projects and couldn't commit."

The band kept on practicing. They wanted a fourth member, but they weren't sure exactly what instrument they craved: Saxophone, harmonica or keyboard.

"We started searching for our fourth member, and we found a blues harp player, and even though he was very good at it, he was limited in that he could only play blues harp," said Hohn. "We have plenty of numbers we do that aren't blues."

Finally, this spring, Mikolajek's schedule loosed up and he was able to join the band. "Stanley J" -- as he likes to be called -- also plays accordion and guitar. This not-so-standard instrumental repertoire helped gives Boss Diablo the flexibility it desired.

"It really makes him unique in a rock band," said Hohn. "Harp is not that common. And accordion, a few bands do it but not many ... it helps us with the retro roots rock sound."

With Stanley J aboard, Boss Diablo begin playing out in June.

Now they play four to six shows each month throughout Western Pennsylvania. They make regular stops at Lawrenceville's Thunderbird Cafe, perhaps Pitts-burgh's top blues bar. They'll next visit "the T-Bird" on Saturday, Oct. 1.

"Folks who haven't been to the T-Bird should check it out," said Hohn. "It specializes in roots music, anything from old-style country to more pure blues."

Their show is made up of mostly covers. This includes popular, mainstream classics like "Born on the Bayou" by Creedence Clearwater Revival, "Like A Rollin' Stone" by Bob Dylan, "Elvira" by the Oak Ridge Boys," and "We Gotta Get Outa this Place" by The Animals.

But the song list also includes some lesser known covers like Merle Haggard's "Okie from Muskogee" and "Dimples" by John Lee Hooker.

"My personal favorite to play is 'Help Me' by Sonny Boy Williamson," said Mikolajek. "As for crowd favorites, a lot of people like the old '60s rock, Beatles covers, Velvet Underground."

Boss Diablo will sprinkle in a few originals, including "End of Days" which was written by Beatty in response to the 2004 presidential election.

Another original in the works is "The Ballad of Boss Diablo."

The idea for the band's name came first; they wanted a name that had a Tex/Mex Feel and thought Diablo -- or Spanish for "devil" -- sounded cool. Fortuitously, it inspired a tune by the same name about a Mexican who pays off border guards to get into the United States then eventually becomes a mob boss in Arizona.

While the band has a six song demo CD -- "Roots Music for the People" -- out right now, they are working on a full album of originals.

The plan is for the CD to heavily emphasize Mikolajek's versatility.

"We want to have Stanley multitasking, playing the accordion, the squeeze box and a little bit of guitar," said Hohn. "The goal is to get a full CD out next year."

written by Brian Knavish on Friday, September 23, 2005

Observer-Reporter's Harry Funk says "Meet the Boss"

Their credo is "roots music for the people." And what exactly does that mean?

When it comes to definitions, members of Boss Diablo let the music do the talking. From what I've heard on a six-song demo they're circulating, the band does a great job of channeling the spirits of bluesmen and rockers from Jimmy Reed to Paul Butterfield to Johnny Winter, with an energy level that sounds like it has all the makings of a potent live show. And they show their leanings toward a '60s-type sound (never a bad thing) with a fairly faithful cover of the Animals' "We Gotta Get Out of This Place."

The performances are tight, despite the band being relatively new, as Boss Diablo just started playing gigs in June. But the band must be doing something right. A look at upcoming gigs shows them booked - wow! - every weekend through mid-December, it looks like.

The four members actually got together late last year and worked together considerably before playing live.

"We just took out time, collaborated and came up with a solid set of tunes we all like and could contribute to," said drummer Tom Hohn, who also has played with the Cynics , Pittsburgh's self-professed "garage rock kingpins," since the late '80s.

Looking at a list Tom sent me, Boss Diablo 's repertoire looks like it's right up the alley for fans of rock 'n' roll's formative years and the artist that paved the way for it, as they cover blues greats such as Sonny Boy Williamson, John Lee Hooker and Howlin' Wolf, along with '60s-era acts like the Velvet Underground, the Sonics and Ten Years After. Plus, they dip into the country bag a bit, covering the likes of Hanks Sr. & Jr., Johnny Cash, Buck Owens and Merle Haggard.

And they do Sleepy John Estes' "Leavin' Trunk," with a smokin' blues riff by way of Taj Mahal, the Keef Hartley Band and, just recently, the Black Keys.

Boss Diablo is working on a number of originals as well, with hopes of putting together a full-fledged CD by early next year.

Along with Tom, Boss Diablo is Chuck Beatty on guitar and vocals, Brian "Too Sweet" Washington on bass and vocals, and Stanley "J" Mikolajek blowing a mean harp.

If you'd like to check 'em out, "We're playing all over the area, everywhere from Butler to East Brady to Washington," Tom reports. The band is at the Baltimore House on Curry Hollow Road in Pleasant Hills on Friday night. Around Washington, they're scheduled for Auggie's Roadhouse on Sept. 9 and again Oct. 21 and Dec. 2; Otto's Pub in Canonsburg on Sept. 24; and at the Holiday Inn - Meadow Lands on Nov. 18.

posted by Harry Funk @ 1:39 PM on 8/23/05

Boss Diablo now has high-quality, limited-edition and swanky T-shirts available for the People! Pick one up at an upcoming show or you can contact us and we will make arrangements to hook you up with one in your size.

There are at least a few left in every size, but don't delay because they are going fast! The photo below is a realistic depiction of the Boss Diablo T-shirts.

Boss Diablo has recorded a collection of six demo tracks that will be available on CD at their shows (or you can contact us and we can get you one sooner)! Check out our Sounds page for a sneak preview!