SLAYER - This isn't L.A. and more 

Various Slayer stories ...

STORY ONE: JUNGLE LOVE

Sometime in 1990, I get a call from Scott Koenig (RIP) who said he was with Tom and would I come into Manhattan to hang out?

I mentioned a band I was helping was playing in SI that night and Scott and Tom decided to go there to meet me.

I told Scott to tell him they weren't a heavy band, but Tom didn't care.

So I tell the band (who were somewhere in-between BonJovi and Skid Row) that Tom from Slayer is coming ... now unless you know Tom, you think he is bringing crosses, lighter fluid and a torch ... that wasn't Tom at all.

The band is somewhat panicked, but I knew it would be fine.

Tom gets there with Scott as the band is about to go on and he stood about 15 feet from the stage watching their whole set and then ...

The band breaks into a hard rock version of Jungle Love from The Time ...

In 89/90 I was really into Morris Day/Time and influenced the band to do it.

See Tom was not a thrash guy. The only thrash he listened to was Slayer. as a bassist he appreciated funk.

So, Tom starts getting closer to the stage and starts bopping and doing the "O E O E O" chorus.

Everyone in the venue is stunned, Scott is laughing and I am smiling because I kind of pushed this cover on the band and now they are seeing how universally it can work.

After the set, Tom asked if he could go backstage and meet the band ... YOU ARE FN TOM ARAYA ... DO WHAT YOU WANT.

I remember the drummer Keith telling me what a nice guy he was and how he loved the cover.

I was known for playing the heaviest of heavy, but I always appreciated all kinds of music and Tom was similar.

All night long he would yell out ... "O E O E O"

STORY TWO: THIS AIN'T L.A.

Tom and Jeff were in town and came to the club to see Possessed in 1986.

We arraigned for them to jam afterwards, and they played 2 songs from the upcoming Reign In Blood album

Needless to say, Tom spent most of the time in the booth and Jeff was there a lot as well.

The night ended and we were all pretty wasted, so they ask where is the party? Cindy a waitress heard and said, "my house". Cindy had a small house in New Dorp, SI that she would throw parties at.

So, Tom and Jeff get in my brand new bright red Firebird with Tom riding shotgun.

Outside there was still about 100 metal maniacs freaking out that they got to meet Slayer and hear two new songs and they are watching the two legends get in my car ... street cred baby lol.

Tom goes "what do you have to listen to?" - I said, "I have your new album Reign In Blood" ... Jeff said, "how did you get it?" ... Tom gives him a look and says "BLAST IT"

The album wasn't released until the following Tuesday ... but I had it for a month in my car (I was asked by Rick Rubin not to play it at the club) ... AH YES INDEED!

I play Angel of Death with the windows down and they both start headbanging.

The kids outside are freaking out at the visual ... I was a "made man" after that.

We get across the bridge and driving on Hylan Boulevard and I pull over near Wendy's in Dongan Hills to ... err ... umm ... partake in some "SKITTLES".

They freak out because in Cali you get arrested.

I explain they are not in Cali anymore.

Jeff panics that we are three longhairs in a bright red sportscar doing SKITTLES on a lit street ... I said I will do it fast.

We get to Cindy's and party for a few hours, and I tell them I am ready to leave (I still lived at home in 86), they said "Ok drive us to our hotel in Manhattan" ... I am 2 miles away from my moms and its 6am ... ARE YOU NUTS?

So, everyone at the party chips in and we get them a cab.

Being in Slayer in 86 wasn't exactly financially rewarding.

There are various versions of how the jam came together on the Possessed night.

Possessed tells the story that Rick Rubin asked them as soon as they got off-stage.

I honestly don't remember Rick being there that night.

I do know Slayer knew in advance because Tom felt weird doing it because he thought they were stealing Possessed thunder.

But it was almost 40 years ago ... DAMN WE ARE OLD

STORY THREE: TOM ARAYA SAVED THE DAY

In 1987, Overkill played L'Amour and Tom Araya from Slayer was hanging out in the DJ booth as I was spinning.

I had the idea to have Tom introduce Overkill from the stage with me.

I thought that would be a moment that fans would love and also make Overkill look huge.

In L'Amour, Slayer were the pinnacle and Overkill had toured with them so it made sense.

I told George (owner) my idea and he said "I hope you know what you are doing?"

Tom was reluctant. He isn't a "look at me" type guy. But he was friends with both myself and Overkill so he agreed.

I told him that I would set him up perfectly and before it came time to hit the stage we down a drink and make the move.

The screen that covered the L'Amour stage lifts and I walk out to a nice ovation and start talking and say "I have an idea, I will let a friend introduce our headliners".

The crowd that saw Tom in the booth knew it was him and as he walked out to the mic, the chants of "SLAYER" were insane.

It then hit me that this might backfire on me.

Instead of the focus on Overkill, they were chanting "Slayer" over and over instead.

Tom just stood there and smiled without saying a word and I looked at George (who was also Overkills manager) like "uh oh"

Tom's first words were "Did you say ... "Slayer?"

Crowd gets even louder

I thought I screwed up, until ...

Tom saved the day with "And what do Slayers do? ... ... ... They KILL"

The packed venue picked up on the cue and started chanting "KILL, KILL, KILL" and I walk over to Tom and we both say "OVERKILL" and the place goes insane

Pure genius by Tom and he saved my ass that night

Chuck Kaye

Ah Yes Indeed

www.theroaroflamour.com

No wonder so many are afraid of him.

He looks about 5'2"

AWESOME COMMENTS REGARDING THE CREEM ARTICLE

Its finally landing in mailboxes and online at https://www.creem.com/.../2026/06/01/the-roar-of-lamour

-

"For decades L'Amour was just a tee-shirt. Now it is part of history"

-

"He was A&R, promoter, and bouncer with a mic."

-

"Most guys do the VH1 version: glory days, no consequences. Chuck gave Creem the "Skittles" coke habit, puking on Steve Harris, dropping the curtain on Tom Keifer, and quitting via answering machine because "I felt like I was the only one who cared." You don’t get 12 pages in Creem by sanitizing. You get it by bleeding."

-

"He waited until it mattered

Disappeared for 36 years. Comes back at 63 after heart failure with "now every day’s a gift." Didn’t cash in with a quick memoir in '95. Waited until L'Amour needed a narrator and he was ready to tell it straight. That restraint earns respect."

www.theroaroflamour.com

The story behind Chuck Kaye (The Roar of L'amour) return to L'Amour to host Jane's Addiction for FACES Magazine:

On February 25th, 1989, three and a half months after I quit, Jane's Addiction played L'Amour in Brooklyn.

Why am I telling a story about a show I didn't work?

Well in my case I actually came back for one night to host it.

When I left L'Amour in November 88, I left abruptly and didn't tell anyone.

Word got out immediately to the regulars, but it took a bit for industry to find out.

So, Jane's Addiction gets booked and Faces Magazine contacts me asking if they could host it with me.

Faces were huge supporters of mine and included me in their magazine a few times but didn't realize I quit.

I explained I quit and that I really didn't know about the gig.

After talking a bit, they inquired if there was a way to come back for that one night ... hmm ...

It gave me an idea.

There was a local Manhattan band called Demolition Boy that was interested in working with me.

I thought they would be a great fit so I called the owners and Mike Parente answered.

I asked if Jane's Addiction had an opener yet and he yelled to Ken Kriete (who stepped into my shoes and more) if he booked anyone.

Mike replies "no band yet, what's your idea?"

I said I have a band and a way to make the night a bigger event and Mike said "its slow today, come to the office"

I drive in with the Demolition Boy demo and both Mike and Ken agreed they fit and Mike said "tell me your idea"

I told him, Faces magazine will cover the event as well, but they want me hosting it.

Mike didn't hesitate and said, "of course you can", which was awesome to hear.

He said, "so you come in and DJ that night and ...", I stopped him and said, "only host".

He asked why, I explained I was done with that aspect of my life, but introducing 2 bands and Faces, I can do.

We discussed the club since I left and while Mike and I had our "moments" in the 49 months I worked there, he was incredibly complimentary and he said, "customers still ask about you".

We shook on it and as I was going back to say goodbye to Ken, Mike called me back to his office and asked if this was my way to work with the club again.

I said, "let's get through one night" and we laughed.

It was an awesome conversation.

I work out whatever I had to between Faces, L'Amour and the bands and for the first time in 3.5 months, I am returning to L'Amour.

There were only two bands, so DB had a full soundcheck and dressing room.

The band was impressed that their first L'Amour gig was this big and I even had Dave Gizzo assist me as far as running the night for them as a road manager.

Faces get there with a big banner and I said, "put it on top of the bleachers" and I will tell the club security that nobody is allowed there until Jane's Addiction goes on ... trust in Chuck.

I hit the stage for my return with a loud AH YES INDEED and received an awesome response ... THANK YOU L'AMOUR, I introduced DB and they go on and killed it.

After the set they go to hit the dressing room and I say "nope", follow me and I lead them to the top of the bleachers where Faces Magazine are waiting.

It's on ... the band looked like stars doing a photo shoot right after playing and in front of thousands of people.

Everyone was looking at the happening while the equipment change-over was going on.

They were sweaty and spent but looked like stars.

The band does the shoot and interview and as security walks them backstage, I tell Faces to let the crowd digest what they saw and in 10 minutes we will hit the stage.

10 minutes go by, and I hit the stage for the second time and do a rap about Jane's Addiction losing the Grammy to Jethro Tull. Even Jane's Addiction fans that had no idea who the f I was or why people were yelling "Ah Yes Indeed" were getting hyped now.

I bring out Faces, and we start throwing tees to the crowd, but made them work for it.

"Who wants a tee? LET ME FN HEAR YOU!!!"

After a few more minutes of hype, I say something like "stick around for Janes Addiction and the place went nuts.

A member of their management said I got the crowd perfectly ready for Jane's Addiction and John the club stage manager said "he used to do this for a living" lol.

Jane's Addiction were awesome and I had so much fun.

It was the perfect way to leave L'Amour behind.

I get to the front to get paid and Mike was all smiles.

We hugged and he said, "are you interested in hosting more shows?"

My face said it all and to Mike's credit, he agreed.

See earlier in the night we had an argument over guest list.

They felt I had too many and we fought and I said, "take it out of my pay".

They responded, "you are not getting paid" and I said exactly.

I brought in a great opening band, Faces Magazine and hosted the event all for FREE and they still had to fight me over $100 worth of guest.

As much as the night worked, it solidified my time was over.

For years the owners and I were able to both work together and see things differently.

But that time was gone and a big reason why I quit.

George, Mike and I, were three A-types and it was never going to work.

BUT WHAT A GREAT WAY TO LEAVE OFF

Jane's Addiction killed it

Demolition Boy killed it

Faces magazine killed it

And ...

So did L'Amour and I ... all puns intended.

Next time I saw George and Mike was over 20 years later in 11/09, when they did a "Chuck Kaye" night at the SI L'Amour that Donnie Tranchina put together.

It celebrated the 25th anniversary of my first full month in Brooklyn

RIP Mike P.

Chuck Kaye

www.theroaroflamour.com

CREEM MAGAZINE ARTICLE - THE ROAR OF L'AMOUR

In the ’80s, an iconic NYC heavy metal club called L’Amour started as a disco and reinvented itself as “The Rock Capital of Brooklyn," after swapping Saturday Night Fever vibes for spikes and big hair. L’Amour was dank and smelled like cigarettes, old beer, and armpits, but it drew thousands of heavy metal hood rats who hiked there every weekend. Shows spanned the metal spectrum—on any given weekend you could see big-hair pretty-boy acts like Poison and RATT or harder fare like Metallica and Anthrax. Despite being ratchet and tucked into the boonies of South Brooklyn, it was the East Coast’s heavy metal mecca. L’Amour was perceived as so important to a band’s success that arena acts like Iron Maiden and Motörhead played there when touring through the area to up their grassroots cred. Throughout that time there was one man who made a night at L’Amour feel like a tribal experience. That man was Chuck Kaye.

Chuck Kaye was the DJ and de facto minister of this metal church from 1984 to 1988. He had a magnetic personality and a big love for metal and its fans, not to mention a keen nose for the next hot track and attracting ticket buyers in droves. Part of Chuck’s appeal was his deep, distinctive voice. Singer of multiplatinum-selling '80s act White Lion Mike Tramp described it as “like a rocket taking off" and eventually dubbed Kaye “The Roar of L’Amour." Chuck’s “roar" was so much a part of the scene that when local metal kids who lived near the club started forming their own bands, they’d test prospective band names while doing a Chuck impression. If it didn’t sound brutal in Chuck’s voice, it was scrapped. Former A&R guru for Roadrunner Records Monte Conner, responsible for signing names like Sepultura, King Diamond, Type O Negative, and more, famously stated that “[Chuck] sounded like a god coming over the L’Amour PA."

More on CREEM | THE ROAR OF L’AMOUR

The Chuck Kaye and Cheap Trick story at L'Amour centers on a historic night on April 5, 1986, when the club's legendary house DJ orchestrated the first room reunion of Cheap Trick's four original members since bassist Tom Petersson had left the band

The Quest to Book the Band

Chuck Kaye, famously known as "The Roar of L’Amour," was the primary host, DJ, and booker at the iconic Brooklyn heavy metal venue. Cheap Trick's guitarist, Rick Nielsen, was Kaye's all-time favorite musician. Despite the venue management's usual frugality and hesitation to book them, Kaye spent nearly two years aggressively trying to secure the band for a live show.

He eventually tracked the band down at a local studio where they were mixing their album Standing on the Edge. Making a passionate, "fairy-tale" pitch about how much the hardcore Brooklyn metal crowd loved them, Kaye successfully convinced Cheap Trick to sign on for a headline slot.

The Secret Guest

At the time, Tom Petersson was no longer in the band; Jon Brant was serving as Cheap Trick's bassist. Kaye happened to be close friends with Petersson and his girlfriend, Janna, through legendary producer Jack Douglas.

Knowing Cheap Trick was coming to town, Kaye personally invited Petersson to be his VIP guest at L'Amour that evening, keeping his attendance a secret from the rest of the band.

The Reunion Night

On April 5, 1986, Cheap Trick took the stage in front of a packed, chaotic L'Amour crowd. Petersson stood off to the side, quietly watching his former bandmates perform alongside Kaye.

After the show, Kaye brought Petersson backstage to the dressing room. The unexpected encounter caught the band off guard, but the initial tension quickly faded into a begrudging, emotional reunion. It marked the first time the four original members—Rick Nielsen, Robin Zander, Bun E. Carlos, and Tom Petersson—had shared the same room since Petersson's departure in 1980.

The Aftermath

Though the band finished out their tour cycle with Jon Brant, the ice broken by Kaye that night in Brooklyn set a long reconciliation in motion. Petersson eventually rejoined Cheap Trick permanently in 1987, helping catapult them back to multi-platinum success with their landmark 1988 album Lap of Luxury.

Decades later, Kaye's pivotal role as the "ringmaster" who accidentally engineered a classic rock reunion was officially documented and featured in the current issue of CREEM Magazine and on www.theroaroflamour.com

Chuck Kaye, known as “The Roar of L’Amour”, was the club’s dominant DJ/MC/promoter from 1984–1988. His own website recounts the full Iron Maiden saga, including the infamous moment where he says he “up‑chucked” on Steve Harris during a night out — a story he frames humorously as part of his long relationship with the band.

How Chuck Kaye helped bring Iron Maiden to L’Amour

• He had known Steve Harris and the band since the early 1980s, long before working at L’Amour.
• In 1985, during a WASP weekend at the club, he spoke with Maiden manager Rod Smallwood, who remembered him from backstage interactions. This began the push to get Maiden to play Brooklyn.
• Throughout 1986, Kaye repeatedly encouraged Harris to consider a L’Amour show — including during a night out when Harris was mixing at Electric Lady Studios. This is the night Kaye says he got extremely drunk and “up‑chucked” on Harris.
• Kaye and the club continued lobbying Harris, especially during a Fates Warning show where Harris visited the venue as Kaye's guest. Harris seemed genuinely interested, but logistics were complicated.
• Eventually, L’Amour’s team and promoter Rich Sanders worked with Smallwood to make the show happen.

The legendary 1988 Maiden show at L’Amour

• Iron Maiden finally played L’Amour on May 8, 1988, billed under the pseudonym “Charlotte the Harlots.”
• Chuck Kaye was the DJ that night and even recorded the answering‑machine teaser: “Run to the Hills and get your tickets now.”
• The show is widely remembered as one of the most legendary in the club’s history.

Check out more stories at www.theroaroflamour.com and in the new issue of CREEM Magazine

INSIDE INFO ON THE CREEM MAGAZINE ARTICLE OUT ON MYSELF/L'AMOUR

I been getting asked a lot of questions, so I felt best to put it all here ...

How the article came about:
On June 24th, 2025 a regular at L'Amour in the 80's messaged me asking if he could pitch an article on me to various outlets and after he sent me a proposal, I agreed.

How it wound up at Creem:
The writer shopped it to various outlets and Creem were the first to agree to take it.

Why it took so long:
Well, he interviewed me in July, sent the proposal around in August and Creem fully agreed a few months later and there was different versions and rewrites that took time. Also because Creem is a real publication they researched to make sure it was factual.
Plus since it is print and released quarterly that added to the "delay".

Did I have a say in the article?:
Yes, I nicely butted heads a few times with the writer over tone. I thought I was given more credit than I deserved and felt it looked like I was not appreciative of the owners (which I am). To his credit he understood and rewrote some accolades. I am very flattered by his memory of what I did, but felt it was a bit much.

What is in the final version?:
It is a combo of the writers perspective, quotes from bands and industry executives, photographs and snippets of an interview with me.
It began as more of a focus on the club, but Creem wanted my story to drive the piece.

How photographer Frank White got involved:
Creem wanted images of me and Frank photographed me for various magazines in the 80's so I recommended him.
When he started talking to Creem, they found out he had images of the bands that were discussed in the article and I was told they loved them and the feature grew in size and opened cool dialog between Frank and myself.

My excitement level:
I love that it was written by a regular from the era who was in the club and it is his perspective.
Plus Creem was my favorite magazine as a teen and they were not one of the magazines that covered me back in they day so this is a lot of fun.

What is next:
Probably nothing. I think I am done. I been approached about a book, but I am letting others do all the leg work. I don't see any takers, but then again I didn't expect the website, NY1 and Creem to get attention.
I agreed to do at least two documentaries, but only as a participant.
I have an agreement to do something with SILive.com about the late 70's and early 80's scene that I am excited to do, but scheduling and logistics have not been aligned yet.
I am also being interviewed for a book on Cheap Trick next week.
Other things I been approached to do are up in the air, but my health prevents me from putting too much energy in.
Also, I feel I am a bit over-exppsed at the moment.

In closing:
There is a ridiculous amount of drama attached to everything L'Amour and online, but all I can do is tell my story.
Like I say on www.theroaroflamour.com ...
"L'Amour was open before and after me and its story is bigger than mine, but this is THE TRUTH about a 49-month span during the heart of that run." - Chuck Kaye
That said, I hope people enjoy the article and website and whatever comes next. Please remember that none of this is that important and I didn't start looking back until people asked me to and I am legitimately shocked so many remember.

Chuck Kaye
Ah Yes Indeed
www.theroaroflamour.com