Plugz/Deadbeats/Billybones/Skulls/Eyes/Controllers/Flyboys/Crowd/Holly
Vincent/Shock/Gears/Stitches/Wild Weekend/Dogs/Diffs
The
Echoplex—Echo Park, CA
Sunday, November 11, 2007
Last weekend was a rare treat indeed. A 30 year reunion show of L.A. punk to help promote the book "LIVE AT THE MASQUE: Nightmare in Punk Alley", with hundreds of photos from the Masque and the Other Masque, L.A.'s legendary punk rock cabaret. To celebrate the event, several bands that had not played in nearly 30 years reformed for the one-off show. I saw many new and old friends that shared that wonderful experience with me 30 years ago. The good news is that it was a sell out (estimated 1000 people) and the books sold out. Not only that, but they drained the bar. No beer or booze left by the end of the night.
The announcer during the sets was Bruce "Barf" Moreland who had the same job as Masque announcer. I still remember New Year's Eve, 1977, when Bruce said his wish for the coming year was that Led Zeppelin would die in a plane crash. Apparently the years have softened him quite a bit because his hair is now as long as Led Zeppelin's. He added a touch of humor to the festivities.
The book itself is extraordinary. I'm still waiting to get my copy in the mail but I had the opportunity to skim through it and found my picture 3 times which was very cool. It is an oversized coffee table type book and has a list price of $45 but you can order from Amazon.com for $30. A fine investment if I do say so myself.
I went to the show with Steve Stiph, my long time (since kindergarten) friend who attended the Masque and other L.A. shows with me in the 70's. One of our favorite bands was the Red Army. It was my pleasure to meet Dan Wasko from the Red Army who I had only communicated with via email for a couple of years now. Dan actually lived in the Masque for 6 months.
Other "celebrities" that I personally saw were Trudie, Billy Zoom, Pleasant and KK.
I had the opportunity to speak to both Jenny Lens and Rover.
I understand other early L.A. punks such as Dim Wanker, Lee Ving, Paul Roessler and Helen Killer were also in attendance although the show was so huge, it was near impossible to see everybody that you might have hoped to say hello to.
There was an area of the club upstairs where they were doing photos and interviews. This was guarded like Fort Knox and only a select few were allowed admittance. I guess some of us forgot our Nazi armbands to gain admittance. My only disappointment on the evening was that there were people who had come long distances for the show and were hoping to say hello to some of the people they hadn't seen in 30 years but didn't get the opportunity because some never left the upstairs environment. The great thing about the original scene was that there were no rock stars and everybody was accessible.
Here's a run down on each of the bands:
The Diffs: They did a Germs greatest hits tribute. I had two different people tell me that they sounded better than the original Germs. Anybody who experienced the Germs in the 70's knows that their stage shows were normally very sloppy. The Germs G.I. album is great and benefited from the structure of the studio. The Diffs did a superb job of making the show sound very close to the album.
The Dogs: The Dogs were punk before there was such a term and I saw them originally before the whole L.A. punk scene erupted in early '77. They did a fairly short set including their hits, Fed Up and Slash Your Face. They never got the respect they deserved in the old days but they certainly do now. The audience was really into things. So much so, in fact, that Loren's son had to be hoisted up on stage so he wouldn't get squashed. Loren introduced him as the future of punk rock. Brendan Mullen gave them a nice tribute by crediting them with providing the P.A. for the original Masque. There may not have been a Masque without them. They were off to Japan the next day to help promote their Dogs tribute CD, "Doggy Style" which Loren gave me a copy of. Fuck yeah!! Thanks!
Wild Weekend: Wild Weekend is a Zeros tribute band consisting of 3 women and one guy on drums. They did a commendable set of the Zeros greatest hits.
The Stitches: The Stitches never played they Masque. They are product of the 90's and 00's. They do have a '77 punk style however and fit in nicely with other bands. I asked Johnny, guitarist, how they weaseled their way on the bill and he said their livers were as old as any of the original punks at the show. Nice selection of tunes mostly from their full length release of a few years back.
The Gears: What can you say except they are awesome! Axxel G. Reese, Dave Drive and Kidd Spike. I managed to say hello to Dave and Axxel after their set. Some of the nicest guys in punk rock. I believe the 2 elderly folks that were there may have been Dave's parents but I'm not absolutely sure. Brendan asked Kidd Spike if he was getting enough to eat. If you've seen him lately, you'll know the answer.
Shock: I ran into Kip and Paul at the photo shoot done a couple of years ago but this was the first time I had seen Steve Reina since 1979. We used to hang out with Steve and his second band, The Silencers, in the old days. Since I had put out the split CD of Shock and the Silencers a few years back, this was one band I was really looking forward to. They didn't disappoint, belting out a nice selection of their greatest hits. Really nice guys too. I got to spend a bit of time with them during the evening.
Holly Vincent: The Italians were missing but Shock provided the instrumental backing for Holly who looked hot and sounded hotter.
The Crowd: Representing the Other Masque, O.C.'s, the Crowd, played a set of poppy tunes.
The Flyboys: John Boy lost some hair along the way but the band sounded great. Power pop was the order of the day.
The Controllers: The first Masque band, the Controllers, played a set that might have come right out of '77. It would have been great to have seen Mad Dog on drums but that would be impossible given her health isues. They played all the old favorites including my favorite, Hot Stumps.
The Eyes: Charlotte Caffey of the Go-Go's, DJ Bonebrake of X and
Billybones/Skulls: Billy Bones is maybe the nicest guy that came out of the L.A. punk scene. With his new band, the Billybones, they blasted out a nice selection of old Skulls tunes. Great stuff.
The Deadbeats: If you like artsy, discordant music then the Deadbeats are for you. They're not for me. They were just as I rembered, good for a laugh but musically not my bag at all.
The Plugz: He may not be a rock star, but Tito Larriva certainly acts the part. Coming out in his suit and sunglasses, he strutted around the stage like he owned the place. Judging from the crowd, he did. The Plugz played the entire Electrify Me album. Good band who did their thing very well although they were never one of my favorites.
All in all, a pretty great day. Let's do it again, Brendan.
Willy Aadnoy
(11/18/07)
Rubber
City Rebels/Glass Heroes/Hell On Heels
The
Rogue—Scottsdale, AZ
Friday, June 4, 2004
Rising from the ashes of the Peeps and Tempe Tramps, we have a new all female foursome that belts out some sleazy, trashy, slutty tunes that make you feel dirty...and feel good about it. Glam punk at it's finest. These gals have signed a 3 album deal with Bomp! and we should see the first later this year. Paula Monarch takes most of the lead vocal duties but gives her fair share to the rest of the group. They've been around for awhile but this was my first opportunity to see them in action. I look forward to more.
The Glass Heroes were playing for the first time in quite some time but sounded like they haven't missed a beat. Led by lead singer/guitarist Keith Jackson, the Heroes played an abbreviated set to allow to the Rebels a chance to play longer. Their have a finely honed '77 punk rock style that included covers of songs by Chelsea and the Professionals. Their originals are fantastic examples of the style made the 70's special.
After 25 years, I made another visit to the Rubber City day care center and came away in one piece once again. Frontman Rod Firestone bounced around the stage like a teenager. Not bad for a 50 year old (give or take a few years). What's up with the hat though, Rod? Lose a little hair in the intervening years? The band ripped through almost their entire catalog that spans the "From Akron" LP released in 1977 up to their fantastic new release of last year, "Pierce My Brain". Rod was in fine vocal form, Buzz Clic played the guitar like a man possessed and Mike Hammer and Bob Clic provided a searing rhythm section to complement each other. Bars close at 1:00 AM in Arizona (at least until September), but 1:00 AM came and went and the Rebels weren't done. They kept going, adding probably another 7-8 songs after the witching hour including a cover my my favorite non-punk band, the Status Quo. They do an excellent job on "Paper Plane". Usually when the hour is getting late, because of my advanced years, I start looking at the clock and wonder when I might be able to sink into my soft bed. This time, however, I was horrified at the prospect at cutting off at 1:00 when I knew several of my favorites hadn't been played yet. Kudos to the band nad the management of the Rogue for allowing them to finish their set. This was the best show I have seen in several years. Come back soon!
Willy Aadnoy (6/13/04)
Exploding
Fuck Dolls/Rocky Mountain Ballbreakers (or something like that)
The
Rogue—Scottsdale, AZ
Saturday, June 5, 2004
I saw this opening band on July 4th last year and wasn't all that impressed then. I'm still not. The guitarist looks like he should be in ZZ Top and the singer looks like he should be living in some cabin in the Montana back country. The songs are overfast and unimaginative. The two folks immediaetly to my left thought they were great. They must have been their relatives.
The Exploding Fuck Dolls saved the night. Adding to the fun was having long time friend from California, Steve Stiph, attend the show with me. I had the pleasure of meeting Art Godoy who I have been communicating with via email since he sent me a review copy of last year's top 10 album, "Here's To Your Fuck". They also have a recent release on Disaster Records that has alternate mixes of some songs from the other album and a few songs that aren't included there in case you want to complete your EFD collection (and you do). Kris Swanson on vocals looks a bit like Mick Jones of the Clash and sounds a lot like Joe Strummer. The EFD catalog spans a range of about 7 years during the 90's and Kris did a great job of attacking the vocals for each era of the band (which included a short stint with Duane Peters on vocals). They ripped through almost their entire catalog of songs and did all of the ones that they knew. Their brand of punk rock'n'roll is timeless and the set knocked me on my ass. They are currently on a nationwide tour (see the tour schedule below). Go see 'em buy their stuff. You won't be disappointed.
Willy Aadnoy (6/13/04)
Weirdos/Skulls/Difs
El
Rey Theater—Los Angeles, CA
Friday, December 5, 2003
Opening the show were the Difs, a group of young men that are probably in the age range of 12-15 although the drummer looked like he could have been 10. They started their set off with a ripping song that had me thinking this was the next coming. It also turned out to be their best song although they played a competent set of punk rock'n'roll originals and covers including Gimmie, Gimmie, Gimmie of Black Flag fame. As a young group they played their fair share of cover songs which is to be expected. Kudos to them for getting out there. They are sure to get better as they play more and write new songs.
The Skulls who started out in 1977 in L.A. are back with lead singer Billy Bones still at the helm. They have two fantastic albums out on Dr. Strange records and played a good assortment of tunes from both of them. Billy is still able to belt them out wiuth the best of them even though he is starting to look a little haggard. Solid, solid stuff.
I saw the Weirdos for the first time in April of 1977. It was their second show. It rocked my ass like few other shows ever have. Even though I had to drive 400 miles to see the 2003 version of the Weirdos (originals Dix and John Denney and Cliff Roman along with Xander Schloss and Sean A.). They started the festivities rolling with "We Got the Neutron Bomb" which sent chills up and down my spine. They looked good for their age and they sounded like they had never left. They played a long set covering their whole career. Old favorites like Solitary Confinement, I'm Not Like You and Helium Bar left everybody as hap-hap-hap-hap-py-people. They did a couple of encores including We Got the Neutron Bomb again. The only thing that could made the night better was to play never released early tunes like "Do the Dance" and "Go Kid Hugo". The Weirdos promise to continue as long as there is interest. How could there not be?
-- Willy Aadnoy (12/14/03)
Turbonegro/Amulet
The
The Mason Jar—Phoenix, AZWednesday, October 1, 2003
Imagine coming from a country with a total population of 4 million people (you only need to drive a 4 mile stretch of freeway in L.A. to see that many people) and becoming one of the world's must-see live acts? I had the opportunity to see Turbonegro in the cozy confines of the Mason Jar in Phoenix with approximately 200 other people.
The opening act was Amulet, another Norwegain band that had just flown in the day before. They were greeted by near record temperatures of 106 degrees. Amulet would have been right at home with the hair metal bands of the 80's if they only grew their hair out. Someone in the audienece kept yelling out these David Lee Roth yells and that about sums up Amulet.
Turbonegro also has a fair degree of hard rock and metal in their music but they cannot be mistaken for anything other than a take no prisoners punk rock act. They are a visually stimulating act as well as a powerhouse guitar (3 of them) driven rock band. The set was heavily laden with Apocalypse Dudes and Scandinavian Leather tracks which made for a super set.
Lead singer, Hank von Helvete, wearing his Alice Cooper make-up has a great stage persona, although some of his lead ins to songs were a bit over the top. The whole evening had plenty of homosexual innuendo. Whether they play that up as a novelty or actually are homosexual, it does set them apart from most other bands. Hank said the star on the Texas flag reminded him of an asshole, which he thought was appropriate. Me too.
Each member of the band had their own look and style, wearing sailor hats, eye patches, silk scarves, etc. One of the guitarists reminded of Jeff Lynne of ELO fame. If you have never heard Turbonegro, Apocalypse Dudes is an essential starting point. This album is generally considered the best punk rock album of the nineties and I couldn't argue with anyone who thought so.
Their tour continues and you can be sure they'll be back, so don't miss the opportunity to see this band if you get the chance.
--Willy Aadnoy (10/5/03)
Smut
Peddlers/Zodiac Killers/Broken Bottles
The
Distillery—Sacramento, CA
Friday, July 25, 2003
July was a “hot” show month for me. During the past month I attended 4 shows in 4 weekends, spanning 2 states and 20 bands. As a matter of fact, the show/band tally would have been even higher if things had worked out as planned! After all this punk action in the midst of toasty, 100 plus degree temperatures—the hottest day I experienced topped out at 113 degrees—I’m ready for a breather. Yeah, right! My July show calendar ended on a high note with this much-anticipated triple whammy of a bill at the Distillery featuring the Smut Peddlers, Zodiac Killers, and Broken Bottles.
It took only one song for me to become a Broken Bottles fan and that honor goes to “Gothic Chicks.” This spectacular song debuted on last year’s first-rate Hostage Records compilation, “Cuts, Volume 1,” and was easily my favorite song on a CD chock full of favorites. I wanted to hear more and a lot of other people seemed to agree with me, as Broken Bottles subsequently released two singles whose first pressings disappeared faster than the issuing labels could produce them. I thought both records—“Radioactive San Onofre” (Hostage) and “Bloody Mary” (Revenge)—were excellent, and the only question that remained for me was whether the band had the live chops to back up the studio prowess. After a failed attempt to see Broken Bottles in southern California earlier this year, I got the news that they were joining the Smut Peddlers for a northern California jaunt. I was excited to say the least.
There’s only one point of reference you need to know in terms of Broken Bottles’ sound, and that is Social Distortion. Far from being a mere carbon copy, however, Broken Bottles shake up the patented Social Distortion formula—mid-tempo, melodic, four-chord punk with tuneful guitar leads—by adding a beach punk twist and a nasally take on the Ness-ian drawl. These guys know how to write a simple, catchy tune that’s as authentic-sounding as it is addictive.
Broken Bottles delivered a terrific set as the early birds filed into the Distillery for the evening. A handful of folks sauntered up to the stage area and provided an appreciative audience for the band, who were making their first-ever northern California appearance. Unfortunately, the late arrivals missed a tight performance and some quality tuneage from these beach punkers, including “Gothic Chicks” and the recently released “Kelly Osbourne.” Lead singer/guitarist Jes’ vocal melodies factor prominently into Broken Bottles’ sound, which is enhanced by a dual-guitar attack and a rock solid rhythm section. It’s not exactly rocket science, but therein lies the beauty. There just aren’t many bands around that can pull off this sound live and on vinyl as well as Broken Bottles, which speaks volumes about their talent as songwriters and musicians. Based on the quality of their singles and live show, I wouldn’t be surprised if these guys develop a sizable following, especially after TKO Records releases their debut full-length in the fall. I’d pick that one up if I were you.
It would have been a double-shot month of the Zodiac Killers for me if it weren’t for several jackasses who decided to have a pissing contest at a Bodies/Zodiac Killers show in San Francisco two weeks prior to this show. Of course, the jackasses pissed on themselves and each other and we all got to go home early as a result, missing the two best bands on the bill. Thankfully, there were fewer knuckleheads in attendance this time and we got to see a fabulous set from Greg Lowery and company.
Drummer Matt K. Shrugg makes bands better, there’s simply no two ways about it. The Zodiac Killers are a much better band with Matt in the fold, which is not to say that they were a lousy band without him. However, I truly believe that a strong rhythm section helps separate a good band from a great band, and the Zodiac Killers now teeter on the brink of greatness. Although Greg has retained the services of guitarist Jeremy and drummer Matt for some time, the token-female-on-second-guitar-slot has been a revolving door situation. Greg’s latest find, Ruba, knows her way around the fretboard and delivers spot-on backing vocals, not to mention that she’s very easy on the eyes.
The Zodiac Killers’ set focused almost exclusively on material from their upcoming full-length, “Society Offenders.” If the recordings are as hot as the live versions of these songs, I will be a very happy camper. First off, the new songs are slightly different from the Zodiac Killers’ previous two full-lengths. Generally speaking, the pacing is a bit less frantic—more of a mid-tempo romp than a kamikaze attack. Instead of songs whizzing by at a breakneck pace, blurring together and running right through you, the new cuts really stick to your ribs with a bouncy, hook-laden groove. There’s also an underlying poppy punch that makes its presence known from time to time. No, the Zodiac Killers haven’t gone pop, but what I’m talking about is not unlike the subtle differences between the first and second Reds LPs (if you don’t hear any differences, listen again). Greg told me that the songs he’s now writing hearken back to the material he penned while in the Rip Offs (HOLY FUCKING SHIT!), and it’s hard to argue with his assessment after the Zodiac Killers belted out a good half-hour of as-yet-unreleased, pogo-friendly garage punk gems. Mr. Lowery’s crowd baiting skills remain as sharp as ever, although I suppose you’re only as good as the people in the audience who supply the bait and there weren’t many takers on this night. The band instead concentrated on a sonic ass kicking and succeeded on all levels. We even got a garage-ified Undertones cover (I think it was “Smarter Than You,” but the song wasn’t announced before they played it and everything’s a little hazy now). Wow! The band brought their brilliant set to a close by tossing their instruments and storming out of the club. Of course, everybody in the place lapped it up and begged for more. Yeah, it’s safe to say that I’m looking forward to hearing their new record.
It’s rare that I get to see a show with multiple “great” bands. This show was one of the exceptions. It was also one of the few times that the Smut Peddlers ended up on a local bill with formidable openers. The Smut Peddlers always kill live regardless of whom they play with, however, and (fuck you…) that’s why I make it a point to be there whenever they roll through town. Sporting a brand new 10” on Dead Beat Records, appropriately titled “Ten Inch,” and a new second guitar player to compliment relatively new guitarist Sean Mallard, the Smut Peddlers have been touring more frequently in recent months, if only short weekend trips out of town. Be sure to visit their web site (http://www.smutpeddlers.net) and send them an e-mail to inquire about the possibility of a show in your shitty town.
I carelessly missed the first two songs of the Smut Peddlers set after perusing the merch table and chitchatting. As the chorus of “Play It Bitch” began, it was clear that I needed to wrap things up. After making a quick run to my car to drop off some records, including the swank new “Tower 13” comp LP on Hostage that features tracks by the Smut Peddlers, Broken Bottles, and a host of others, I was surprised at how packed the place was and ended up watching the Smut Peddlers’ set from the side of the stage area instead of my usual spot near the front of the stage, dodging flying bodies and various liquids. The band sounded magnificent, due in no small part to their new guitar player, who was outstanding. In fact, I can’t recall ever hearing a thicker live sound from the band. Everything that I’ve come to expect from these guys and gal was on display: top-notch set list (their new material is some of their best yet), silly between-song banter, terrific Gears cover, and stellar performances. On the fashion front, bassist Gish Stiffness wore a new do that allegedly made him look like Don Johnson. Gish (Gash - ?) Bridges. That has a nice ring to it!
--Mario Solis (8/3/03)
Coachwhips/Condor/X27/A
Tension
Eagle
Tavern—San Francisco, CA
Thursday, June 5, 2003
If you check this web site on a regular or even semi-regular basis, you’ve probably caught me singing the virtues of a Narnack Records title at one time or another. The praise is well-deserved. I’ve had the pleasure of hearing everything this fine New York-based label has released to date, and their collective ear for great music is impressive to say the least.
It goes without saying that I refuse to compromise my “journalistic integrity” in exchange for free records (though it sounds like a sweet deal as I type this), but I suppose my track record with Narnack might lead a few people to scoff. So, I figured it’s time for me to disclose the nature of my relationship with this label for your sake and mine: I’m a Narnack employee. It’s true. I’m on their payroll as a classified operative stationed in northern California.
I’m sorry to disappoint you, but I’m one of them: an indie snob. My role here is to advance the Narnack manifesto at all costs, fueling a public relations blitz the likes of which has never been attempted by an indie label. Tactics include door-to-door visits, kiosks at shopping malls, bus stations, and airports, telemarketing, and this very web site. World domination is within my, I mean, our, reach. My Narnack overlords are busy drafting phase two of their plot to rule the world even as we speak.
Periodically, my operative brethren and their new recruits convene for pep rallies, or as we like to call them in the business, “spiritual retreats.” This is the arena in which the final conversion takes place from curious onlooker to staunch advocate. The Eagle Tavern, a gay, biker-friendly establishment in San Francisco (it’s all part of the facade), hosted our most recent gathering, with entertainment by the Coachwhips, Condor, X27, and A Tension. In an unusual gesture from the movers and shakers at Narnack, the Punk Information Directory proudly presents an exclusive glimpse inside this soiree.
The Eagle Tavern is a South of Market Street (a.k.a. SOMA) bar in San Francisco. The interior of the club is decorated with flyers, road signs, and biker-themed paraphernalia—overall it’s a cool vibe. The layout of the club is a little unusual in that the main bar is located in the middle of the room, like an island in a kitchen. There is ample stage area for live music and a terrific open-aired patio for meeting and greeting. Candles are strategically placed throughout the inside and outside areas for ambiance, and outside a roaring fire cracked and popped on this mild San Francisco evening.
This show was technically billed as “Narnack Records Night,” part of San Francisco’s annual Mission Creek Music Festival. A Tension, the lone band on the bill without a release on Narnack, got the evening underway as the crowd filed in. I had no problem paying attention to A Tension during their set; they were fantastic. A Tension is a trio consisting of a guitarist, drummer, and a singer who combine primitive drum bashing, relatively simple song structures built around four or five note guitar riffs, and muffled, gruff vocals that yearn for a cigarette and alcohol. It’s real excellent shit that’s quirky enough for the indie crowd, garagey enough for garage punkers, and I’ll be damned if the singer doesn’t sound like he could have been belting out the songs in a pub somewhere circa 1977. A Tension writes ultra-catchy songs, with guitar riffs bouncing gleefully up and down the fretboard and inviting you to bounce around too. Their singer, Archie, stumbled offstage into the crowd on several occasions to entice the masses to move but was largely unsuccessful. Regardless, A Tension was well-received by the crowd. Following their set, the only question I had was “Where do I find the records?” I eagerly picked up a split 7” with the Coachwhips (whose John Dwyer, I am told, joins A Tension front man Archie in another project by the name of Revenge) and it is a terrific record. On vinyl, A Tension’s guitar tone is dirtier than it was live, giving the songs even more punch. I hope A Tension gets some mileage out of their split 7” and graces us with more recordings in the near future.
Prior to A Tension’s set, I was introduced to guitarist Rikkeh of X27. We exchanged pleasantries for a few minutes and he seemed like a really nice guy. After playing X27’s terrific debut disc, “Your Neu Favorite Band,” repeatedly in the weeks leading up to this show, I was excited about seeing them live and they did not disappoint. Guitarist Rikkeh, bassist Carmen, and drummer Oran form a lethal marriage of noise, pop, and rock. Oran’s drum kit is adorned with a shredded cymbal or two, and the sound that is produced when hitting these things is not unlike something you might hear in a factory—a piercing clang that compliments Carmen’s subtle but rock solid bass playing and Rikkeh’s guitar histrionics perfectly. Vocal duties are split pretty much 50/50 between Carmen (think Kim Gordon of Sonic Youth) and Rikkeh (strangely enough, Rikkeh’s frustrated snarl reminds me a bit of former Strawman and current Songs For Emma front man, Tommy Strange). X27 ran through virtually their entire CD, with “Fast Getaway,” “Asthmatic,” and “The Piston” standing out to these ears. Unfortunately, their stage presence was relatively tame compared to the urgency of their music, but this could be attributed to the passive crowd response during their set. Rikkeh’s onstage persona is a lot like his vocals on “Your Neu Favorite Band”—intense and moody. He attacked his guitar passionately throughout the set, leaving little doubt in my mind that there are many nights where X27 lets loose and things get a little crazy onstage and off. As an X27 fan, I hope I am there the next time something like that happens.
Condor stood out as being the most off-kilter band of the evening hands down, causing quite a racket with huge synths and distorted bass. This San Francisco trio employs a guitar-less lineup, and shows no ill effects as a result. Synths tangle with bass and drums, creating a veritable wall of sound, over which vocals are screamed/sung/spoken by the keyboard player and bassist. The bass is run through several effects pedals, which gives the songs a muddy bottom end. Some of Condor’s offerings hit me center mass, while others missed the mark. About half of their songs were closer to sonic experiments, with little regard for vanilla song structures. While I appreciate bands that deviate from “the formula,” I had a hard time following the hooks that methodically weaved their way through the noise and gradually induced head-shaking. Condor’s set was hardly sub-par, but they failed to move me like the other bands on the bill (although I may be comparing apples and oranges). The jury is officially out on Condor. I need further evidence before I render my verdict.
The Coachwhips can do no wrong. Did you get the memo (in true Rev. Norb fashion) last week that was disguised as my Pick of the Week? If not, there’s no need to panic. I’m sure the people who know will be happy to enlighten you. The Coachwhips rock like crazy and put on one hell of a show! The Eagle Tavern was well-attended all night, but the crowd was stacked at least eight-deep near the front of the stage before the Coachwhips played even one note. The temperature got real warm, real quick, as people inched closer and closer to the stage, brushing up against one another while the band settled in onstage. I was right in the middle of things, a few feet away from the Narnack dudes, Ryan and Shahin (both of whom made the trip from NYC, leaving the compound in the very capable hands of Camille, the third member of the Narnack team), and the anticipation of the crowd was contagious. As we waited for the band to locate their keyboard, I overheard mumblings about the Coachwhips being “the best live band in the City” and other assorted hype. Finally, after what seemed like an eternity, the Coachwhips kicked off their set and what followed was 30 to 45 minutes of pure fucking genius. Drinks got tossed, as the entire venue erupted in a dancing frenzy that never eased up for the duration of the Coachwhips’ set. I was out of breath and soaked in sweat after the first few songs and it was beautiful. The dance floor got too crazy for some people (there were no bad vibes, only smiles), and the stage quickly became cluttered with as many people as the floor. It was an awesome, ass-shakin’ dance party! In the thick of the chaos onstage stood Coachwhips’ guitarist and front man, John Dwyer, sweat pouring off of his brow, coaxing every last drop of feedback/fuzz from his amp and swallowing his microphone. No-frills drummer extraordinaire John Harlow continued to campaign on the platform that “less is more,” with polls clearly showing him ahead of the pack by a wide margin. Mary Ann McNamara’s Casio and tambourine made their presence known, albeit sparingly, and she had help from somebody whose name now escapes me. These individuals were responsible for one of the best shows I’ve seen in a long time, and my muscle soreness in the ensuing days served as a constant reminder. Believe the hype and appreciate the Coachwhips while you have the chance.
Groovie
Ghoulies/Apers/Librarians/ Mallrats/Minds
924
Gilman Street--Berkeley, CA
Friday, April 18, 2003
With Gilman Street’s 20th anniversary around the corner, the “crown jewel” of the East Bay punk scene is as relevant as ever due to a shortage of all ages, punk-friendly venues in the Bay Area. That Gilman Street has managed to survive for nearly 20 years is a small victory in a scene where venues come and go freely and those that do stick around are scrutinized by various elements to no end. It seems like yesterday (probably because it was yesterday) that I was 16-20 years old, lamenting how some of my favorite bands were playing bars exclusively and I was missing them. Gilman Street was one of a handful of venues I attended on a regular basis as a teen, and I enjoyed going there to see shows despite the rigid politics and finger pointing. While Gilman Street is not the same club in my eyes as it was ten years ago (and ten years ago it probably wasn’t the same club to the people who were there from its inception) it continues to be a good place to see a show if you don’t mind following a few simple rules.
One of those simple rules is paying an annual $2 membership fee, which caused me to miss the first few Minds’ songs while standing in the “membership line” outside the club (it’s partly my fault since I showed up a half-hour after the doors opened). The Minds made the 600+ mile trip from Portland, Oregon just for this show and I was looking forward to their set after sampling songs on their web site. (Allow me to shift gears for a moment. Generally speaking, I don’t drink tap water. More times than not it tastes icky and I prefer to drink bottled water, if only for piece of mind. But I probably wouldn’t refuse a glass of Portland tap water if offered to me. I figure there must be something in their water that explains the Pacific Northwest’s knack for producing some of today’s most talked about bands. If the answer isn’t in the water, I don’t know what it is. Now, back to the show.) If the Minds’ live set is any indication they are well on their way to generating a buzz. Their performance was impressive--lead singer Joel (who also fronts the outstanding Flip Tops, with killer releases on Rip Off and Vinyl Warning) pogoes, struts, and stumbles all over the stage while the other band members play their respective instruments with style and substance--and their material is strong without sounding derivative of any one band. Like some of their peers the Minds’ arsenal includes a keyboard, but the “new wave” tag does not apply. Among their contemporaries, the Minds are closer to bands like the Spits than the Epoxies, which is to say that the keyboard is not a band-defining instrument and they don’t fit nicely into the synth-punk genre. The Minds meld ’77 punk influences (the Weirdos come to mind) with Rip Off Records-style garage punk, which translates into a very pogo-friendly live show. I can’t wait to hear more from these guys and gal, and there is no doubt in my mind that when their studio recordings are given a “proper” release people are going to go apeshit. Visit their web site at http://www.theminds.us for more details and hop on board now!
Up until this night the Mallrats’ live show had eluded me. My loss. For the past several years, the Mallrats have earned much praise around these parts and with good reason. With a sound that falls somewhere between the Mr. T Experience (with whom singer/guitarist Ted Angel currently plays guitar and keyboards) and the Decibels, the Mallrats’ approach is a balanced mixture of pop-punk and power pop with an emphasis on the “power” in “power pop.” These guys are terrific songsters and they’ve finally hit pay dirt after toiling away in mediocre pop-punk bands for years. I was pleased to find their live show more intense than their great LP, as tempos were kicked-up a notch or two and there was very little pause between songs. I really enjoyed Ted’s guitar playing, which had a nice “ring” courtesy of a classic Rickenbacker/Vox guitar/amp combination. Covers of the Primitives’ “Crash” and Herman’s Hermits’ “Henry The Eighth” were interspersed with Mallrats’ originals and both were well done.
I first saw the Librarians about two years ago. After sitting through two mediocre performances from opening bands, I was pleasantly surprised by their tight, powerful set and animated stage presence. I subsequently tracked down a copy of their three-song “teaser demo” and loved it. This time around the Librarians’ set was enjoyable, but not as brilliant as I remembered when juxtaposed with a band of the Mallrats’ caliber. One of the more entertaining aspects of the Librarians’ live show is their charismatic backing vocalist/front man who is center stage. This guy is to the Librarians as Beau Beau is to Avail--one part backing vocalist, one part dancer, and one part cheerleader. His stage presence is amusing to say the least, as he shakes every last drop of rhythm out of his tambourine, flails around to the music, and occasionally sings.
It was a double-shot weekend of the Apers for me. I caught sets at Gilman Street and the next night at the Boardwalk here in Sacramento, both of which were incredible. I haven’t been this excited about a pop-punk band in a long, long time! In my estimation, good pop-punk is defined by several traits including melody, energy, and charm. The Apers possess a fluency in all of these areas, and I must echo Willy’s sentiments (see 3/18/03 show review) that they are in the upper echelon of today’s pop-punk scene. Musically speaking, the Apers manage to traverse the well-worn ground established by Screeching Weasel without getting lost in the shuffle like so many other bands for two reasons: (1) the Apers’ ability to pen hook-filled “songs about girls” without sounding tired and dated separates them from the glut of generic, dime-a-dozen, pop-punk bands; and (2) their live show isn’t lacking in the stage presence department. The Apers succeed in a live setting where so many other bands fail--they look and act like they are having fun while they are playing and they don’t resort to stapling their shoes to the stage or staring intently at the necks of their guitars. The skinny: The Apers have oodles of personality, and personality, as they say, goes a long way. The Apers’ Gilman Street show was fantastic and held special meaning for a group of guys influenced by so many bands that graced the historic stage before them. In his best Dee Dee Ramone impression, singer/bass player Kevin Aper counted off “1-2-3-4” between songs, while long-haired guitarist Jerry Hormone evoked visions of a more interesting Johnny Ramone and attacked his guitar like a man possessed. The stage presence of fellow guitarist Gareth is not as flashy, but no less interesting, and he teamed-up with Kevin Aper for some great vocal harmonies on several cuts. Rapid-fire drummer Ivo completes the ensemble and propelled the band through an inspired 25-30 minute set. The Apers ripped through originals like “It’s OK To Hate Me” and “Eyes Open Wide” (the latter of which was curiously “dedicated to the people who see the light of the beautiful Jesus Christ” on both nights) and fleshed out their set with a fantastic rendition of the Undertones’ classic “Teenage Kicks.”
BONUS COVERAGE: The Apers’ second of two northern California shows went down at the Boardwalk in Orangevale. With their first-ever United States’ tour winding down, the timing was perfect for end-of-tour hijinks. Paying tribute to the Groovie Ghoulies, the Apers played their set as the “Groovie Apers” and it was one of the silliest things I’ve ever seen. Kevin Aper donned women’s stretch jeans and a 3/4 sleeved Groovie Ghoulies’ shirt in the spirit of Kepi; Jerry Hormone was transformed into a very passable version of Roach with red vinyl pants, a chest-hugging girly tee (fake breasts included), and lipstick; Gareth was decked out in a floral-printed summer dress that was allegedly purchased on a trip to the mall earlier in the day; and Ivo sported two makeshift pony tails, paying tribute to Scampi. The Apers kicked off their set with a Ghoulies’ cover, “Doin’ Fine,” and never looked back.
The Groovie Ghoulies brought to a close a terrific five-band bill at Gilman Street. There aren’t a whole lot of surprises when it comes to the Groovie Ghoulies and since I know what I am going to get I seldom get excited about seeing them play anymore. With that said, I thought their set at Gilman Street was one of their best in recent memory (perhaps the result of touring practically nonstop for months). Ever since drummer Scampi joined the ranks the band sounds complete and I have enjoyed their live shows more than in the past. Set highlights included several “all-star jams” featuring Apers’ drummer Ivo (harmonica on “The Highwayman”), Kevin Aper (lead vocals on “Ghoulies Are Go”), and Knockoffs/Mr. T Experience bass player Bobby Jordan (backing vocals on “Hair of Gold”).
--Mario
Solis (4/27/03)
Stitches/Bodies/Smut
Peddlers/Muggers
McNeilly’s
Tavern--Sonoma, CA
Friday, April 11, 2003
Sonoma, California, located in the heart of “Wine Country,” is known for producing some of the world’s finest wines, beautiful scenery, upscale spas/resorts, and prime real estate. In the eyes of many people, a Chardonnay or Merlot might be regarded as Sonoma’s finest moment. But as far as I am concerned the best thing to come out of Sonoma is The Bodies.
The last few Bodies’ shows have been “events” rather than “just another show” due in large part to the uncertainty of the band’s future. Varying degrees of interest on the part of certain members has accounted for the four-year lapse between their first and second full-lengths and isolated live appearances. However, there is a smidgen of light at the end of the tunnel. Several new releases are in the works (including their forever-a-work-in-progress second full-length) and there are rumors of a reinvigorated cast, which is good news for Bodies’ fans.
The Bodies’ appearance at McNeilly’s Tavern marked only the second live showing for the band in a year’s time; that the show was in front of a hometown crowd in Sonoma upped the ante even more. Advance tickets were offered in light of the venue’s intimate setting, and a few days prior to the show it was announced that it had sold out. Interestingly enough, I witnessed a couple of people without tickets who were turned away, but chatted with two out-of-towners not affiliated with any of the bands who were granted entrance without tickets. They lucked out.
McNeilly’s Tavern is a kick-ass venue that is pretty much tucked away in the middle of nowhere (I actually had to drive past the place twice before I realized I’d found the spot). The main room is separate from the “stage” area, which is convenient if you want to schmooze and/or finish your drink without spilling anything while the bands are playing. The stage area is about the size of a large bedroom and is situated in its own room directly behind the bar. It proved to be a great place to enjoy the show.
The Muggers, another Sonoma-based punk band, got things off to a rousing start. As easy as it is to dismiss these guys as a Bodies’ side project--The Muggers are comprised of Johnny and Scott of The Bodies on guitar and bass, respectively, along with Johnny from The Randumbs on drums and Ben from The Feelers on vocals--I hope The Muggers stick around long enough to give us a few records and plenty of live shows because they are a terrific band. There is a certain formulaic quality to The Muggers’ material, much like The Bodies, but it is such a winning formula that I couldn’t care less. The Muggers make good use of three to four well-placed chords, bubbly bass lines, simple drumming, and melodic vocals with enough bite and snarl to keep even the most jaded punk fan happy, and their songs are infectiously catchy. Their entire set was memorable on first listen, which was particularly impressive considering that many of the songs they played were recent additions to their repertoire. Also of note is Ben’s animated stage presence, which is in-your-face and adds another layer of intensity to the material. As if the stellar originals weren’t enough, The Muggers trotted out a brilliant cover of The Shifters’ “Bar Chords and Barstools” towards the end of their set, a gem of a song if there ever was one. Be on the lookout for future Muggers’ shows if northern California is a place you call home; otherwise wait patiently until they find a label to release material from their debut nine-song recording session. I suspect it won’t be long.
The Smut Peddlers were up next, and for the second time in two weeks, I thought their set was good, if a notch or two below their Sacramento show last week (see 4/6/03 show review). As a non-headliner, the Smut Peddlers trimmed about 15 minutes from their set list (voluntarily - ?) and omitted a number of favorites. The band was noticeably road weary, which may have also explained the shorter set. It now appears as though The Gears’ “Baby Runaround” is a staple of their live show as the last three times I have seen them play they performed the classic punk tune. It is good news when the Smut Peddlers come to town, and I look forward to their next visit. Come back soon!
I’ve been a big fan of The Bodies since the opening chords of “Suicide” jumped off their now highly sought after debut single on TKO Records. The quality factor hasn’t fluctuated with subsequent releases and, quite possibly, The Bodies have never written a bad song (although they would probably retort that they have written the same song over and over all these years). Like every other Bodies’ fan I’ve been waiting impatiently for the release of their second full-length for years, but their “on-again, off-again” status has never rubbed me the wrong way since they have consistently delivered the goods on record and in a live setting. In addition, my experience with the band on a personal level is that they are nice, humble guys who are oblivious to the adoration of their fans.
Seeing The Bodies in front of a hometown audience is quite an experience. The make-up of an average Bodies’ crowd doesn’t quite fit the mold for a punk show. With that said, the make-up of a Bodies’ crowd in Sonoma certainly doesn’t fit the mold for a punk show. I don’t necessarily have a problem with this observation, but I have read criticisms of the Bodies’ fan base before, some of which was unnecessarily harsh and some of which was spot on. Bearing the latter in mind, I watched The Bodies’ set perched atop a bench that hugged the side of the room. This location proved to be the optimal place to take in all of the action without being taken in by all of the action; the wall-to-wall people standing on benches on either side of the room confirmed I made the right choice. As expected, The Bodies’ set was wild from the start. Nearly everybody in the club packed the tiny room to sing along, dance/beat the crap out of each other, and work up a good lather. Although The Bodies’ set was sloppy at times, perhaps the mark of a band that hasn’t played together on a regular basis for some time, it was awesome to hear songs like “Suicide,” “West End Kids,” “Down To The Beach,” “Pack Your Bags,” “California Republic,” “Addicted To You,” and “Street Trooper” played to a frenzied crowd. Along with the other bench folk, I did everything I could to sing and dance on a 10” piece of plywood without toppling over and falling into a sea of swarming bodies (no pun intended). About halfway through the set, I noticed a pair of feet moving about with all of the heads in the audience; it was as though somebody was doing a handstand and walking around the room. All I could do was glance over at my neighbor in benchdom, Barry Red Devil of Red Devil Records in Petaluma (punk vinyl freaks are definitely encouraged to visit his store for an excellent selection of goodies--I’ll be expecting my check in the mail, Barry), and smile. Barry also pointed out to me a group of guys hereinafter referred to as the “Protectors of Harley’s Drum Kit,” which I found amusing. Allegedly, Bodies’ drummer Harley gets pissed off when his drum kit gets knocked over by wild fans (as it did several times during their set), and to prevent this from happening several guys formed a half moon around Harley’s kit to ward off potential drum crashers. When one of the crazy fans made it through the protective “shield” and bowled into the drums prompting a false start, I couldn’t help but proclaim the Protectors of Harley’s Drum Kit “fired.” I don’t think they heard me. Despite the sloppiness, The Bodies’ set was the most anticipated of the evening and I wasn’t letdown at all. More shows, guys.
The Stitches had the unfortunate task of following The Bodies’ spectacular set. The expressions on their faces during the craziness alternated between boredom and “Holy shit, we’re on next!” However, The Stitches aren’t your average punk band and they were ready for the challenge. As Johnny Bodies so eloquently stated at the end of The Bodies’ set, “Stick around for The Stitches, the best punk band in America.” Much of the room cleared out after The Bodies and either left McNeilly’s Tavern for the night or retreated to the bar. Idiots. Although The Bodies were the most well received band of the night, best-set honors go to The Stitches hands down. Sobriety is a beautiful thing to many people for many different reasons, one of which is that it affords you the opportunity to do the things you do best with greater frequency and success. I don’t profess to know everything about The Stitches’ personal demons, but I think it is fair to say that they have slowed down a bit by necessity or by choice. With that said, what The Stitches do best is play some of the best punk this side of the Sex Pistols. The last few times I have seen them play have been particularly impressive. They are much more focused mentally, tighter musically, and they’ve got new(er) songs! New (old) drummer Skibs is hitting his stride and starting to gel with the rest of the band again, and it really shows. With the exception of the newer material, The Stitches’ set list hasn’t changed much over the past five or so years, but the delivery has certainly improved. Of the ten times I’ve seen The Stitches, this set was one of the most powerful I have ever seen. “Livin’ at 110,” “Nowhere,” and “My Baby Hates Me,” rang true along with newer favorites “Cars of Today,” “Pick Me Up,” “Brains on Vacation,” and “Electroshock Carol.” What a night!
--Mario
Solis (4/13/03) Smut
Peddlers/Firepie/Nits The
Distillery -- Sacramento, CA Saturday,
April 5, 2003 Like many
cities around the country, Sacramento’s live music venues have been feeling
the heat of increased police presence and stricter building and fire code
enforcement following nightclub incidents in Illinois and Rhode Island. A recent
article in the local alternative weekly highlighted several clubs that were
visited and subjected to on-the-spot “capacity redesignations,” leaving club
owners to ponder whether they can continue to do business with reduced show
attendance and accommodate bands and fans. Thankfully, there were no surprise
visitors to The Distillery for the Smut Peddlers’ first northern California
show in about a year. The Nits
got the evening started, and donned frilly outfits that looked like they were
nicked from the Sesame Street wardrobe locker. With bare chests and beer
bellies exposed, these guys blazed through a set of speedy, metallic punk in the
vein of the Dwarves of yesteryear or Zeke. One of the biggest problems I have
with that particular approach is that recordings and live sets tend to sound
like one long song. The Nits were no exception, and there wasn’t much about
their set that stood out from the rest of the pack. It didn’t help
that there was too much “metal” in their “pedal to the metal” attack for
my tastes. There was
an above average wait between the end of The Nits’ set and the beginning of
Firepie’s set. During set changes, I tend to get antsy -- hands go in and out
of pockets, arms are folded and unfolded, weight is shifted from one foot to the
other, and eyes wander while waiting for the next band to take the stage. As
Firepie geared up for their set I noticed a couple of things that had me
scratching my head, like the guy walking around with a trumpet, the people in
the audience with dreadlocks, and the drummer with a
more-elaborate-than-usual-for-a-punk-band kit. I feared the worst. To their
credit, Firepie’s musical prowess was noteworthy. Several songs were punked-up
in a 24-7 Spyz meets Bad Brains sort of way, but overall Firepie’s set was not
my cup of tea. The Smut
Peddlers have had their share of ups-and-downs during the past year. They made
their Hollywood movie debut when one of their songs, “Let’s Get Fucked Up,”
found its way onto the Jackass movie and soundtrack (a video for the song
appears on the DVD). Last year also saw the release of their fourth,
self-released full-length “Ism,” arguably their strongest release to date.
In late 2002, the band went to Europe for the first time and played a string of
successful shows. But the Smut Peddlers were also forced to find a new guitarist
after parting ways with Roger Ramjet. Enter guitarist Sean Mallard. Sean came
into the fold just in time to make the trip to Europe and pulled it off
brilliantly after Roger balked and stayed home. The addition of Sean to the fold
has ironed out some personality wrinkles and inspired a creative streak. Since
Sean joined the band, the Smut Peddlers have focused on writing and recording
new material for future releases. The Smut
Peddlers’ set was the evening’s saving grace. Like many bands whose recorded
output is impressive, I believe the Smut Peddlers must be experienced live in
order to truly appreciate their music. From the moment John Ransom grabbed the
microphone and in his radio deejay meets talk show host meets auctioneer meets
truck driver voice shtick welcomed everyone to the “beautiful Distillery
nightclub and sports bar,” the grin never left my face. The set list was comprised
of equal parts older and newer material, but the band continued to ignore their
first two full-lengths entirely with the exception of the crowd pleaser, “Fuck
You…That’s Why.” The Smut Peddlers delivered the hits with precision and
intensity; songs such as “Lennox Loner,” “Mona From Pomona,” “Riot At
The Pier,” and “Inglewood Heroin Morning” are all permanently etched in my
brain. I was very impressed with Sean’s guitar playing, which is not as flashy
as his predecessor, and it appears as though he will be a good fit for the band.
As always, the rhythm section of Julia and Gish was solid, and John never ceases
to entertain me. It was another terrific showing by the Smut Peddlers to a
packed house of rabid, drunken fans, with plenty of spilled beer and broken
glass throughout. Long live the New Beach Alliance! The Epoxies/????/The Phenomenauts The Phenomenauts were a punkabilly style
band. That style doesn’t do much for me so I just rode it out and hoped the
middle band would be more tho my liking. I’m not sure what the middle band were
called but they consisted of Ryan Wong (of the Wongs fame) and one other
person. The instrumentation consisted of synthesizers for both band members. What do you get if you cross the Weirdos,
Dickies and Devo? The Epoxies!! Roxy, looked fine again in her neon colored
clothes. Bassist, Shock Diode, could be the reincaration of the Dickies first
bassist, Billy Club. The Epoxies radiated a kinetic energy, bouncing off of
each other as they powered their way through a set of just about everything
they’ve released. Now, a lot of people like Devo although I’m not one of
them. What sets the Epoxies apart from Devo, is the use of powerful guitar
chords by Viz Spectrum in conjunction with the synthesizer stylings of FM
Static and the rhythm section as laid out by Shock Diode and Ray Cathode. It
also helps that they know how to craft a hook laden pop tune and have the
visual appeal that hopefully will land these folks a major record deal. They
deserve it. The Groovie Ghoulies/Big Vinny/The Apers/The
Christy The Evolution Bar (or Elevation Bar as Kevin
Aper called it because he doesn’t believe in evolution) is in very Northern
Phoenix, which is far away from where most of the action is in town. It wasn’t
a bad place for a show, other than location, but the sound was really bad. It
was too loud and the distortion was painful to hear. The night of the week
(Tuesday) and the location made for a really small crowd of about 40-50
people. The Christy, a local pop punk trio, opened
the show. I was familiar with Aric and Bobbi as posters to a pop punk message
board but had never heard their music. They took their name from their idol,
Christy Darlington, of the band Darlington. Although they ended their set with
a Darlington cover, the rest of the songs were top quality Screeching
Weasel/Queers inspired pop punk. Kevin Aper remarked to me during the set that
these guys were really good. In fact, in a town dominated by lame emo bands,
the Christy are right up there with the best bands I’ve heard in Phoenix.
Aric and Bobbi also get my eternal thanks for getting the show arranged and
luring the Apers and Groovie Ghoulies to town. The Apers rolled into town for the third
date of their 6 week American tour supporting the Groovie Ghoulies. If you’ve
cried over the demise of Screeching Weasel, fear not. The Apers have come to
take the title of pop punk kings. If you’ve cried over the demise of Mutant
Pop Records, fear not. Stefan Stardumb (traveling with the Apers) and his
Stardumb Records empire have taken the title of world’s greatest label.
Kevin Aper is a true showman. He has a natural charm on stage that just draws
you in. The dual guitar assault of Jerry Hormone and Gareth G-Dog (filling in
for Marien Nicotine) is awesome to see and hear. Ivo Backbreaker on drums
along with Kevin on bass provide a pounding rhythm section that puts it all
together. And what can you say about the songs? Pop punk scorchers with balls
and hooks that will make you cry for joy. There is barely an open date during
the next 6 weeks. That means there will be tons of opportunity for all you
people across the country to check out this band along with the legendary
Groovie Ghoulies. If you’re really lucky, The Epoxies will also be on the
bill. Did I mention that they are really nice guys too? Big Vinny were up third. Their style was out
of place with the rest of the night and I went over and had a beer. The Groovie Ghoulies had a tough act to
follow after the Apers. But I should never have doubted them. Despite the
sound, they sounded soooo good. The thing that’s obvious throughout any
Groovie Ghoulies set that I have ever seen (and I’ve been to quite a few) is
the love of the genre that the band gives off. They rolled through such
classics as The Beast With 5 Hands, Tunnel of Love and capped it off with
Ghoulies Are Go! I had planted myself right in front of Roach’s amp. I could
listen to her play all night. She has that perfect pop punk guitar tone that
reaches to the bottom of my soul. The Groovie Ghoulies are one of those bands
that make you glad you’re alive and make you realize why you got into punk
rock music in the first place. This was probably the best show I’ve been
to in several years. Don’t miss your opportunity when they roll through your
town.
Willy Aadnoy West
End Crooks/Ladykillers/Parkway Wretch The
Clubhouse -- Tempe, AZ I'm pretty sure I've seen Parkway Wretch
before but I didn't remember them being this good. They kept up a
humorous banter with the audience, making fun of the war efforts underway by
Uncle Georgie. The snotty vocals with a pop tinged guitar assault were
very appealing. Good friends, the Ladykillers ripped
through an extended set of great punk'n'roll tunes. The sound in the
venue was fabulous and the guitar stood out much more prominently than the
last time I saw these guys. Besides great music, each of the 3 members
adds a visual layer that enhances the music. Levine, lead singer/bassist
joins the crowd courtesy of his remote amp. Geoff, the guitarist looks
like Pete Townshend the way he writhes around the stage and Brian, the drummer
looks like he is trying to destroy his drums and occasionally licks his sticks
like he's licking blood from a knife. A Ladykillers set is an experience
in sound and vision. See them if you get the chance. The West Side Crooks, a local street punk
act, ended the night with a nice set of Oi! inspired tunes. Although
technically sound and certainly not bad, I left the Clubhouse without any real
memorable moments from their set. Willy Aadnoy - 03/09/03 The
Los Angeles Shakedown Grand
Avenue (Day 1-2) and The Garage (Day 1 only) -- Los Angeles, CA Day 1
- So, the big weekend has come and gone. The L.A. Shakedown - 66 bands on 3
stages. Sounds like a wonderful time, right? Well almost. I had to call to get a
verbal confirmation because I never received an e-mail or mail confirmation. The
venue gets changed to 3 different locations the day before the show because the
neighboring businesses are afraid of punk riots. Shuttle buses are supposed to
ferry the fans from venue to venue. Door are supposed to open at 12:00 and
registration doesn't get started until 2:15. The registration folks don't even
know that you've already paid for your ticket. First band is supposed to have
started in the other location across town. Only 2 small stages for many hundreds
of people. No food available anywhere (now we started out in line at 12:00 and
the show is scheduled until 2:00 AM - you do the math). People are still
filtering in from the original line at 6:30! With assurances that we will be
able to get back in, we head across the street to get some food. After eating,
we head to the Grand Avenue venue to see the Briefs before we head over to the
Garage for other bands we want to see. They won't let us back in. The venue is
beyond capacity and the fire department is there to check things out. The show
may be shut down. People who have been in line for 5 hours are shut out. People
who bought advance tickets can't get in yet those who purchased day of show are
in. The mood outside the club is very angry and it is amazing something bad
didn't happen. We decide to head to the Garage before everybody else has the
same idea or we get caught up in some riot. We were afraid that everybody might
have the same idea and we get shut out there too. Thankfully, the Garage, which
is a wonderful venue, saves the day and we are able to see the remaining acts
there. The promised shuttle bus doesn't arrive and anybody who shuttled over
from the Grand Avenue location is forced to find their own way back. The Dwarves
and the Supersuckers cancelled at the last moment, presumably because of the
issues encountered earlier in the day. Day 1 was a total fiasco and the worst
organization I have ever seen in my life. Day 2
- The upper floor is now open for bands and the 2 stages that were used the day
before are used as the second and third stages. Everything flows smoothly, there
are no problems, pizza is available for purchase and it went pretty much like it
should have on Day 1. I heard the bands on day 2 didn't get paid whereas those
on Day 1 got paid even if they didn't play. Now for the show review: Day 1 Piss Ant - Didn't do anything for me. Day 2 Slum Lords - Female fronted punk'n'roll
band that is very good. - Willy Aadnoy The
Los Angeles Shakedown Grand
Avenue (Day 1-2) and The Garage (Day 1 only) -- Los Angeles, CA
The Rogue, Scottsdale, AZ
March 17, 2003
The Evolution Bar, Phoenix, AZ
March 18, 2003
March 8, 2003
February 15-16, 2003
Discontent - Fabulous band out of Orange County. They have a release on Hostage
Records
Applicators - Female quartet that was pretty good but didn't excite me
too much.
Generators - I have several releases by the Generators but didn't
remember them being this good. They belted out anthem after anthem. One of the
weekend's highlights.
Dogs - One of two bands that I made an effort to stand up
front for. Ron Wood made the trip out from Michigan so I was able to see the
original Dogs line-up for the first time since the late seventies. Loren is such
a powerful guitarist and lead man. This was my favorite act of the weekend. A
new Dogs album is in the works and should be spectacular.
Black Cat Music -
Pretty good but didn't do a whole lot for me.
Lazy Cowgirls - The Cowgirls are
always a good time. Their countrified rock is powerful and they have an obvious
good time doing what they do best.
Nine Pound Hammer - Very impressive band
delivering a searing brand of southern rock with a country tinge and tons of
humor. The frontman, whose name I don't know, has the size of a professional
wrestler and an attitude to match. The guitarist was one of the best of the
weekend, delivering leads and rhythm just as easily.
Demented Are Go - The lead
singer looked like he just stepped out of the grave after 10 days of
decomposition. They had a rockabilly feel to them that isn't my cup of tea so we
called it a night after 2 songs.
Rippers - I only caught a couple of tunes from this
Italian band and they were very good.
Holograms - Poppy punk from Japan(?). Not
very proficient on their instruments but a good time.
Midnight Evils - Way too
heavy metalish for my tastes so I bailed on these guys quickly.
The Fuse - The
leader singer insulted the crowd incessantly. That was the highlight of their
show. I am all for crowd baiting a la Lee Ving of Fear but their music left me
cold. Probably the worst thing I heard all weekend. They have quite a buzz about
them and I can't understand why. Supposedly they sound like the Jam but I don't
hear that at all. The Jam would be insulted. Just plain crap.
Texas Terri -
Terri played her usual high energy entertaining show but decided to leave her
tits firmly planted inside her bra.
Candy Snatchers - I really enjoyed the Candy
Snatchers brand of guitar driven punk rock frenzy.
Dragons - Very powerful band led by
Mario Escovedo of the prolific Escovedo family of Zeros and Nuns fame.
Stitches
- The second band I made a point of being up front for. They displayed once
again why they are the premier punk band in the U.S. today. Led by Mike Lohrman
on vocals and Johnny Detmer on guitar. Mike seemed to be in control of all of
his senses today.
Hangmen - Didn't do much for me.
Epoxies - Roxy Epoxy is one
of the greatest leading ladies I have seen in quite some time. She is a tiny
little thing with a voice of pure gold. The Epoxies provide a synthesizer driven
new wavish type sound that has tons of appeal. This band should be huge.
Original Sinners - I only stayed
to se this band because I needed to sit down for awhile after standing most of
the day. They sound like a second rate X. Exene of X fame is the lead singer.
Muffs - I love the Muffs but they sounded just a bit off for most of the set.
This is probably due to the extended vacation they have taken since releasing
their last effort years ago.
U.S. Bombs - I'm pretty sure Duane Peters found out
he wasn't get paid before the Bombs went on yet they played anyway. Thanks,
Duane! They provided their usual crowd pleasing set of guitar powered punk
rock'n'roll.February 15-16, 2003
The Las Vegas Shakedown looked mighty inviting the past two years. Featuring some of today’s best punk and garage bands, as well as one-off performances by seminal punk bands, the concept of the Shakedown certainly appealed to the “music nerd” in me. The fact that it was held in Las Vegas may have also had something to do with my interest. Las Vegas is an adventure, to say the least, and the city’s reputation as a party town virtually ensured a good time for all.
I never made it to the first two Shakedowns in Las Vegas, but I had a lot of fun reading about them. Allegedly, some bands didn’t get paid, hotels/venues were trashed, and there was no shortage of memorable performances, both on and off stage. By the time the third Shakedown rolled around, it was time for me to see what all the fuss was about.
I made reservations for a hotel on the Las Vegas Strip shortly after the details for this year’s Shakedown surfaced. I promptly cancelled my reservations a few weeks later when the show’s organizers encountered problems in Las Vegas and moved the event to Los Angeles. Hey, it’s a punk show, right? Shit like that happens all the time, doesn’t it? At least that’s what I told myself.
I ordered tickets for the Los Angeles Shakedown through the mail about two weeks after they went on sale in late November 2002. I wasn’t necessarily disappointed about the move. It would have been nice to visit Las Vegas, but the trip to southern California presented an opportunity to do some record shopping around the show. I was also looking forward to meeting your host, Willy, for the first time after corresponding via e-mail for a year. When the initial details about the Shakedown were posted, we literally fired off e-mails to each other at the same time. There was no doubt in our minds that we were going to be there, wherever it ended up happening.
I received a ticket confirmation from the Shakedown folks eventually, meaning nearly two months after I ordered the tickets. In the two months that passed, I checked the Los Angeles Shakedown web site periodically for details about the event. Updates trickled out at a snail’s pace. The venue for the event, the Hollywood Athletic Club, sounded like a great place for the show. More and more bands were added to the already impressive lineup. Lodging information was posted, as well as information for prospective vendors and advertisers in the show’s program. Everything was moving along nicely except my ticket confirmation. Then, the show moved to another venue in Los Angeles.
The Hollywood Athletic Club was out. Conveniently, the Los Angeles Shakedown moved to a more convenient location, the Variety Arts Center. The organizers brushed it off as a “better deal” in terms of lodging. The move didn’t do much for my confidence about the ability of the show’s organizers to pull the event off, but it really didn’t dampen my spirits either. All of the details finally appeared to be set and the weeks leading up to the event didn’t bring with them any more changes. I finally received an e-mail confirmation for my tickets after getting a phone call from some guy named Dream. I was told there was a mix-up with my ticket order. What a surprise! Finally, we were ready to go.
We didn’t have any problems finding the Variety Arts Center. In fact, we even drove by that abomination known as Staples Center, home of the Los Angeles Lakers, the team to whom the Sacramento Kings handed last year’s NBA championship (this one’s for you, Steve Stiph -- the Lakers won’t be so fortunate this year!). We parked for three bucks, and walked a block to the venue.
As we approached the Variety Arts Center a little after 12:00 p.m., when the doors were set to open, we noticed the heavy security presence outside the venue. The burly guys with earpieces looked apprehensive and ready to frisk us. We were ready for rock n’ roll. Then I happened to look up at message on the marquee: “LOS ANGELES SHAKEDOWN NOT HERE.” The next thing I know this guy hops out of a Jeep and asks us if we are there for the Shakedown. It’s all very hush-hush, and a little weird. We nod and he tells us that the event was moved to 1024 Grand Avenue, only a few blocks away. We confirm the directions to the new venue, and head back to our car not more than 10 minutes after parking. The attendants look at us like we’re crazy.
There was a modest line of approximately 100 people outside Grand Avenue when we walk up at about 12:30. At first, this was a good sign; we knew we had the right venue. Three and a half hours later, we were standing in the same place in line. This was not a good sign at all.
I spotted Willy shortly after we arrived at Grand Avenue and I caught up on all the drama that occurred in the days and hours leading up to the Shakedown. I learned about attempts to fight the alleged threats of a lawsuit and the addition of a second (and, briefly, a third) venue for day one’s festivities, The Garage. Some of this information was posted on the web site when it was updated two days before the show on February 13, the day we left for southern California. We didn’t get the memo, and I know we weren’t the only ones.
The whole advance ticket purchase system was supposed to be painless. If you bought a ticket in advance, all you had to do was present a picture I.D. at the door to receive a wristband. Quick, easy, and best of all, no paper involved! What the hell was I thinking? When I finally made it to the front of the line, after standing in line for three and a half hours, I saw too much fucking paper. It was chaos. Adding to my frustration was that people who were going to buy tickets at the door were ushered to the front of the line, ahead of people who bought tickets in advance to avoid a tickets-at-the-door backlog the day of the show, like myself. Some people grumbled about how “smart” it was for them to buy advance tickets. I managed to crack a smile for a split second. By the time we made it inside the venue, only one band had played, Piss Ant, and it wasn’t a band we were dying to see.
Day
1
The first band I caught was Discontent, a five piece punk band with releases on Hostage Records and Disaster Records. In keeping with their Disaster Records’ material, their set had more in common with the Devil Dogs than the gruff, Bonecrusher-like sound of their earlier material. I enjoyed their set, but the mix was a little muddy.
The Manifolds, a bluesy, garage punk trio, were up next. Their set wasn’t too good or too bad, but they earned extra points for the free CDs at their merch table.
I had high hopes for The Applicators, an all-female, poppy punk band, but their set was rather disappointing. I enjoyed their CD on Cornerstone R.A.S., but their performance wasn’t tight at all. The extra time allotted to them for “one more song” was unnecessary.
I thought The Generators’ set was fabulous. I didn’t really become a Generators’ fan until they landed on TKO Records. I’ve been paying attention ever since. Their set of melodic, well-played, tuneful street punk stood out from the rest of the bill that night.
My first scheduling conflict of the evening arrived when The Dogs and The Hunches were set to take the stage simultaneously. I really wanted to see both bands, but I didn’t want to run back and forth between rooms doing it. In the end, I chose legends over superstars, and I made the right choice. An all-original lineup of one of the original punk bands, The Dogs, blew me away. They sounded fantastic, and their set was a highlight of the Shakedown for me. Dogs’ guitarist and front man, Loren Molinare, is an incredible guitar player and a true showman. I hope that I look that good when I’m in my 50s! Following their set, Willy was kind enough to introduce me to Loren, and he’s a really nice guy. I look forward to hearing their upcoming album of new material.
Following the blistering set by The Dogs, at about 7:00, we decided it was time to eat. The pastry we ate for breakfast at our hotel that morning had worn off much earlier, but there was no food available at the venue. When we finally made it inside the venue at about 3:45, we were advised that if we left the venue we would have to go to the back of the line of people still waiting to get in to reenter. It was a no-brainer; we were staying inside. By 7:00, there was still a HUGE line of people that hadn’t been processed. The powers-that-be changed their tune somewhere along the way and told us that if we wanted to leave we would not have to go through the huge line to reenter. Finally, they were starting to make some sense. We walked across the street for a sandwich.
We must have been so hungry that we didn’t notice the fire trucks pull up and park in front of Grand Avenue while we were eating. It wouldn’t have made a difference. We headed back to the show only to be turned away. The good ‘ol fire marshal decided to pay a visit to the premises, and the fire marshal wasn’t happy. The capacity of the club was at or beyond the maximum allowed, and the show was in jeopardy. Our wristbands meant nothing; there was no entrance whatsoever. We were shit out of luck.
Security tightened up at the venue as nerves frazzled and the tension grew. Were the disgruntled masses going to riot? Within minutes, an LAPD helicopter graced us with its presence, circling the venue and illuminating the foot traffic in front of Grand Avenue. It was surreal. I had seen this sort of thing before on television watching episodes of Cops. Willy had seen this sort of thing before, too, only under slightly different circumstances, while attending a show at the Elk’s Lodge in Los Angeles in 1979, where the LAPD stormed the venue and beat the shit out of punks for no apparent reason.
The show at Grand Avenue was officially up in the air. Without a guarantee that the show would be allowed to continue or that people with wristbands would be allowed back inside, Willy and friends decided to cut their losses and head over to The Garage to catch the Lazy Cowgirls. Our plan was to head over to The Garage to catch the Lazy Cowgirls, as well, but after The Briefs’ set. It was decision time for us. The Briefs were up next at Grand Avenue, but there was a slim chance that we might be allowed back inside for their set. But it was a chance. We said goodbye to Willy and friends and told them we would meet up with them at The Garage later.
Call me stupid, call me stubborn, call me naïve, call me what you will, I was determined to get back inside Grand Avenue. We spent about 25 minutes circling the venue, searching for a way to sneak back in. By this point, bands that were slated to play later that night weren’t even allowed into the venue. Vendors that tried to pack up their wares were hassled when they had to make multiple trips in-and-out to their vehicles. Things didn’t look promising. We took up camp in the alley behind the club, where there was a door through which bands loaded their gear onto the stage. From the alley, it looked as though The Briefs were setting up to play.
Now, The Briefs aren’t the world’s best band. I like The Briefs as much as anybody else, but we weren’t necessarily sticking around to see The Briefs as much as we were sticking around for the principal of the matter. My brother and I were frustrated. We waited three and a half hours in line to get inside, spent several hours watching bands, crossed the street to get food because there was no food in the venue and we hadn’t eaten all day, and then all hell breaks loose. Fuckers!
As the chords of “Run The Other Way” finished, our minds were made up. It was a sign. We ran the other way, figuratively speaking, and headed to The Garage. At first, we tried to hitch a ride on the Shakedown’s free shuttle that was transporting folks to and from Grand Avenue and The Garage all day. As the shuttle unloaded and the driver exited the bus, he told us that he had just received a call from his boss and that he was not going to be making any more runs that evening. Fortunately, we drove to the show, so it wasn’t that big of a deal. Something tells me, though, that you might get a different story from the people who had taken the shuttle to The Garage earlier in the day and ended up without a ride back to Grand Avenue.
We arrived at The Garage just in time for the Lazy Cowgirls’ set. First off, The Garage is a great venue. The sound was fantastic and the intimate setting was more appropriate for the music. The Lazy Cowgirls didn’t disappoint and easily erased the bad vibes that carried over from the events that took place at Grand Avenue. One of southern California’s most underrated bands, the Lazy Cowgirls have released consistently great records for years. Their no frills, blues-based rock n’ roll with a heapin’ helpin’ o’ country twang never gets old. One of the Shakedown’s best sets, for sure.
The Lazy Cowgirls whipped the crowd up into a frenzy for Nine Pound Hammer, who put on an energetic performance. I’m not a fan of their recorded output, but Nine Pound Hammer is not too far removed from a more country-tinged Nashville Pussy, with whom they share guitarist Blaine Cartwright. Their songs are a little hokey, especially the lyrics, but I was impressed with their set.
Demented Are Go wrapped up the evening’s festivities at The Garage. Evidently, this band is a very influential band in the world of psychobilly. Although I’m not an expert in the psychobilly or rockabilly genres of music, I do enjoy both quite a bit. Lots of fans crammed the front of the stage to witness Demented Are Go, and the crowd was rowdy. A fight broke out during their set that prompted Garage staff to break out a stun gun. Although I might not share a lot in common with the average Demented Are Go fan, I enjoyed their set and will hunt down their records.
Day 2
Day two of the Los Angeles Shakedown was not as chaotic as day one. We only had to wait one hour in line to get inside, the upstairs portion of Grand Avenue was opened to accommodate more people and provide for the day’s third stage, there were no hassles with ins-and-outs, and food was rumored to be available. The vibe was totally different from day one, which allowed everybody to focus on the music.
The Rippers were the first band that played on day two. Their set didn’t really do too much for me, but perhaps a different time slot would have made a difference.
The Holograms played a short but sweet set of simple songs infused with sugary sweet vocals and poppy and garagey sensibilities. Their material had an unpolished quality, which I found quite charming.
The Fuse! were near the top of my “must see” list for the weekend. I missed them when they came through Sacramento a few months ago, and I’ve been kicking myself ever since. I thought their track on the “Cuts” compilation released by Hostage Records was fantastic and I’d heard wonderful things about the band’s live show. My excitement heightened as The Fuse! took the stage. What followed was one of the best sets of the weekend. Wild, intense, and unpredictable, just like all great punk rock should be. Attacking their instruments with a passion unseen and unmatched all weekend, The Fuse! ripped through a 20-minute set of spastic, herky-jerky punk. My closest point of reference would be Le Shok. The singer’s crowd-baiting skills were also noteworthy, but he may have been singing to the choir. Regardless, I gave him at A+ for effort and he made me laugh. Make it a point to see this band if they come to your town. They were brilliant. And watch for flying drumsticks!
Texas Terri played an energetic set of trashy punk full of Iggy-isms. Backed by the Stiff Ones, Texas Terri is a dynamic performer and arguably one of the most recognizable female punk figures of the last ten years. New record, anyone?
The Candy Snatchers were another band I was really looking forward to seeing. Larry May’s voice can go from a scream to a croon in the blink of an eye, and I love it. The band was in fine form and rocked like crazy. No blood in sight.
The Flash Express is a band to watch. Their singles are good, but I think they are even better live. Their sound might be summed up best by asking, “Who stole the soul?” as they did on their debut 7”.
I caught the first four songs of The Stitches’ set before heading upstairs to see Andy G. and the Roller Kings. The Stitches are always entertaining to watch, but not always for the right reasons. I saw them a few days prior to the Shakedown and they were great. The band seemed more focused than previous shows, and that attitude carried over to the Shakedown gig. Unfortunately, the songs that I heard were marred by technical difficulties.
Andy G. and the Roller Kings, featuring former Devil Dog, Andy Gortler, were fabulous. While not as garagey as his legendary former band, Andy G. and company are every bit as good. The prominent saxophones in the mix and piano flourishes compliment Mr. Gortler’s terrific guitar work and songwriting skills beautifully. Full of Big Apple swagger, Andy G. and the Roller Kings treated us to a feel-good set of top-notch originals, re-workings of several Devil Dogs’ classics, and a spectacular cover of “Pretty Flamingo.” The Roller Kings’ performance was another highlight of the Shakedown for me.
I may have committed a garage punk faux pas by choosing The Epoxies over Guitar Wolf. Any discriminating garage punker knows that Japan and garage punk go together like President George W. Bush and incompetence. A perfect match! Guitar Wolf appearances in the states are infrequent, at best, and they are a “must see” band. Unfortunately, the show was running behind and both Guitar Wolf and The Epoxies ended up on stage at the same time. The Epoxies didn’t disappoint, and their set was wonderful, as usual. Their stage presence