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 Rogue,  Scottsdale, AZ
March 17, 2003

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, Phoenix, AZ
March 18, 2003

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

March 8, 2003  

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

February 15-16, 2003  

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. 
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. 

Day 2 

Slum Lords - Female fronted punk'n'roll band that is very good. 
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.

- Willy Aadnoy

The Los Angeles Shakedown

Grand Avenue (Day 1-2) and The Garage (Day 1 only) -- Los Angeles, CA

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 continues to shine with the help of one of today’s most talented and charismatic females in punk, Roxy Epoxy (she’s awfully cute, too). It certainly helps that the band has nothing but hits at their disposal. If you don’t find yourself feeling the urge to sing and dance at an Epoxies show, there’s just no hope for you. Sorry.

The Original Sinners, featuring Exene Cervenka and D.J. Bonebrake of X fame, played a good set that sounded unsurprisingly familiar. After a few songs, Willy turned to me and said, “They sound just like X.” That about sums it up perfectly.

Nearly nine years have passed since I first saw The Muffs. Although many things have changed in the last nine years, The Muffs don’t sound much different today than they did nine years ago. This isn’t a bad thing at all since I love The Muffs, and they do what they do well. They may have been the only bona fide, pop-punk band that played the Shakedown and I found their set refreshing. I must disagree with Willy’s observation that something was “off” because I thought they were quite good. I think I'll chalk it up to Ronnie Muff's Eminem t-shirt. Ronnie, what the hell were you thinking? Do not pass go and subtract 100 punk points immediately.

I used to be a big fan of the Swingin’ Utters. “The Streets of San Francisco” logged the most time in my CD player in 1995 and they were always great live. After “Juvenile Product,” I lost interest. These days, I prefer the Filthy Thieving Bastards to the Swingin’ Utters. Nevertheless, we stayed for a few songs to see if they grabbed us. They didn’t.

We called it a night after the Swingin’ Utters and blew off a chance to see Nashville Pussy and/or the U.S. Bombs.

Final Thoughts

I had a really good time at the Los Angeles Shakedown in spite of all the hassles and confusion. If and when another Shakedown happens, I probably wouldn’t think twice about going again. I saw lots of great bands, and I met some great people (thanks to Willy, Steve Stiph, Susan, and my brother, Steve, for being my partners in punk for the weekend). The success of any event, large or small, may ultimately be attributed to planning and execution. Everybody in our party agreed that the execution of the Los Angeles Shakedown sucked. But the execution of the event clearly suffered at the hands of poor planning. While the nature of organizing shows (let alone shows on the scale of the Los Angeles Shakedown) is not always conducive to pleasing everybody, there is no excuse for not doing plenty of homework and making sure all the bases are covered. It was obvious that the organizers of the Los Angeles Shakedown should have hit the books harder.

Impossible Ones/Blue Collar Special/Dames
The Rogue, Scottsdale, AZ
Friday, November 22, 2002

Friday night at the Rogue and first up was the Dames, a local female trio.  They had a large contingent of family members attending the show that provided most of the applause for this very average band.  They alternated between screeching vocals and boring slow bluesy numbers sung by someone with a very good voice.  That's about the most positive thing I can say.

Second up was So Cal's own Blue Collar Special.  This was the first stop on their tour and I really enjoyed their show.  They displayed many different styles ranging from punk rock'n'roll to dashes of hardcore to tunes that reminded me of Blink 182 with balls and others that reminded me of Bad Religion.  They are very competent musicians and have a pleasant stage manner.  Although they didn't blow me away, they are worth seeing if you get the chance during their tour.

Headlining were local heroes, the Impossible Ones (previously known as the Impossibles and the U.S. Impossibles).  This was the first time I have seen the band.  They recently reformed after putting out several records over a multi-year period.  They look like they thoroughly enjoy playing and the banter between the band and the crowd is good natured and fun to watch.  The song structure reminded me a lot of the Toy Dolls without the  whacked out vocals.  They had a lot of energy with melodic poppy punk traces in their music.

Overall, not a bad way to spend an evening.

- Willy Aadnoy

F.M. Knives/Tyrades/Zodiac Killers

The Distillery -- Sacramento, CA

Friday, October 25, 2002

The Distillery may very well be the best bar in which to see a punk show in Sacramento. Cool vibe, good sound, friendly folks behind the bar, and booking that leans towards garage and the “rock” in punk rock (without forgetting the locals) are several reasons why this is one of my favorite venues in town.

I was a little surprised when the Zodiac Killers were the first band to set up their equipment for the evening. Advertisements for the show depicted the Zodiac Killers as the middle band on a three-band bill with the F.M. Knives headlining and The Tyrades opening. I viewed this lineup shuffle as a nice gesture on the part of the Zodiac Killers. By opening the show, they prevented The Tyrades from opening or closing the show – difficult slots for a relatively unknown touring band. Infused with new blood, including a new-ish guitarist and drummer, the Zodiac Killers were in fine form. They opened with “Kamikaze Attack” and blazed through a set of hi-energy garage punk that has become synonymous with Rip Off Records. There was very little pause between songs save for a snare drum change (more on that later), which provided a forum for some good-natured heckling by Greg Lowery. Everything and everybody was fair game as he tried his hardest to bait the crowd, singling out people in the audience sporting facial hair and backwards baseball caps among others. “Do you know punk?” inquired Mr. Lowery. “If not, we’re The Clash,” he quipped. Without missing a beat, his guitarist followed-up with “If you do, then we’re the Groovie Ghoulies.” Most people weren’t sure whether to smile or frown at the ambiguous reference to a hometown band, but I found the comment amusing in light of Zodiac Killers’ drummer Matt Kanelos’ (a.k.a. Matt K. Shrugg) departure from the Groovie Ghoulies not too long ago. Scene drama aside, I can’t say enough good things about Matt’s drumming prowess. The kid attacked his kit like a madman, and literally pounded the skins hard enough to put a hole in his snare drum several songs into the Zodiac Killers’ set. Overall, the band turned in a fantastic performance fitting of a headliner, and you should definitely see them live if you get the chance.

I would have been content to call it a night after the Zodiac Killers’ set -- they were that good; however, I was really looking forward to seeing The Tyrades. Of the three Tyrades’ singles available, I’d only heard their Rip Off Records 7” prior to the show. I thought the record was good, but I wasn’t sure if it was good enough to warrant buying their 7”s on Big Neck Records and Broken Rekids, respectively. When I’m on the fence about a band, a live showing usually determines whether I return to their recorded output with renewed enthusiasm or simply file the records away. The verdict? The Tyrades did not disappoint at all; I thought they were fantastic and turned in the most energetic set of the night. The Tyrades don’t sound like a “typical” Rip Off Records band. They've got the requisite garagey and trashy elements, but there is an arty streak to some of their songs, which sets them apart from others in the genre. The Tyrades' straightforward garage punk numbers were excellent and full of punch, and I loved the tension created by the stop-start whoosh (syncopation) and discordant guitar that weaved their way into the material. The energy level remained “in the red” for the duration of The Tyrades’ set as the band pushed each other and played hard. I would be remiss if I didn’t mention the bass player’s “Yes, I’m going for the Adolf Hitler look” mustache, which was funny. I bought their other records after the show and you should buy them too.

In their short existence, Sacramento’s F.M. Knives have generated quite a buzz. Their debut CD on Moo-La-La Records is brilliant, and every review I’ve seen has been positive (check out the newest issue of Horizontal Action for an interview). What makes this band so great lies in the saying, “What you see is what you get.” No bullshit, no posturing, no flash; just four ordinary “old” guys armed with great songs and impeccable chops playing pogo-friendly, poppy punk. The F.M. Knives played an inspired set to a packed house to bring the evening to a close. They aren’t the most interesting band to watch, but perhaps they don’t need to be. Ultimately, it’s the songs that count, and the F.M. Knives’ songs speak for themselves. Full of tastefully executed guitar leads, bass lines, and drums fills, and accentuated by singy-songy, whiny vocals, the F.M. Knives are doing the right things at the right time. Everything has its place, and everything fits. The band played songs from their “Useless and Modern” CD including “The Man from O.S.I.,” “Down the Street,” and “Summer Holiday,” along with some new material, which was fantastic. I was also impressed with guitarist Chris Woodhouse’s technique for drinking a beer and playing guitar simultaneously without missing a note. Now that’s impressive!

West End Crooks/Lady Killers/Beelzebullies/Bullet Train To Moscow

Jugheads – Phoenix, Arizona

Saturday, September 7, 2002

Jugheads is a little hole in the wall on the eastern end of Phoenix.  The place was packed pretty tight after 10:00.

First up was Bullet Train to Moscow.  They were a very nice Oi! band That had their fair share of very good songs and some that didn't quite grab me.  They did a nice rendition of Cock Sparrer's "Stormtrooper".

The Beelzebullies played some really annoying thrash which is a shame because the guitarist when he wasn't just strumming as fast as he could, played some really outstanding guitar leads.  Only one song broke from the formula, and it was a fantastic song.  

The band I came to see was was the Lady Killers from L.A.  Led by Levine "The Sex Machine", sporting an Elvis Presley pompadour and Buddy Holly glasses, the thing that really stood out was the band's musical expertise.  Levine on Bass, Geoff on guitar and Brian on drums all sounded like they had been doing this for many years.  The songs are in a punk rock'n'roll vein and varied from slow to mid-tempo to rockin'.  Brian threw his drum set all over the area in front of the stage as they concluded their set to the applause of the appreciative crowd.  This is a band to watch for.  Check them out if they come your way.

- Willy Aadnoy

Groovie Ghoulies/Secretions/Les Dragueurs/Drowning Adam

The Boardwalk – Orangevale, California

Friday, June 14, 2002

The Boardwalk is a spacious, 450-capacity club that recently became an all ages venue. They have geared more towards punk-oriented shows than 80s hard rock, metal, and classic rock reunion tours in recent months, although Eric Martin of Mr. Big “fame” played there only one week prior to this show. On this night, The Boardwalk played host to the record release show celebrating the release of new CDs by the Groovie Ghoulies and Secretions, respectively.

Drowning Adam opened the show, and I tried my hardest to tune them out while I perused the merch tables. The baggy pants and backwards baseball cap crowd might flip for their brand of speedy punk with emo overtones, but not me. There was nothing to set Drowning Adam apart from the hordes of bands in this genre. I am sure they will be playing a Warped Tour near you soon.

Les Dragueurs, a French garage punk trio featuring Jon Von (Rip Offs, Mr. T Experience), were up next and turned in the best set of the evening. I eagerly picked up Les Dragueurs’ debut 7” a few months back hoping to be floored, but the record left me wanting more. Nevertheless, I was excited about seeing the band live. My excitement heightened when they came out on stage dressed in matching striped shirts and berets; snappy dressers, these Frenchmen. Following a brief introduction by Jon Von in his newly discovered, cutesy French-English accent about the meaning of the word “dragueur” – a French word for a guy who “picks up chicks” – the band launched into a fun-filled set of poppy punk sung in French with songs about how to pick up chicks. Rule #1: wearing sunglasses improves your chances of scoping out the babes because they don’t know where your eyes are wandering. Rule #2: the marketplace in Paris is a great place to pick up chicks because chicks like to shop. Rule #3…you get the picture. It was hilarious. I don’t think I stopped smiling during their entire set. Thankfully, the band had the hooks and chops to back up the humor. Imagine a looser, garagey (but not lo-fi) Groovie Ghoulies minus the b-movie/sci-fi references and imagery and you have an approximation of how Les Dragueurs sounded live. Jon Von looks as though he is having the time of his life onstage and that persona resonated well with the audience, who loved every minute of Les Dragueurs’ set. Hopefully, I’ll have a chance to see them again soon.

The Secretions struggled to find a label to release “‘Til Death” until Springman Records finally stepped up. A lot has changed in the year or so that has passed since I last saw them play. This is not the same scrappy, pop-punk band that released “Attention Deficit Disorderly,” a collection of silly songs in the vein of Screeching Weasel or The Queers. The Secretions now have a harder punk sound, not unlike a bastard child of Motorhead and the Ramones. The band has also upped the ante in terms of its live show: bigger guitars, bigger amps, and bigger props (they had a huge “Secretions” banner and the band emblem hanging behind them during their set). In simple terms, the Secretions have their shit together and are more of a “band” now than they were the last time I saw them. Nothing wrong with that, of course; however, some of the charm that first attracted me to the band is no longer there and my attention waned during their set. They were impressive – tight, animated, and alternating between raging rockers and poppy numbers effortlessly. A lot of people seemed to be into them, and with good reason, but as is usually the case with bands that develop a bigger following, the bonehead quotient seems to increase by leaps and bounds. Bands gets bigger, fans get dumber, so it goes. At times, the pit resembled a football tryout. I was scratching my head wondering if I was at a hardcore show (perhaps everybody was confused by the Secretions’ windbreakers for sale). I witnessed several people emerge from the fracas bruised and battered, which made no sense to me.

The crowd response during the Secretions’ set prompted the promoter, who was emceeing the show, to get onstage and remind everybody the goal is to have fun at shows, not beat the crap out of people. Ironically, it was the Groovie Ghoulies who talked about the absence of “mosh pits” at their shows in an interview that appeared in the local weekly just the day before. The Groovie Ghoulies are a remarkably consistent band. They don’t stray from their formulaic, Ramones-influenced pop-punk sound and that’s okay. Kepi is the consummate frontman; one can’t help but wonder if the guy has Flubber in his Chuck Taylors. Roach doesn’t do anything that hasn’t been done before in terms of guitar work, but she does what she does very well. And with the addition of Scampi on drums, who is a great fit for the band style-wise, the drummer slot just might be solidified for a while. The Ghoulies’ energetic set consisted of material from “World Contact Day” to the present, and showcased material off their new CD on Stardumb Records, “Go! Stories.” Following a trip to Europe, look for the Ghoulies in a town near you soon.

-Mario Solis

The Frisk/Broken Society/Scattered Fall

Westcoast Worldwide Records – Sacramento, California

Saturday, June 15, 2002

Home to the Sacramento-based hardcore band, the Hoods, Westcoast Worldwide Records is a practice space that doubles as a show space. It is located in a nondescript building in midtown Sacramento, across the street from a great Mexican restaurant and an office building where I used to work. It is a great space for shows, and I can honestly say I have never seen a cleaner venue. I am a clean guy and I like clean things, but it was a little weird.

The influence of AFI on young kids playing hardcore cannot be underestimated. The first band on the bill, Scattered Fall, sounded like a cross between AFI and Boy Sets Fire. They were fast, screamy, and angry, and their singer was a dead ringer for Davey Havok right down to the pale skin and black bangs in his face. I was amused. Scattered Fall was tight and their stage presence was commendable, but the band didn’t do much for me. If I wanted to listen to AFI, I would have stayed home and listened to one of their older records. You know, the good ones.

It is probably safe to say that just about anybody who has ever toyed with the idea of being in a band has tossed around a band name that included the word “society.” Show of hands, please? Broken Society’s music was about as exciting as their name. They were responsible, however, for the question of the evening in my mind: why spring for a wireless if all you’re gonna do is stand in the same spot for every song as though your shoelaces are tied in knots? Inquiring minds want to know…

For my money, few people can hold a candle to the amount of energy Jesse Luscious puts forth onstage. Spastic, random movements; herky-jerky dancing; contorted facial expressions; and snotty vocals reminiscent of the Germs’ Darby Crash always keep things interesting. With that said, The Frisk don’t quite recreate the magic of The Criminals. The Frisk formed out of the ashes of said band, and currently feature Hunter Burgan of AFI on drums and Zac Hunter of the now-defunct Nerve Agents on guitar. Ex-Criminals bassist, Mike Sexx, recently left the band. The Frisk played a short but intense set (they only have a handful of songs) to the twenty or so people in attendance. Hunter’s drumming prowess impressed me, and Jesse’s voice cracked and wheezed through songs like “Scream My Name” and the old Criminals’ song, “Leech.” They were good, but there was something missing. Their 10”/CD-EP on Adeline Records is worth a few spins and I may buy their next record, but I don’t know if I would make it a point to see them live again.

-Mario Solis

Smut Peddlers/Pretty Girls/Hit By A Semi/Riff Randals

The Distillery – Sacramento, California

Saturday, June 15, 2002

After seeing The Frisk, we whisked away to the Distillery for this show, which was billed as an after party for the All-American Tattoo Festival that took place over the weekend. For those who are keeping track, this was my third show in less than 24 hours. The Distillery is a great place to see a show. It is a bar/restaurant with good sound, friendly people, and reasonable drink prices.

The Riff Randals (with an “a” and one “l”), from Sacramento, got the evening started off right with a great set of poppy punk with (sex) hidden (sex) messages (sex) in (sex) the (sex) lyrics. These four attractive young ladies know how to rock hard and they don’t mince words when it comes to what they look for in a man. They don’t want commitment, they don’t want money; they just wanna fuck. Their songs are a lot of fun and one can’t help but smile at the frankness with which the lyrics are delivered, whether they are sincere or not. Musically speaking, they almost remind me a little of Black Fork, an East Bay punk band that had a record on Lookout Records (which was overproduced and didn’t do them justice), but without the fingernails-on-the-chalkboard vocals and more of a mid-tempo pace. Every time I see this band, I like them more and more.

Hit By A Semi were up next and played a solid set of street punk with a rock n’ roll feel, kind of like One Man Army meets Social Distortion, but not anywhere near as good as either of those bands. Their set wasn’t bad, but it was unspectacular and the songs failed to grab me by the throat.

This was my first time seeing the Pretty Girls and they were pretty good. The crowd didn’t quite know what to make of their 70s punk sound a la the New York Dolls or the Heartbreakers. Their songs had a real rootsy, rock n’ roll swagger to them, and I enjoyed their set quite a bit. Unfortunately, the mix was bass heavy and the two guitars were obscured somewhat. Heckled by some, there were a few people in the audience bopping their heads, including Smut Peddlers’ vocalist John Ransom who called the Pretty Girls one of his new “favorite bands” during their set.

I really like the Smut Peddlers. Purveyors of the Hostage Records “sound,” the Smut Peddlers successfully fuse the beach punk sounds of Beach Boulevard with the hardcore energy of the Circle Jerks or Black Flag. They are one of the better southern California punk bands around along with The Stitches, Smogtown, The Crowd, etc., and their live show is not to be missed. Armed with a great new record, “Ism,” the Smut Peddlers flat-out kicked ass and tore the place down. I secured a great spot up front and bounced around to a plethora of material from “Ism” and its predecessor, “Tarball 2000,” including “Inglewood Heroin Morning,” “Do The Flop,” “Riot At The Pier,” “Lennox Loner,” “Mona From Pomona,” and “Recreational Doper.” The band only played one song off their first two records, the anthem that is “Fuck You…That’s Why,” and revealed their true colors with a fabulous cover of The Gears’ “Baby Runaround.” John Ransom’s voice cuts right through you like a knife. Roger Ramjet (Pushers, ADZ) is an incredible guitar player. The rhythm section, Julia Kelly and Gish Thaxton, are no slouches either. This band rocks like nobody’s business and deserves your attention. Now!!!

-Mario Solis 

A-Frames/Duchess of Saigon

The Loft – Sacramento, California

Saturday, June 8, 2002

This show marked the A-Frames’ only appearance in northern California on their summer 2002 tour. Never heard of the A-Frames?!?! Read on, read on…

The Loft is appropriately named; it is nothing more than a loft located behind a bookstore in “midtown” Sacramento. About the size of an average bedroom, The Loft hosts shows, band practices, and recording sessions. The Loft experience is fun, informal, and intimate: bands are given an opportunity to shine in front of an appreciative and interested audience of 25 to 50 people. In lieu of a cover charge, donations are accepted for touring bands. You are more likely to hear about a Loft show from a friend than see flyer on a telephone pole or read about it in the local alternative weekly. Word-of-mouth is the primary method of advertisement for these shows and this formula has worked out well for both bands and fans during the venue’s existence.

The Duchess of Saigon kicked things off with a short set of jangly, vaguely poppy but not pop, songs. This was my first time seeing this band and I was very impressed. Clean guitar, female backing vocals, and drumming that is more of a lead instrument than a timekeeper define this drum n’ guitar combo. Their songs are short, funny, and catchy, with enough of a twist to set them apart from other drum/guitar combos I have heard. A 7” is forthcoming on SS Records, which should be available at http://www.sl.net/~ttbooks/moolala/ss.html soon.

Proving that there is more to Seattle than corporate behemoths, rain, grunge, and The Briefs, the A-Frames are a breath of fresh air in the Pacific Northwest music scene. They played a blistering set of loud, angular punk and gave new meaning to the “power trio” tag. These guys sounded louder and fuller than most bands do on a good day. The drumming is simple yet solid; the bass tone is filthy and distorted; the guitar work is both restrained and over-the-top without being wanky; and the vocals are spoken/sung/screamed, sometimes all within the same song. The A-Frames’ songs are remarkably catchy and rate high on the head bop-o-meter. Some songs hit you square in the chest with their hooks, while others teeter on the brink of chaos before unleashing a killer melody and/or chorus that brings it all together. Discordant yet tuneful, edgy yet cohesive, challenging yet approachable, the A-Frames’ music is wonderful live and on vinyl.

This tour coincided with the release of A-Frames debut LP on Dragnet/SS Records. The LP is limited to 500 copies and pressed on 180-gram black vinyl with a screened cover. In speaking with the band before the show, I learned that Dirtnap Records wanted to release the LP on CD and include the band on an upcoming comp, but the band declined. It is Dirtnap Records’ loss.

Check out the A-Frames and see what people are talking about.

-Mario Solis

The Queers/The Eyeliners/The Independents/Up Syndrome
The Nile Theater Basement -- Mesa, Arizona
Saturday, June 1, 2002

Let's set the atmosphere first.   The Nile basement has no air conditioning and it was 100+ degrees outside and there was one vending machine selling overpriced soda.  Gone are the days that the Queers packed the main auditorium in front over 500+ fans.  They have been relegated to the basement with at most 200 people.

Up Syndrome provided some very generic SoCal punk with emo overtones that seems to be the punk rock of choice for too many punks these days.  They are going to be on the Warped Tour this summer.

The Independents looked like Motorhead and couldn't quite figure out what their style was - melodic punk, ska and some songs with country overtones.  I'm not quite sure what to make of them so I bought a couple of their CDs to figure it out.  Their latest release is produced by the late, great Joey Ramone.

The Eyeliners are fantastic!  Laura has come out from behind the drums to front the band and drumming duties have been taken by the Mr. T Experience drummer.  She was bopping up and down and looking like she was having a great time while the band went through a greatest hits barrage from their 3 albums.  Gel cranked out the power chords and leads with ease.

The Queers played a Queers-like set which is to say they covered every period of their existence with a special emphasis on Loves Songs For the Retarded.  They bulled their way through one song after another with little pause along the way.  In keeping with borrowing members from other bands, we had a Teen Idol on second guitar.  The Queers play a great, yet predictable set, one I will always go to see as I have for about 10 years now.

The Stitches/The Wongs/The Kranks
The Rogue -- Scottsdale, Arizona
Friday, May 10, 2002

My first visit to the Rogue, the latest hangout for trashy, punk rock'n'roll.  I would not leave disappointed.  The three bands that played were The Kranks (formerly the Vox Poppers), The Wongs and The Stitches.

The Kranks changed their name from the Vox Poppers and have adopted a harder edge to their music.  They played many of the old Vox Poppers songs and sounded as great as ever.  The times that I have seen them previously I always came away thinking they were a great punk rock'n'roll band but saw a much poppier style on their fabulous 6 song demo CD I got from Art last year.  I look forward to seeing how the new version (although all the same members) translates in the studio.  Art, e-mail me!

Up next were the Wongs with their in-yer-face full frontal assault that somehow manages to sound melodic as it brutalizes your senses.  The two guitar attack works well on all levels.  Those of you familiar with Rip Off Records will know the style and it is also where you can get a copy of their debut full length released in 2000.

The Stitches show was truly an event.  Mike was plastered by the time they took the stage.  He disappeared from view for awhile as he collapsed to the stage and was helped up again.  The amazing part of the whole thing was that he never missed a word the whole night.  He looked like he was sleeping on his feet but yet he was able to sing to each and every song.  He then started to wave the mike around in circles and I thought there's no way he's not going to take Johnnie's head off but somehow he missed.  He did take out one of the over head lights though and nearly obliterated the overhead fan with the mike stand before that was removed permanently from stage.  Oh yeah, the music.  It kicked ass.  70's style punk a la the Sex Pistols, great guitar, great rhythm section and the previously mentioned vocal heroics of Mike.  The place was jammed, the pit was in full motion despite the fact that it was a tile floor with beer spilled all over it and the fanatic moshers couldn't stay on their feet.  If you ever want to know what punk rock is all about, go see The Stitches.

Willy Aadnoy

The Briefs/The Bodies/Reducers SF/Los Dryheavers/Rock n' Roll Adventure Kids

Phoenix Theatre -- Petaluma, California

Saturday, April 20, 2002

This show marked the return of The Bodies after nearly a year of inactivity as a band. Are they really back? Did they ever really go away? With The Bodies, you never know, but their sporadic (and that is being generous) live appearances these days means attendance is mandatory.

Los Dryheavers got things started and were decent. Several songs sounded Ramones-y (two members of the band sported Ramones t-shirts) and others sounded more in the vein of Zeke or The Dwarves. They are represented with a song on the recently released Pelado Records comp, "Three Minute Heroes," and they also have a full length CD available. Following Los Dryheavers’ set, the promoter informed me the Rock n’ Roll Adventure Kids did not show. They were supposed to play in the lobby of the venue between bands. I was bummed to say the least.

The Reducers SF were up next and they were superb. For the uninitiated, The Reducers SF play poppy, working-class Oi!/street punk with sing-a-longs galore. They played a well-received set to a half-full house. Why these guys aren't more popular is anybody's guess, although touring outside of the San Francisco Bay Area would certainly help.

While The Reducers SF broke down their equipment, I heard what I thought was music coming from the lobby of the club. Sure enough, it was. The Rock n’ Roll Adventure Kids showed up after all! If you haven’t heard of them, The Rock n’ Roll Adventure Kids play simple, catchy, danceable, Supercharger-esque garage punk. Their 7" is good (available from www.undergroundmedicine.com), but they are much more fun live. It was a total rock n’ roll dance party. Even the guys from The Briefs were bopping around in the audience. Check ‘em out.

Two words: The Bodies. They stole the show. They were the reason I showed up in the first place. I estimated about 400 people were in attendance that night. At least 350 of them were there to see The Bodies. They did not disappoint at all. It was wild. The crowd sang along with every word and the band played all the "hits" including "Suicide," "Radio," "West End Kids," "Down To The Beach," "Street Trooper," and "Hup Two Hey." When they finished their last song, they were treated to chants of "Bodies" for no less than five minutes after they stopped playing. It was amazing. Like they were The Beatles or something. Rumors circulated this might be their last show. Time will tell if that is true, but if it was their last show, I can't imagine going out any better.

The Briefs came on next and were very good…marshmallows and all. Their newer songs, such as "She's Abrasive" and "We Americans," sound even better live than on vinyl. A few songs into their set, the band broke out bags of marshmallows, tossed the contents into the crowd, and the marshmallow war was on pitting band vs. crowd. Bassist/vocalist Lance taunted the crowd to land a "direct hit" in his mouth, but it was not to be. Although several people came close, including yours truly, the crowd was unsuccessful. Needless to say, it was a sticky mess and when it was all said and done, I needed a new pair of shoes. Damn you, Briefs! But the night belonged to The Bodies...

Mario Solis

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Slaughter and the Dogs/The Beltones/The West End Crooks

Bostons -- Tempe, Arizona

February 2002

Over the years I have had the pleasure to see many touring U.K. bands from the 70's such as the Buzzcocks, Damned, 999, Sex Pistols, Undertones, Sham 69, Jam, Stiff Little Fingers, Motors and the Clash. Last night I was able to add another to that fine list - Slaughter and the Dogs! I first heard Slaughter and the Dogs in 1977 when I was visiting London and picked up a copy of the Live at the Roxy album. Boston Babies stood out right away as one of the best on the album. Over the course of their career I managed to grab just about every release they ever put out. 

Last night's show featured a greatest hits montage including Quick Joey Small, Boston Babies, Where Have All the Bootboys Gone, Cranked Up Really High, The Bitch, I'm Mad, White Light - White Heat, Situations and others as well as their newest single on TKO Records, Saturday Night Into Sunday Morning. Yes, folks, Slaughter and the Dogs are back and hopefully coming to your neighborhood. They sounded awesome and the absolute joy of playing the show was evident from their grins throughout the evening. The new drummer was a wild man, with this maniacal smile on his face all night. Wayne Barrett, lead singer, and Mike Rossi, guitar are the only two remaining members but formed the song writing and creative nucleus of the original Slaughter and the Dogs. It took nearly 25 years to see them live but it was well worth the wait and quite obvious that they had not lost a beat. 

The Beltones from San Francisco preceded the Dogs and belted out a sizzling set of punk rock'n'roll in support of their latest CD/LP release, Cheap Trinkets. Lead singer, Bill McFadden has a unique voice that gives the Beltones an Irish Pub drunken singalong feel (that's a good thing). 

The West End Crooks, a local street punk band, opened the show. Their use of harmonica really added to the sound and gave them a lot of appeal. 
Willy Aadnoy

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Beat Angels/Texas Terri and the Stiff Ones/Sonic Thrills/ Jeff Dahl/Ricky Rat/Peeps/ADZ/BellRays

Hollywood Alley -- Mesa, Arizona

January 2002

As I write this next section, it is Saturday afternoon.  One half of the 5th annual Desert Trash Blast is history and I'd like to get my thoughts down while it is still somewhat fresh.

Our host for the weekend, Jeff Dahl, started things off with not one, but two sets!.  The Slash City Daggers bailed at the last minute from what I udnestand was one band member's inablitiy to get back in time from San Francisco.  Jeff was originally scheduled to only do an acoustic set but wound up doing an electric set to make up for the Daggers loss.

I missed the acoustic show at the Blue Ox recently that Jeff had set up and wasn't terribly disturbed about it since I like my music loud and in yer face.  I was pleaantly surprised how enjoyable the acoustic set was with Jeff on guitar and Jason Smith on bass.  It was a short four song set topped off by a cover of a Dogs D'Amour song.  I know that because I'm way cool (actually I overheard someone else say who it was by).

Jeff followed with another set of 10 or so songs that were reminiscent of the show two weeks ago that I reviewed and can be found in the What's New section.  Once again they had a fantastic set.

The Sonic Thrills were next up and played about 10 garage/trash/punk'n'roll classics with charismatic Jim Monarch at the helm.  A new drummer and an additional guitarist since the last time I saw them.  They still sound like one of the elite few Phoenix bands.

Texas Terri and the Stiff Ones  What can you say about a Texas Terri show other than it is an EVENT.  With her blazing red hair, the tattoos, the in yer face attitude and the obvious joy she has in putting on a performance, she is the perfect front woman.  Guest performances by Ricky Ratt, Jeff Dahl on vocals, Paula Monarch on vocals and some fan (from Denver?) that was allowed to sing along with several songs.  Terri also provided the crowd with a glimpse of some of her very fine female attributes.

The Beat Angels topped off the evening with another stunning display of melodic punk rock music.  If you haven't discovered the Beat Angels you are missing out.  Brian Smith is another absolutely amazing singer and puts on a performance during the show that is unforgettable.  Those who have only heard the studio work of the Beat Angels will be thrilled with the power that the live show brings out.  There were several brilliant songs that I am not familiar with so these are hopefully part of the soon to come 3rd release by the band.

Whew!!!  Only one night down and another to go tonight.

OK.  Night two:

We start with four acoustic tunes by Ricky Rat of the Trash Brats.  Ricky did a very nice job of warming up the audience.  The songs were very appealing.

As befitting a gracious host, Jeff Dahl played another electrified set after the Tempe Tramps bowed out of the show for whatever reason.  Jeff and crew delivered another blistering set of his greatest hits (of course, you would be hard pressed to find a song that wasn't a greatest hit).  Abe Ruthless of the Slash City Daggers joined Jeff for the second night in a row to belt out the Dead Boys tune Sonic Reducer to the delight of the crowd.

The still nameless Peeps came on next and showed again why they SHOULD BE the next big thing.  The new line up and new songs are just awesome.  The addition of lead guitar to this band has added a dimension that puts them head and shoulders above most of the competition. 

Punk legend Tony Reflex (and a slew of other last names over the years) and his band of the last ten years or so, ADZ, gave a powerful performance topped off by Kids of the Black Hole from Tony's first band, the Adolescents.  I had the opportunity to talk to Tony a bit after the show.  We have several mutual acquaintances and both lived in Orange County at one point. 

Topping off the evening were the BellRays.  The BellRays have got to be one of the more unique acts performing in punk these days.  The BellRays say are maximum rock and soul and you'll get no argument from me.  They looked comfortable in either genre as Lisa Kekaula proved what a marvelous singer she is belting the soul when needed and the rock when needed and sometimes both in the same song.  Lead guitarist, Tony Fate, was one of the best guitarists I have seen in a long time providing driving rhythms or lead guitar effortlessly.

The Desert Trash Blast was a rousing success, filling the 200 person capacity Hollywood Alley to the brim.  The only sad thing is that with 3 million people in Phoenix, there should be a helluva lot more than 200 to regularly attend punk rock shows in this area.

Thanks, Jeff!
Willy Aadnoy

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Jeff Dahl/Peeps/High School Hellcats

The Blue Ox - Phoenix, Arizona

January 2002

Rockin' in the desert!  Last night at the Blue Ox in Phoenix were the High School Hellcats, the artists formerly known as the Peeps and topped off by the Jeff Dahl.

The High School Hellcats are four young ladies from Baltimore, Maryland that laid down a blistering set of Ramones inspired pop punk.   Although they look like they are still in high school, I believe all are over 21.  With bands like the Peeps, Bobbyteens, Pinkz, Fabulous Tuscaderos and more that are all predominantly female, it is a trend that needs to continue.  Maybe with more role models such as these we'll see more female bands and less Britney Spears wannabes.  

The artists formerly known as the Peeps are Paula, guitar, lead vocals and Chela, bass from the Peeps with new drummer, whose name I missed and Ryan Wong (of the Wongs) on lead guitar.  They are looking for a new name but haven't settled on one yet.  They played several old Peeps standards and some new songs.  The new songs were so good that it takes the Peeps (or whatever they become) from a great band to an elite band.  The addition of the lead guitar and the song writing skills witnessed on the new songs elevate them to new heights.  Punk rock'n'roll at it's finest!!

Jeff Dahl topped off the evening with a greatest hits package that left everyone satisfied.   The last time I saw Jeff play was with the Hard-Ons and Adolescents at the Country Club in the L.A. area.  During that show and playing for a packed house of mostly punk rockers, Jeff and his glam dressed crew were booed heartily by the crowd.  Funny thing is it made me a Jeff Dahl fan.  What came through were the songs.  Great, guitar driven stuff that may have had it's roots in glam rock but that's OK because I loved bands like Slade and Mott the Hoople.  Last evening was topped off with a couple of covers - Another Girl, Another Planet by the Only Ones with a guest vocalist that I failed to recognize and a stunning rendition of Sonic Reducer by the Dead Boys.  Jeff has a definite love in his music for the Stooges and Dead Boys and that's just fine by me.
Willy Aadnoy

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Agent Orange/T.S.O.L./TheCircle Jerks/Bad Religion/Fear/The Crowd/The Skulls/The Adolescents/ The Screamers/The Runaways/The Dogs/The Minutemen/Hal Negro and the Satin Tones/Geza X/The Controllers

El Rey Theater -- Los Angeles, California

December 9, 2001

On December 9th at the El Rey Theater in Los Angeles, many L.A. punk bands from the 70's and 80's joined together to provide a benefit show for Flipside magazine. Flipside has been in financial difficulty since their distributor went bankrupt last year. The show was also a book release party for "We Got the Neutron Bomb" by Masque owner, Brendan Mullen and Spin Magazine senior contributing writer, Marc Spitz.

The show was dubbed the "Class of '77" and was hosted by two members of the early L.A. punk scene, Pleasant Gehman and Hal Negro. Both did an excellent job keeping the crowd entertained between sets and Pleasant's heckling of the crowd caused her to be bombarded by flying cups and beer and water. She took it all in stride. 

In order to get everybody on in the six hours allotted to the bands, there was one drum set and one set of amps used by all bands and then they just plugged in their own guitars and bass.

First up was Hal Negro performing some lounge lizard stuff which failed to get the juices flowing.  When he was talking rather than singing things were a bit more amusing.

The Controllers were up next minus Kidd Spike and Mad Dog. Both were ill and Mad Dog, recently diagnosed with M.S., was not present. Kidd Spike was induced to come up after Stingray sang Neutron Bomb. He made his way through Hot Stumps, Do the Uganda and Jezebel. Unfortunately for me, during the set, the video camera they let me bring in was now no longer allowed. I was forced to return the camera to the car and missed half the set.

Geza X performed a one man show with acoustic guitar doing another lounge lizard act like Hal Negro did. He did do his Mean Mr. Mommyman spiel which is always good for a chuckle or two.

Hal Negro and the Satin Tones provided us with more lounge lizard music which had become quite excruciating at that point. 

The Minutemen minus D. Boon who is no longer among us played with bass and drums only, choosing not to replace their lost guitarist. They played several songs that tended toward the funky side of punk.

The Dogs did four songs including, Younger Point of View which was played for the first time in 23 years. They stuck to their singles pretty much playing Fed Up, Slash Your Face and the recently released Class of '70. As always, they were fabulous. 

The Runaways, which consisted of Cherie Currie and Sandy West with two replacement players on bass and drums, played several songs while Cherie was attempting to exhort the audience to sing along like it was some kind of arena concert or something. One person appropriately lofted his Bic lighter. Having seen the Runaways several times in the 70's, it was really weird to see a 40 year old Cherie Currie. 

The Screamers were basically K.K. and Paul Roessler.  They played several songs including Punish or Be Damned.

The Adolescents were the highlight if the evening. All original members were present including Man Mountain Rikk Agnew. They paid tribute to the late, great Rik L. Rik by singing Do the Nihil. Amoeba and Kids of the Black Hole were the best two songs by any band all evening. They were totally tight and totally awesome. Reunion, any one?

The Skulls (Billy Bones and replacements) played several of their old standards topped off by Victims. They got the crowd into a slam dancing frenzy.

The Crowd played mostly their hits from the late 70's, Trix are for Kids, Modern Machine and Living In Madrid although they have continued to play and put out records ever since they first started. They are currently part of the thriving L.A. punk rock'n'roll scene.

Lee Ving of Fear replaced his usual crowd taunting with what I suppose was meant to be a patriotic chanting of USA between each song. They played I Love Livin' in the City, Beef Baloney and a couple more of their 70's "hits". It would have been nice to see Lee bait the crowd as only he can but that task was left to Pleasant in between sets.

Bad Religion played several songs in between Greg Graffin's seemingly incessant chatter.  When they were playing music they were well receieved by the slam dancing crowd.  They ended their set with 20th Century Digital Boy.

The Circle Jerks, Keith Morris, Xander Schloss and Greg Hetson played the longest set of the night 7 or 8 Circle Jerks classics followed by the Black Flag classic, Nervous Breakdown which was interrupted by Keith to prevent the crowd from hurting someone. Thankfully he started the song from the beginning because this was another highlight of the evening. Cliff Roman of the Weirdos joined for the last two songs for the Weirdo classics, We Got the Neutron Bomb and Solitary Confinement. I'm not sure where the Denney brothers were but Keith did a good job on the 2 songs. I would have to disagree with his statement that the bombing of Afghanistan had anything to do with oil. I would say it has everything to do with revenge. Oops, sorry, I said I wouldn't allow politics to creep back into my site. 

T.S.O.L. frontman Jack Grisham said he didn't care what the crowd did to each other in keeping with the violent Huntington Beach scene that formed in the 1980's which included his first band, Vicious Circle. They played several of their better songs from their debut album including the great Code Blue.

Agent Orange topped off the evening with several of their earlier songs and a recent addition to their repertoire. They are another band that never broke up and have been playing and putting out music since the late 70's/early 80's. 

All in all it was a satisfying evening which I attended with two of my best friends, Steve Stiph and Susan. Steve and I supported the scene from it's inception having seen the Dogs in 1976 and being there at the beginning of what would become the L.A. punk scene for the Germs, Zeros and Weirdos at the Orpheum theater in April of '77. 

I also got to meet up with old friends. Brian Hansen of the Silencers and Legal Weapon and his lovely wife, James Lerie and Gary Pogo of the Black Jax and Loren Molinare of the Dogs and his family. 
Willy Aadnoy

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The Richmond Sluts/Slash City Daggers

Blue Ox -- Phoenix, Arizona

November 2001

The New York Dolls are alive and well as was witnessed at the Blue Ox in Phoenix, Arizona this weekend.  Local heroes, the Slash City Rockers, played songs from their two albums out on Unity Squad Records when they were known as the Daggers.  See my previous review in the What's New section if you want more details about their sound and live show.

The Richmond Sluts from San Francisco, CA headlined and highlighted songs from their self titled debut on Disaster Records.  Their sound is unique in that a wall vibrating organ is an integral part of the repertoire.  Imagine the New York Dolls with an organ.  Lead singer Shea Roberts continually exhorted the crowd to MOVE!!, something that is totally lost on a typical Phoenix crowd.  He was also heckled mercilessly by some of the female members of the crowd after taking off his shirt and displaying his scrawny physique.  The music rocked though.  If you like Punk Rock'nRoll, you'll love the Sluts!!
Willy Aadnoy

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The Beat Angels/Red Planet

Blue Ox -- Phoenix, Arizona

November 2001

I saw a great show over the weekend at the Blue Ox.  Red Planet  played a set inspired by late 70's power pop such as the Boys with lots of power and sweet pop.  Also if you want to go back further, their synthesizers are reminiscent of The Sweet's Fox on the Run.  What they do have is an entertaining stage presence, fantastic lead guitar and hooks galore.  They have several releases out on Gearhead Records.  Check them out.  

Second, and last, up was the Beat Angels.  I'm embarrased to say that this is the first time I have seen them despite the fact they are a local band and I have had their first two CD's for ages.  They claimed to be playing in their usual state of drunkenness but this did not detract from a tight set featuring pop melodies backed by powerful guitars that make the most jaded pop punker swoon with envy.  They did a rousing version of the Dictator's "Stay With Me" that would have had Handsome Dick himself applauding.  Overall a very satisfying evening! 
Willy Aadnoy

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The Excessories

Hollywood Alley -- Mesa, Arizona

October 2001

Last night I saw the fabulous L.A. band, the Excessories for the second time.  The CD which is totally awesome, does not even begin to hint at the charisma and power that the band displays live.  Melanie can belt out a pop tune with the best of them while Rich looks like he had too much rich coffee the way he moves about the stage and evn into the audience.  They do such a great version of Blondie's X Offender that I wonder why they didn't get to do that song on the recent SFTRI Blondie tribute album.  The bassist changed sexes since the last time I saw them and the rhythm section of bass and drums kept the beat going for this great set.  I had the opportunity to speak to Rich a little bit during the evening.  He and I are both products of the 70's L.A. punk scene.  Great guy with all the credentials, having played in numerous bands over the years. The crowd was disappointing as a lot of Arizona gigs are.  Kudos to the local punk rock band members that supported the show with their presence.  If you get a chance to see the Excessories, don't miss out!!   
Willy Aadnoy

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Sonic Thrilla/Vox Poppers

Long Wongs -- Tempe, Arizona

August, 2001

Last Friday it was off to Long Wongs to again see the Sonic Thrills and the Vox Poppers.  Both bands are incredible live acts.  Plenty of rock'n'roll action, high energy, and classic songs.  These bands are both outstanding.  The Sonic Thrills have been around for 3 years and the Vox Poppers for 5.  I'm ashamed to say that I just discovered they existed.  Many thanks to Jim Monarch of the Sonic Thrills for the 7''er and Art of the Vox Poppers  for the demo CD.

Long Wong's was kind of an interesting place to see a band.  There was a window to the street and the college kids from ASU were walking by and occasionally someone would stop outside the window to check out the show.  Occupancy was listed at 50 people and I'm sure it was at capacity.  The sad thing is is that these bands should playing in front of tons more people.  Come on, Phoenix, you can do better than that!!! 

The Sonic Thrills were down to one guitar after their other guitarist quit after last weeks show.  They were still able to play a blistering set that had the place rocking.  The second guitarist was a recent addition so they were comfortable with this configuration. 
Willy Aadnoy

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Sonic Thrills/Vox Poppers/Cherry Bomb

Phoenix Theatre -- Petaluma, California

August, 2001

Another solid evening of rock'n'roll greatness at the Blue Ox in Phoenix.  Where else can you go and get a brew for a buck and great music for $5?  First up was Cherry Bomb.  Five females playing a sort of soulful rock'n'roll.  Obviously talented musicians and a singer who doesn't suck even if she claimed her singing sucked.  A little too subdued for my taste but they had a very good reaction from the audience.  The proliferation of female fronted or all female bands is a positive development in today's local music scenes.

The next two bands, the Vox Poppers and the Sonic Thrills fall into a category that is best described as punk'n'roll.  Rhythm and lead guitar, and a driving rhythm section.  These type of bands are not afraid to throw some lead guitar into the mix and owe their roots back to the fifties and sixties.  

With that said, the Vox Poppers  ripped through an all too short set of guitar driven rock'n'roll with solid songs that had tons of hooks and melody.  I found their web site and discovered they have a CD released.  This is now at the top of my acquisition list.  Check out the song samples on their site and see what I mean.

I saw the Sonic Thrills  for the second time.  My impressions are a little different the second time around.  The one thing that isn't different is that these KICK ASS!!  More driving punk'n'roll, great songs, charismatic lead singer and the ability to back it all up.  Whereas I originally described an Iggy/Dead Boys influence, I would lean more towards the Humpers this time around.  There were a couple of lines in one song that sounded very Stiv Bators and one song that reminded me of the Misfits classic, Where Eagles Dare.  
Willy Aadnoy

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Sonic Thrills/Daggers

Blue Ox -- Phoenix, Arizona

August, 2001

I made a rare mid-week excursion out to see two local bands, the Daggers and the Sonic Thrills.  It was well worth the few hours of lost sleep to see these two incredible bands.  The Daggers have the New York Dolls/Johnny Thunders look and sound down pat.  The drummer looks the reincarnation of Tony Kinman of Dils fame and the skinniest fuckin' legs I've ever seen (sorry, man).  I've had their debut CD for awhile now and it is a must have for anyone that likes this style of music.  The lead singer spits out his lyrics with venom and attitude.  A band to watch!
Willy Aadnoy

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The Dogs/The Wongs/Kanary

Blue Ox -- Phoenix, Arizona

Saturday, July 28, 2001

Then last night the Dogs made the trek across the desert from L.A. to play Phoenix for the first time.  Joining them were Kanary, which share bassist Mary Kay with the Dogs.  Rounding out the bill were the Wongs, an energetic balls out punk band from Arizona.

It has been 25 years since I first saw the Dogs.  I heard their song, John Rock, on the radio on sation KROQ.  There was also an announcement that they would be playing the KROQ Cabaret, a local club that was hosted by local luminary, Rodney Bingenheimer.  This scene, which included fantastic bands like the Pop and the Berlin Brats also spawned the likes of Van Halen.  This group of bands were the predecessor to what would become the L.A. punk rock scene, maybe the most important scene to develop out of the punk rock movement.  The Dogs were one of the bands that played constantly throughout the late 70's and eventually called it quits in the 80's.  Through Dionysus Records, the Dogs archival material has been made available on a larger scale than ever before and prompted a reunion show at the Garage, a local L.A. hot spot for punk bands.  One of the more exciting results of this initial reunion gig was that the Dogs realized that there was a new audience and genuine excitement about the band again.  Three gigs later we arrive in Phoenix on July 28, 2001.  Right now the Dogs intend to continue for the short term and hopes are that it will be for the longer term.  The only known gig still ahead is the Las Vegas Shakedown in February.

I made the 6 hour trek twice to see the Dogs play in L.A.  I had the opportunity to meet Loren Molinare, singer/guitarist and we have become friends.  I don't know why I never introduced myself 25 years ago but that's the way it goes.  Loren asked about possibly playing Phoenix and I made some inquiries and with the help of Jeff Dahl and Paula Monarch, the Dogs made it to Phoenix.  I was a bit nervous because the club was slow to fill and I really wanted this to be a positive experience with an enthusiastic audience for one of my all time favorite bands.  By the time the show began, the club was pretty full and the Dogs put on their usual amazing show, going through all the old faves like Slash Your Face, John Rock, Fed Up and Are You A Boy or Are You A Girl.  A new song soon to be released as a single, The Class of 1970 was also played and Oh Yeah, a song written with Texas Terri rounded out a super set with a dose of energy not likely to be found by many 3 piece units anywhere.  Solid bass by Mary Kay and drumming by Ken Murty (I hope that's right, Ken) made for a super tight sound that never fails to amaze with it's intensity.  And to add a final thought to the night, you could not find nicer people anywhere.

A special thank you to Leslie of Kanary for taking the risk and providing the van  to make this show possible.  Kanary had quite a few fans in the audience.
Willy Aadnoy

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The Zodiac Killers/The Rotters/The Dogs/Fuck Bunny

The Garage -- Silverlake, California

Friday, May 11, 2001

Since the last time I was in L.A. in March to see the Dogs, I knew they were going to be playing again on May 11.  It had been gnawing at me whether or not to drive the six hours to see them again.  Well, about 2:00 PM Friday afternoon I made up my mind and off th L.A. I was.  Once they hit the stage, there was no doubt I had made the right decision.  Loren acknowledged my trek during the set and called me a "Rock'n'Roll maniac".  Fuck yeah!  Thanks, man!  The Dogs are not to be missed if you ever get the opportunity.  They have a new single (Class of '70) coming out on Dionysus in the near future.  I can't wait.

There were 3 other bands on the bill.  First up was Fuck Bunny, 4 young ladies that were...cute.  If they live up to their band name, I hope they put more emotion into that than they do to their playing.  The Rotters, another punk band from the 70's played third with only one original member, Phester Swollen.  I talked to him after the show and we reminisced a bit about the time I saw the Rotters at the Other Masque in '78 or so.  The new singer puts on this angry young man persona and just yells out the vocals.  I had a hard time recognizing Sit on Face, Stevie Nicks and Amputee because the vocals and the music were played withput any regard for making them sound coherent.  If they played anything else from their singles, I couldn't recognize them.  Phester was real nice.  The Zodiac Killers headlined the bill and played some straight forward punk blasts that put a nice capper on the evening.  They insulted the crowd, a la Fear for most of the set and deservedly so to the two morons who were called up to sing along to their encore and just danced.  I went to the swap meet after their show and picked up two of their CD's from Greg Lowery.  He knows what I mean.
Willy Aadnoy

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The Lazy Cowgirls/The Fabulous Tuscaderoes/The Peeps

Blue Ox -- Phoenix, Arizona

Saturday, April 28, 2001

Another night on the town last night and 3 great bands.  The local female threesome, the Peeps, started the festivities with a fun set with the emphasis on fun.  I need to get out more because I had a blast and these young ladies have been playing around town for quite some time.  Check out their full length on SFTRI.

Second up were the Fabulous Tuscaderos and their set can be summed up with one word...Fabulous!  I had not heard of them before but these four young ladies laid a blistering set of straight ahead melodic punk blasts.  They wore matching 50's outfits and sang about Fonzie and I'm sure the name comes from Pinky Tuscadero of Happy Days fame.  The look and sound totally work.  Check them out if you get a chance.  They are from Long Beach, CA, my former residence.

Last up were the Lazy Cowgirls.  I already knew about their great albums and I had heard great things about their live show.  They lived up to everything I heard.  Michael is an absolutely amazing guitarist and had the Tuscaderos bowing with unworthiness at his feet.  The Cowgirls obviously have a blast playing and the joint was pretty much filled.

All in all, a fabulous way to spend a Saurday night.
Willy Aadnoy

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The Phuzz/The Retarded/Liar's Club

Jugheads -- Phoenix, Arizona

Saturday, April 7, 2001

Saturday night I wanted to go the show and what a show it was!!  The Retarded/Phuzz tour added a date in Phoenix as their last show of the tour so I got another opprotunity to see these fabulous bands.  The Tucson show could not have prepared me for the perefect set delivered by the Retarded.  The show was longer, the audience got into things more and the excitement was electric.  Two weeks ago I got relive the 70's and this weekend I got to see the future.  Hopefully many of you across the country got the opportunity to see this exciting band.  Support them by buying their stuff through Mutant Pop or Stardumb Records.  

Forget the music for a second.  You are not going to find a nicer groups of huys anywhere.  Paolo, Mera, Paco and Mario are friendly and funny and love to have a good time.  I hope I get the opportunity to see them again.  Paolo gave me a copy of the only Retarded record I don't have.  It is my honor to call these guys friends.  Enjoy the spaghetti, guys.

The Phuzz played a wonderful set again that is full of humor and pop hooks.  Matt delivers the pop goods.  I had the opportunity to talk to Matt for awhile and he is also a super nice guy.  They hail from SoCal so keep your eyes open for a local show if you are in the greater Los Angeles area.  Their CD, American Pop, is well worth your cash.
Willy Aadnoy

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The Phuzz/The Retarded
Friday, April 19, 2001
Skrappys -- Tucson, Arizona

The Dogs/Excessories/Bobbyteens 
Saturday, April 20, 2001
The Garage -- Silverlake, California

Friday night it was a couple of hours down the road to Tucson to see the Retarded!!  I had a blast hanging out with the guys from Italy.  Paolo was the most fluent in english and we talked about punk rock and what it was like visiting the U.S. for the first time.  Their set was a powerful blast of Ramones influenced gems.  Mera's gravelly vocals and guitars and the hard driving rhythms laid down by Paolo, Paco and Mario.  The Phuzz came on after and played a delightful set of pop punk killers.  A show not to be missed!  Get the dates below.

Saturday night it was another 400 miles over to L.A. to see one of the greatest bands to ever call L.A. home.  Fuck yeah!!  Those were the words spoken to me by Loren Molinare as I embarked on one of the most awesome nights of my life.  I cannot even begin to describe what a night of raw emotion and raw power that sets the Dogs apart from all other pretenders to the throne of punk rock.  To see the Dogs again after all these years brought tears to my eyes as I watched in amazement how tight and powerful they sounded after all these years.  No drug could provide a high better than this set.  Punk rock luminary, Keith Morris, was there to enjoy the show too.  The Dogs!   Fuck Yeah!!!.

Opening for the Dogs were two female led bands, the Excessories and the Bobbyteens.  This was the first time I had seen the Excessories and I was very impressed with their fun attitude and solid songs.  The Bobbyteens came on after the Excessories and just prior to the Dogs.  The Bobbyteens always play a fun show and the songs with their killer hooks and seductive vocals are a treat to listen to.  I had the pleasure of standing right in front of Lisa and enjoying the attributes she displayed on, ummmm, guitar.  One of the positive aspects of bands that employ female members (and all 4 bands had females this night) is that more females are part of the audience.  Whereas traditionally 70% of the crowd was male, this show was pretty evenly divided.
Willy Aadnoy