Showing posts with label Brooklyn punk. Show all posts
Showing posts with label Brooklyn punk. Show all posts

Saturday, January 24, 2009

Fear of February

Text © Robert Barry Francos
Images from the Internet


As we swing towards February, Mercury is currently in retrograde. What this means to those into astrology is that this is a bad time for making life-altering decisions and signing contracts. In fact, I know of a famous musician who is putting off a big deal until the retrograde ends, after February 1. Astrology to me is one of those things that I find cool if it works for me, but I ignore if it is negative.

It seems an irony that retrograde ends at the start of February, because that is when I start to get a little bit nervous. Early in that month seems to have an air of fear and a hint of death. After all, lets visit this period for the past few decades.

On a very early cold Midwest morning, three musicians stepped onto a plane. They were on a grinding cavalcade bus tour, and the star decided he wanted to fly ahead to wash his socks and underwear.

Though the stories are numerous about how everyone ended up being on the small chartered plane, it crashed minutes after taking off. Along the with tales of how culture changed at that defining moment, there are even songs telling of “The Day the Music Died.”

On board were the prince of rock and roll, Buddy Holly (Charles Hardin Holley), rising star Richie Valens (Richard Steven Valenzuela), and one-hit-wonder disk jockey J.P. Richardson, known nationwide as The Big Bopper. One story was that at a certain point, session guitarist Waylon Jennings was also on board, but got off, with Valens taking his place.

Ten years later, it was February 2, 1969, and a British born/Toronto raised elderly actor named William Henry Pratt passed on. He possessed one of the most imitated voices in the history of cinema, and yet, again ironically, he started his career voiceless. His first film was in 1919, a silent film called “Her Majesty’s Service.” Pratt’s roles were mostly second-string, and though he made numerous films before the advent of sound pictures, he didn’t make enough to live on, so he drove a truck to fill in the gaps.

The change came indirectly at first, in 1930 (though it was actually recorded in 1929). The film Dracula was an instant success, making the actor who played the role, Bela Lugosi, famous. He had that melodious, mysterious voice, which he considered his trademark. When the next film at Universal Studios came up later that year, to be released in 1931, he turned down the role because it was non-speaking. The person who got the role was pretty much unknown, despite his years of the craft. When the film Frankenstein came out, the actor playing the monster was listed in the credits merely as “?” No longer Bill Pratt, “?” was now monikered Boris Karloff.

Paradoxically, Karloff had a much more varied and popular career than Lugosi, probably because the former was able to remove himself from his roles, where as the latter had too much of his life mixed with his mythos. Karloff used his roles to pursue the things that interested him, such as art collecting; Lugosi merely wanted the fame, the dames, and the intoxication. Because Karloff was such a kind man, he actually made a sideline of being totally against type, by recording albums of children’s stories (I possess one of them), and even playing the narrator and main character of the animated How the Grinch Stole Christmas.

Towards the end of his career, he made one phenomenal film, Targets, essentially playing himself in an early film directed by Peter Bogdanovich, before Boris drifting off into grade C Mexican horror films while confined to a wheelchair due to an extremely advanced case of arthritis. He died on February 2, 1969.

Ten years later, it goes back to a short, flashy life in music. Or, some people may argue, around music, considering the talent of the artist. There have been many interpretations and tales about the death of John Simon Ritchie, or as he’s commonly known, Sid Vicious. Or, just Sid, even though he was Sidney (or SID-nay) to John Lydon. I share the same birthday as Sid, May 10.

But first I must digress: I saw Sid once. In ’78, was at a crappy little club that lasted for two minutes near the old Bleecker Bob’s, when it was on MacDougal Street, near the Christian Science Reading Room. The show was over, and I turned the corner onto 8th Street, going toward the subway, and there was Sid, definitely wobbly with a bottle in his hand, kicking some unconscious drunken guy who was lying on the sidewalk near the curb and a pile of trash waiting for the garbage truck. Needless to say, I did not stop to chitchat.

Without saying whether it is true or not, here is the story that I heard about Sid’s death. After getting out on bail, he wanted to, well, let’s just say return to some old habits. He had his mother, who was in New York, head over to a dealer he knew in the then truly seedy Union Square Park. He told her, “Make sure it’s good stuff.” When his mom made the purchase, she asked the dealer what condition the condition was in, and he told her, “For Sid, I only give excellent. Just make sure he cuts it.” For those who don’t know (and as someone who has never tried the crap, I’m not even sure how I know), it means it’s pure and needs to have something added into it to dilute the potency.

When dear ol’ mum brought it back, Sid asked, “Is the stuff good? What did the guy say?” She told him, “He said something about it being cut.” Sid took this to mean that it had already been cut, and he OD’d.

That story may be pure fiction, I don’t know, I’m just the reteller of what I heard. Either way, he died on February 2, 1979.

In case the reader has not noticed, this was the first few days of February in three 10-year intervals: 1959, ’69, and ‘79. As far as I know, there was no cultural death-shift in 1989 or 1999, but I am still aware every first few days of that month. Perhaps I am going to be especially aware as it comes around this year, 2009.


POSTSCRIPT FEB 2009: Looks like this year proved to be another in the list, as Cramps front(wolf)man Lux Interior passed away on Feb 4, 2009. My blog about him is dated Feb 5.

Wednesday, December 24, 2008

Punk Temple Faces, Pt 1: May 3, 2003

Text and photos (c) Robert Barry Francos

Those who read this know that I was a frequent flyer at the Punk Temple, the best (even if only) punk club that was not only in Bensonhurst, Brooklyn, but in a Synagogue basement (and yes, they had shows on Saturday nights, which always confused me).

While it was great seeing all the bands that played there, and there were a multitude of amazing shows thanks to the great guys that ran it, one of the enjoyment of going there was to see the audience, who were enthused about what they were hearing and seeing.

Yes, I enjoy taking pictures of the bands, but the show includes the fans, and I've always tried to capture the moment of the whole show, on stage and off. Here is a one-day view of some of the action. The date was May 3, 2008, if you haven't guessed that already. Captions are before the photos; note that not all these bands exist anymore, but I listed them as they were then. Hopefully, this will be the first of a series of 2003 shows. I went to more shows than in 2003, but this is the year I had them scanned (pre-digital). Enjoy!

Waiting for Tracer's set to begin

Yes, Stray 76 has lots of male fans, too

Eva and Ilya

Surfing while At A Loss plays

They asked me to take their picture

Diver during At a Loss not sure what do to when the song breaks

Moshing during Friendly Fire

Getting a "kick" out of Friendly Fire (yeah, I know, too easy)


Just after the guy in front got his tooth chipped when he got pushed by moshers and his face slammed the stage during Friendly Fire


Waiting for 5 Cent Deposit to start their set


This gaggle of girls were the most consistent to attend shows at the Temple


Vonny standing her ground and saying, "No!" to potential diver while 5 Cent Deposit play on


Surfin' to 5 Cent Deposit

Monday, November 3, 2008

Live at Hank's: Chesty Malone and Sister Anne, 10/31/08

Live FFotos at Hank’s © Robert Barry Francos

Last time I saw lead singer Jacqueline Blownaparte (love that name), was when she was lead singer of Lady Unluck (as Vikki Voltage), both at Peggy O’Neill’s in Brooklyn, and CBGB’s. But that’s a couple of years now, and I’ve been just itching to see her new group, Chesty Malone and the Slice-Em-Ups. I’d recently done a review of their incredibly fun new CD for Jersey Beat (www.jerseybeat.com/quietcorner.html), Now We’re Gonna See What Disaster Really Means, so I was looking forward to seeing them play.

Turns out they had a gig coming up on Halloween (the perfect day to see them) at one of my favorite haunts (pun intended), Hank’s Saloon in Brooklyn. Hank’s is supposedly closing down for redevelopment (let’s finally get rid of that miserable mayor Bloomberg already, willya!?), so I was happy to not only get a chance to finally see the band, but to support one of my favorite remaining local music centers.

As for a costume, well I’ve never really been one to dress up, so I wore my official canary yellow Day of the Dead sweatshirt. It had been given to an editor of Fangoria by the film crew for appearing in the Romero film (as a zombie, of course), and he gave it to his girlfriend, Dawn. When they broke up, the girlfriend gave it to me. I don’t wear it often, but this was a special evening.

As the first band was setting up the crowded, tiny and slightly elevated stage, I saw Chesty Malone arrive all together. I went over and introduced myself to Jacqueline, who almost seemed a bit shy, and guitarist Anthony Allen van Hoek. Am I crazy, or was it just pre-show jitters? Or maybe it was the projection of myself who was bashful? Anyway, I found it kinda charming. While the band usually has some kind of blood-spattered appearance, for this show, Jacqueline wore a zombie Star Trek Yeoman Rand outfit that worked quite well, so I felt confident in my choice of “costume.”. At some point before the first band, Anthony came over and gave me a Chesty Malone t-shirt, and I truthfully told him that I would wear it with pride.

Got By Buckner
The first band up was the all-attractive Got By Buckner, the second band I know of that was named after the Met’s-winning 1986 World Series (other one is Miracle of 86). My guess is this is a one-off cover band made up of members of other bands, just having fun (I did a search through some Websites and came up with bubkus). And some of the crowd, obviously made up of their friends, seemed to be getting into it. I had some problems though, part of which was their choice of obvious Top-10 covers, from the good (e.g., Proclaimers’ “500 Miles, B-52’s “Love Shack” and CCR’s “Fortunate Son” – although I bet they were doing the U2 version), to the awful (e.g., Michael Jackson’s “Billy Jean”, and Kelly Clarkson’s “Since U Been Gone”). The band's musicianship was fine, based on guitar (acoustic), drums, bass, and keyboards, but the lead vocalist was not. Her voice was incredibly reedy, and mostly tuneless. The guitarist had a much better and stronger voice (and in hair-band mode, looked like that blond surfer dude on TMZ). Their audience was tall and thin, preppy types (one of the great things about Hank’s is their diversity of bands), who danced in front of the stage. As good as GBB were to look at, I was honestly glad when they were done.


Chesty Malone and the Slice-Em-Ups
Next up was the band I had come to see, and Chesty Malone and the Slice-Em-Ups certainly did not disappoint. Immediately, there was a change of crowd, as an older, rowdy and fun group came to the forefront, including Lisa Brown (of Mongrel Bitch),who I had seen before at She Wolves shows.

CM&TSEUs are as horror-focused hardcore punk and horror-focused hardcore punk can be. In a long tradition of bands that focus on the macabre, horror film (gory-type), and serial killers, they sound like the howl of an angry wind in which you hear voices calling for your soul. Jacqueline is loud and angry, pulling the listener down and stomping on them until they submit. Hunched over and clutching the mic while standing in the audience, she rocks back and forth, spilling her vocal guts to the level that Lucio Fulci (were he not at the Quella villa accanto al cimitero) would be proud. Anthony, tall and imposing, played his Frankenstein monster on guitar to the hilt, making horror faces at the crowd and strum-pounding on his instrument. Jeez, it’s a fun band.

Jacqueline Blownaparte and some Queens of Pain

They went through a number of their songs from the CD, and I even videoed one of my favorite songs from the CD, the opening cut, “Satan Met a Lady,” but like a fool I did half of it at vertical (when I take photos, I'm not locked into vertical or horizontal), and of course, there’s no way to view it that way. Oh, well. That’s why I’m a photographer rather than a videographer. They did “13 Killers,” “Eat Shit” (aka “BPPS”), “Dotti Douchebag Sings the Blues,” and “Trouble With Cannibals” (another of their tunes I really like). The set list is copied below the band line-up.

This was the first time I saw them play, and I’m certainly hoping it will NOT be the last. They are exciting and fun, in an insane asylum, hardcore, take-no-prisoners, 28-Days/Weeks-Later-speed kind of way.

Chesty Malone and the Slice-Em-Ups:
Jacqueline Blownapart: Vox
Anthony Allen Van Hoek: Guitar
Ernest Anderson III: Bass
Angel Cotte: Drums

Set list (as listed on their sheet):
Wasteface
Eat Shit
Satan
Livereaters
Meat Factory
Exit 13
Skincrawl
Everybody Hurts
Cannibals
13 Killers
Ghouls
Dotti Douchebag
Beavershot

chestymalone.com
myspace.com/chestymaloneandthesliceemups

Anthony’s excellent blog: rnrruinedmylife.blogspot.com

Sister Anne
After CM&TSEM’s set the crowd mutated once again, into one that was younger with urban-coolness, as we waited for the next band, Sister Anne. They are developing quite the following, though honestly I had not heard of them before. But there always is a first time anyway, right?

They all arrived in costume (listed next to their names below), and were very vibrant. There were tickets given to anyone who was in costume, and the winners got to take home basically stuff that the band wanted to get rid of. I remember the Nerve used to do that, too. It really produced some laughs and joy from the crowd, as one of the band’s bassists, Leon – dressed in full Queens of Pain Roller Derby gear – read off the numbers. The lead singer, Kitana (who also goes by the name Pink Chocolate), is tall and lean, with a performing strut-style stance, almost like an Egyptian empress. Next to her was diminutive Michelle, decked out in full nun outfit and carrying a huge guitar, which she played beautifully, I must say.

What I liked about Queen Anne is that they seem to really be having fun and enjoying themselves. They also play a mean, lean R&B rock. Kitana’s easy manner on stage and frank, sexual-based straight-talk between songs proved that she is a primed front-person. As I watched, she moved around the stage with a both a grace and slink. At one point, she swung her head, and her neon blue anime wig went flying into the audience (and was promptly worn by a male fan in front), followed by the nylon head cover, so her own hair broke free of it’s further binds and was free to move on its own.

Rather than having a set list, Kitana and Michelle had quick discussions, e.g., “Let’s play 'So-and-so'," which worked for them. They are definitely an up and coming band to look for.

About 20 minutes into their set, I left. It was Halloween night, and I wanted to get home. On the way to the train, outside of Hank’s, I saw Jacquline, Anthony, and Lisa, so I got to congratulate the band on a good and solid set. It was good to let them know in person.

Sister Anne (costume):
Kitana aka Pink Chocolate (Anime): Vox
Michelle (Nun): Guitar
Leon (Roller Derby Queen): Lo-bass
Sherry (Derek Smalls from This is Spinal Tap): Hi-bass
Jeph (Animal from The Muppets)

www.myspace.com/sisteranne

Epilogue: On the train ride home, I was listening to people talk about how crowded the Village Halloween Parade was (someone said they got there two hours before the its start, and couldn’t see because of the crowds, estimated in the news reports as in the millions along its route. Going to Hank’s was definitely the right choice.

Getting on the train at one point was a guy in the following costume: gym shorts, a t-shirt (yes, it was warm that night) with painted in sweat stains, and a gym bag. Oh, and he had an enormous soft rubber dildo and balls hanging out of his pants. Now that is just part of what disaster really means.

Monday, October 27, 2008

Barbeque Bob and the Spare Ribs: New Brunswick Bayou Blues

Photos from the Internet

This is the sixth part of a series of articles or interviews that have been published before in magazines that no longer exist. This one was originally published in
Oculus Magazine, September 1996; an update follows.

Barbeque Bob and the Spare Ribs: New Brunswick Bayou Blues

Bill Monroe’s (a founder of popular bluegrass) obituary was in the paper the day I interviewed Robert Pomeroy, known in music circles as Barbeque Bob, leader of the Spareribs. When I mentioned it to him, Bob reminisced about growing up in Southeast Ohio, across the river from West Virginia. “Country music, I hated it when I was growing up, so I tried to do what I thought was the opposite kind of music: Blues. When I got to New York, it was Blues, jazz, hard rock. I’ve always been kinda antisocial with music. I always liked opposite stuff from what people liked when I was going to high school in the mid-‘70s.”

CBGB’s and Max’s Kansas City were his haunts when he first moved to the New York area, Television being his favorite band. Pretty soon Bob and Kevin Trainer, later of the Surreal McCoys, formed Needledick while in college. Soon after, the band Barbeque Bob and the Spareribs was active in the scene. And now, some years on, with a few releases under his belt such as two recent singles on DaDa records, his followers are growing. This includes those who enjoy the music, but do not fully understand the concept, in particular a writer who liked one record, positing the group as “British Blues-based garage.”

After School Special, 1996
While noting the positive side of the review, Bob also takes a bit of umbrage: “Some people are so ignorant about Blues that they don’t realize that Blues – and even electric Blues – comes from the United States. It wasn’t invented by English guys. It’s like punk rock. People think that English people invented punk rock. It pissed me off so much when the Sex Pistols stared their world tour that they started the whole thing all over again. I said, 'Oh, man!' If you went to see what was punk music [in New York] then, there wasn’t any particular sound, and there wasn’t any particular look, either. The bands invented their own look. These bands now, well I read somewhere that Rancid and Green Day are like Sha Na Na, ‘cause the music they’re playing is over 20 years old.”

Pass the Biscuits, 1999
Having been involved in the underground scene in New York for a large number of years, Bob has the voice of experience behind him, such as the fact that he does not rely merely on the Blues. “I tell people it’s kind of like deconstructed rockabilly, ‘cause the way we play you can hear the Blues in it, you can hear the country in it, you can hear all the different parts. It’s probably a type of music that’s never really existed; it’s not a nostalgia kind of thing, it’s an idealized form of how I want things to sound.”

The Sacred and the Propane, 2002
One of the more notable assets of Barbeque Bob and the Spareribs is that they are four extremely talented musicians (and, as is easy to see, friends). The heart of the group is guitarist Ira Spinrad, playing licks hot enough to burn down the house. The soul, however, is Bob. As the night progresses and he gets more into the music, he becomes one with the songs, making sounds and noises that parallel the height of excitement and passion, spontaneously inventing stories to go along with the music in free form, stream-of-consciousness fashion. His harmonica playing at once ignites the songs, as he glides along. At one point, he rolls through the crowd like a harmonica fog, unmiked but heard, and eventually lands under a table. Later, he places the mic under his chin while playing. “Big Walter Horton used to do that,” Bob explains. “I’m very interested in texture, and it give the harmonica a little different sound.”

Burning Sensation, 2006
Their singles are in “glorious, straight-ahead mono,” and soon they’ll have a CD out (also on DaDa), with some cuts in “primitive stereo,” Bob laughs. He continues, “I think it all sounds like the same band. We recorded it all to analog, and then did some overdubs. We remastered some tracks that were on our cassette. The guys in the band said, ‘Are we going to record the songs again?’ I said, ‘No way, we sound like that.’” And that is not to be taken lightly.

NOW:
All this time later, the band is still boppin’ around, playing often here and in Pennsylvania. The current lineup is as follows: Robert Pomeroy, vocals, guitar, harp; Wild Bill Thompson, guitar, slide guitar; David Lee Ross, drums; Arturo Baguer, Bass; also Tom Diello, Fender bass; Glenn Healy, drums; Charles Otis, drums. They are also still associated with DaDa Records.

BBQ-BOB.com
www.myspace.com/barbecuebobandhisspareribs

Friday, October 17, 2008

My Photo on a SQNS Show Flyer


I'm not one to promote shows, but when a band uses my photo on the flyer, how can I say no?

Thursday, September 18, 2008

I'm Old, So What?: Aging in a punk rock world

Photos from various sources, as noted

Photo from Vonny Website

Vonny has a tattoo that swirls her ankle, which comes from a quote by the band Monty Love: “Being Young is only in your head.” She is a scene veteran, and is 19 years old.

I was just barely 20 years the first time I stepped into CBGB’s and saw Talking Heads (their first performance) opening for the Ramones, along with a dozen others in the audience. Since then I’ve lived through underground, punk, new wave, no wave, the garage revival, emo, techno, new romantics, superpop, grunge, hair metal, and multitudes more – both ones I liked and didn’t – than I can remember offhand. And now I’m 53 years old.

The first time I went into the Punk Temple in Brooklyn, 5 years ago or so, I first saw Vonny with her friends, and this was not her first show. I was older than just about anyone else by 20 years or so. I felt a little out of place. Many shows in the city had people closer to my age group, but not at this all-ages venue. When I went back a couple of weeks later to see the bands, after the show someone stopped me on the way to the exit as I passed them and said, with good wishes, “Hey, it’s great you stayed for the whole show!” What I said back, equally kindly, was “Well, odds are I’m going to see more shows this year than you will see in your whole life.” Then I left the premises.

But what he said, along with my feeling the age difference, stuck with me. That night I joined the Temple’s BBS. I started out saying something like, “You may have seen this older guy with a beard taking pix, and wondering why is this guy here? Well, let me tell you…” Then I bullet-pointed about 2 dozen things I’ve done (e.g., my fanzine), band’s I’ve seen, people I’ve interviewed, people I’ve hung out with, and those I’ve met. I ended with, “Please, if you read this and see me, come by and say hello.” And they did. Amazingly enough, pretty soon I was talking to more people under the age of 20 than I did when I was that age. As these people either formed bands or kept going to shows, I still see them, and it’s always pleasant.

Miracle of 86, 2003, by RBF

One life-changing moment at the Temple along this topic is when I went to see Kevin Devine’s group, Miracle of 86. There was an older man taking pictures of Kevin and assumed it was his dad, as this was quite common there. I took a snap of him, and send it along to Kevin. He wrote back saying, “Why did you send me a picture of Jim Testa?” Immediately, I got in touch with Jim, as I’ve always enjoyed his mag Jersey Beat, and he knew my fanzine FFanzeen, but we had never met. He emailed me back after I sent him the picture and how I thought he was Kevn’s father (not sure how he would take it), and he LOL’d, explaining that he saw me taking pictures, and figured I was another band member’s dad. Before long, I was writing for Jersey Beat, and soon after had my own column, “The Quiet Corner” (www.jerseybeat/quietcorner.html).

Being young may be in one’s head, but I don’t physically feel young anymore. I tire more easily, get grumpy (see my blog below on cell phones), and if I see a listing where a band starts playing at midnight, well, I hesitate. There was a time when I would go to a club like CBGB’s while it was still daylight, leave at sunrise, stop off at White Castle for breakfast of 6 cheeseburgers, shower, get dressed, and then either go to work or school. I would love to have “young” go from my head to my body, but not only isn’t it going to happen, I’m okay with it.

Mind you, even when I was young, I was a bit physically limited, thanks to the onset of arthritis at 19 (same kind as Mötley Crüe guitarist Mick Mars), which gives me my wonderful posture. But even then, I had high energy.

Johnny Thunders, ~1984, by RBF

I have to add, most strongly, I am not sorry to be this age, having seen the nascent Ramones, the Heartbreakers with both Johnny Thunders AND Richard Hell, the original line-up of the Runaways…so much good music first-hand. If I were young, I would have missed all that. And other reasons, such as the event below:

I had a friend in my late 20s who was the same age as me, and was repeatedly going on with “I wish I was young again.” It was a steady theme. One day I said to her, “You realize that if you were a kid, you’d have to go through High School again, too.” That was the last she brought it up.

It’s really is okay being older. I looked at my gray streaks one day and realized that there are so many others I’ve known in my life who will never get to see their own hair change. In fact, the only time in my life when I ever had an issue was about 15 minutes before I turned 20, when I realized I would not be a teenager anymore. And about a minute after my birth time (12:10 AM), I was over it. In fact, I’ve often thought it would be cool to be 5 days older, so my birthday would be 5/5/55.

Looking forwards doesn’t scare me much, it’s more the looking back that I find shuddering sometimes. One example of this is when I was reading a book, can’t remember which, and the author commented that more time had passed when he wrote the book since the break-up of the Sex Pistols than from the advent of rock’n’roll (1955, in his example) until the Pistols ended. Yikes. And as mind-boggling as all this rearview mirror looking (as Marshall McLuhan famously called it) feels, I’m still not afraid.

One last thought about going or not going gently into that good night, I am reminded of a song written by Jim Testa, as fine a musician and songwriter as he is a publisher. In it he comments that it sucks turning 50. However, he whistfully adds at the end, it beats the alternative.

Monday, August 20, 2007

2 Live Shows: Dave Rave, Randy Nerve/Toli Nameless/Kung Fu Grip

Dave Rave/Mark McCarron CD Release Party, D Lounge, NYC 6/20/2007

Many rockers and punkers, as they reach a level of maturity, seem to seek out a more varied means of expression. Even some hardcore SoCals have started releasing singer-songwriter output.
One of the more flexile artists over the past few years seems to be Dave Rave DesRoches. While not going through as many bands as, say, Kenne Highland, Dave has shown his versatility through such diverse acts as the Shakers, Teenage Head (both back-up and lead), The Dave Rave Conspiracy, and Dave and Agnelli (to name just a few). While there has been some consistency in his pop rock/punk, he also has not stagnated into a formula. One may say he’s more of an auteur. This is quite evident listening to his CDs, “The Dave Rave Anthology”, volumes 1 and 2 (Bullseye Records of Canada).
Lately, Dave has collaborated with Mark McCarron, a first-rate journeyman jazz/rock guitarist. Mark has deepened Dave’s palate, as has Dave’s association with Vancouver’s Bongobeat Records’ founder, Ralph Alphonso (who used to manage the Toronto punk band Diodes, and now fronts the more jazzy RALPH).
Dave and Mark have now released a CD of (all but one) originals titled “In The Blues of My Dreams” (Bullseye). On April 20, 2007, Dave had a CD release party at D Lounge, off Union Square Park in New York. As a fan of Dave, I was interested in going. Also, I had just gotten my digi camera, so I was itching to try it out in a live music situation. End result was not great, but I’m learning. Link to the photos are below.
The place was warm and intimate, with an occasional celeb sighting, like
Television’s Billy Ficca. My partner and I sat towards the back, and settled in. While waiting for the show to start, I had the opportunity to finally meet Bullseye’s rep and v-mail tag partner, Lisa Millar. I was also grateful to get to say hello to Dave’s (sort-of) ex-musical partner, Lauren Agnelli, whom I first met when I interviewed her earlier band, Nervus Rex (I was the first!). Of course, this was post her gig as a rock writer, and pre her folkie days as a Washington Square). By the way, check out her own CD of chanteuse material, “Love Always Follows Me” (Bongobeat).
As the set began, Mark came out with his full group, including strings and woodwinds. This was a similar set-up as when I saw Dave play with the Vancouver group, Bedsit Poets (their CD is also on Bongobeat, but I have not heard it yet).
The music was quite fresh. So new, Dave had the lyrics with him. Between songs of life and love, Dave pattered in his usual and charming self-deprecating way, curly hair tussled and bouncing. He immediately put everyone into the groove.
Most of the songs were off the new CD, like the catch-laden and very memorable “At the End of Day”. There was also “Sunday of My Dream” and the humorously sad, “Bad Day”, which had a bit of audience participation built in.
Of course, with Lauren in the audience, anyone familiar with them at all knew (and hoped) she was going to join in on stage for a few duets, and she even managed a solo.
On the way out, I made sure to snag a copy of the new CD, which I have to say, glows with Dave’s personality and Mark’s musical leading. I won’t lie, I would love to see Dave strap on the electric guitar again, but meanwhile, we can all enjoy his sounds for a rainy afternoon.

Randy Nerve/Toli Nameless/Kung Fu Grip, Vox Pop, Brooklyn, 6/22/2007
For those who don’t know, there is a small leftist bookstore on Courtelyou Road in Brooklyn that serves up great coffee, interesting lectures, and some diverse musical acts.
On June 22, 2007, I moseyed over there. When I arrived, The Sea That Dried Up was on stage, who is basically a guy with a vibraphone and a feedback machine. He would hit a couple of notes, loop it, and then add a few more, until it was a continuous, loud, and incredibly annoying sound. I’m not a fan of electronica, and this is an example of why. I tried to be open, and looked through some books, finding one I liked. After a few minutes, I knew I had reached saturation, so I brought the book to the front, asked them to hold it, and went out for some pizza, hoping it was over when I was done with my two squares (aka Sicilian style).
When I got back, he was still on. I put in some earplugs and checked out some more books. After the stage noise ended, I took out the earplugs and went back for the book and a big cup o’ coffee, meeting the cool server who is a punker recently moved here from Boston. .
Then I sat down with my cup and waited for the first act I wanted to see, Randy Nerve. I got to know Randy from his previous group, the Nerve! The first time I saw them was at the belated Brooklyn venue, the Punk Temple. Meanwhile, I’d seen Randy perform solo a few times, and it was always enjoyable.
With a love of ‘60s rock (e.g., Pink Floyd) and punk (e.g., Ramones), Randy uses the acoustic guitar no different than an electric, as does Ed Hammil (Hammil on Trial), playing rock and punk styles on hollow wood. This gives his songs a dialectic reversed answer to Dylan going electric. Mixed with some Nerve! songs and cool covers, there was also some newer material he wrote solo, or with sometime writing partner (and ex-drummer of the Nerve!) Anthony, of Kung Fu Grip.
As Randy played, the place began to fill, including some familiar faces. Also arriving were KFG’s Anthony & Ricky, along with their lovely companions, Desiree and Laura (respectively). When not jumping around taking pictures (link is below), I sat with the KFGers.
Between sets, I talked to them about work, school, and overzealous subway cops. Anthony gave me a copy of their CD (myspace.com/kungfugrip), which I highly recommend.
Amid gigs, Randy is a regular subway busker, usually on the F line. During his travels, he meets other musicians. In typical Randy style, he invited the next artist to play this night, Toli Nameless.
Toli is known for her jazzy vocals, and her trombone playing. She was accompanied by poet/rapper/musician Yako on guitar and percussion. When Toli opened up her case, it seems the trombone was broken, so that was out, unfortunately. But it also gave the audience a chance to listen to more of her voice.
Rather than jazz, Brooklyn native Toli focused on some political-dominated Rasta reggae, full of rev-o-lu-tion and social commentary. Very powerful stuff that surely would have made Marley proud. And through it all, Yako kept the rhythm going.
Last up were cousins Anthony and Ricky, formerly of Good Grief (led by Ricky) and now the core of Kung Fu Grip (led by Anthony). Ricky is a phenomenal guitarist and Anthony is a solid songwriter in the post-grunge vein. Together, in this case with both on acoustic guitars, they are quite formidable.
Their songs are actually quite adaptable from full rock band to softer acoustic, definitely lighting up the evening even more. I fought the urge to call out for some of their pre-KFG material like “Intro” and “Greatest Band in the World”. These guys are tight. It wouldn’t surprise me to hear of their success in the biz.
After saying my byes, I took a couple of pictures of Desiree dancing to Randy’s conga drumming. Yeah, this night, the rhythm was right.

Photos: http://community.webshots.com/user/ffranzos2006v1