February 2006 Live Reviews

(scroll down to read all of them)

Career Soldiers
Cheap Sex
Holokaust
December 23, 2005 @ Showcase (Corona, CA)
By Gabby Kelly

With the holidays comes a time of joy-never more true for all of those who had the opportunity to catch this great show. Having already missed Holokaust twice, I knew I had to sacrifice my Christmas shopping to attend this show...and I have not regretted to do so, for this was by far was the best gift I received this year. This crust-anarcho band put on a good and fun show. With their raw beats and political lyrics, they where able to pump up the kids right from the first song. The band generates passionate, fast melodies that pump the crowd full of energy and excitement.

Cheap Sex, one of the most influential street-punk bands, took the stage. Being that this was about my fifth time seeing them play, I can honestly say that they only get better, rougher, faster, and more exciting every time. It took 15 seconds of their opener to get the crowd spazzing out the noise of these five young boys. The crowd was eager to get a closer look, pushing and shoving up to the front and creating a mob of love for the music. The bouncers failed to keep people of stage (crowd-surfing is a must during a Cheap Sex set), so they gave up and just let the fans enjoy and dance in the huge pit.

Finally, what most of us where waiting for arrived: Career Soldiers, a supercharged, pogo-dancing, catchy, and (most importantly) talented band filled the venue with sound of good punk rock. Overwhelmed with excitement. I couldn't help to notice how down to earth these people are. Never acting superior to the kids in the audience, they gave their all with gratitude and warmth. Being far away from home during the holidays sucks for anyone, but the band reminded everyone that the love of music is much greater and more important than receiving unwanted gifts; and they gave everyone there the gift of being able to walk out with an experience that will remain in our memories forever.

THE HAVOC
PRIMA DONNA
THE REKONING
MIDNIGHT SCARS
LATEX LADS
December 29, 2005 @ the Showcase Theatre (Corona, CA)

I hate the Showcase Theatre…but I really don't need to elaborate. But tonight I thought I was in for a treat, because The Havoc were playing. But my dreams would be shattered by the biggest gathering of fashionable crap I've ever witnessed.

Opening bands usually suck. It's a very well known fact that has been engraved on my psyche by almost every opening band I've ever seen...but Latex Lads were different. They opened up with a brilliant rendition of "The Punx Go Marching in" to the tune of "When Johnny Comes Marching Home Again". They got things really moving when they busted into "Don't Judge Us", which is a basic formulaic punk-rock anthem, but a damn good one. This band exuded the energy I've come to expect from many of the bands I go to see. From their young appearance, I assume that Daniel, Frank, Chris, and Miguel are still in high school, but this is definitely one band I hope to see more from in the future.

Midnight Scars made me wonder something: was the smoke machine really necessary? They present themselves even before they get started as something that quite possibly is going to be the greatest thing I've ever witnessed (like '80s hair-metal bands did with their silly theatrics). Another thing: are punk bands supposed to have so many fucking solos? They look like they came out of URBAN COWBOY, with studded belts; and sound like the bastard children of Motley Crue. One song, "Midnight City", made me want to quite literally put a bullet in my head. This is the first time ever that I actually had to purchase ear plugs. They fucking sucked. And vocalist Mike Gunns needs to loose 400 pounds.

After what was the worst band I've ever seen, The Rekoning were up to bat. I had walked outside for a moment and heard the distinct thump of an upright bass. It didn't quite sound like psychobilly, though: it was traditional punk rock played with an upright bass (kind of like The Cramps). These guys were a breath of fresh air, with their upbeat, and uplifting lyrics…Definitely different from the normal, pre-apocalyptic struggle exuded by the crust/anarcho bands I usually listen to and the fashioncore bullshit I was witnessing earlier. There was a definite Oi! influence with these guys. It's quite obvious they share a lot in common with The Dropkick Murphys, The Cockney Rejects, and Blitz-especially when they put down the upright bass for a still-unconventional five-string. Songs like "Saturday Night" and "Necessary Violence" remind me of what punk is...or what it once was.

I'm sure everyone who is into punk has heard of pre-punk wonders such as The New York Dolls or The Johnny Thunders. If you haven't, go pick up pretty much any album by either and don't be fooled by shoddy imitations or something that isn't quite the real deal (like, say, Prima Donna). The band itself isn't horrible. They come on stage in drag (closely mimicking The New York Dolls' gimmick) and play pre-punk-style music without any real edge to it. It is definitely something I couldn't listen to all day...but it's mildly better than Midnight Scars.

Did I know that The Havoc were a Christian band? No, I did not. But when I found out, did I care? Not really. See, there is something unique about The Havoc. They play fast-paced, fashionable punk rock-I really could care less about there religious affiliations. They played "Road Runner" relatively early in their set, which is a fun, catchy song that is easy to get into. I noticed a lot of shit-talking because of the band's beliefs. People in the crowd just couldn't accept the fact that they are Christians. But The Havoc don't wear their beliefs on their back; they weren't thrusting them upon us. To me, that deserves credit.

Well, the night was over. I had my fill of Christian bands, studs, hairspray, and cowboy punkers that sound like Motley Crue taking a dump.

AMERICAN EYES
EUDORA
SKYLINE COLLAPSE
DEATH BY STEREO
December 30, 2005 @ Chain Reaction (Anaheim, CA)
Text and Photos by: Audiophile

Death By Stereo is one awesome band...but we'll get to Death By Stereo later. First, let's talk about the opening acts. American Eyes started out the night with some extremely catchy pop-punk tunes. Now, I know what you're thinking: a pop-punk band opening for a hardcore band? Trust me, stranger things have happened-and the crowd didn't mind one bit. American Eyes had their own set of teenage girls pressed up against the stage singing every word to every song (which included "The Girl with the Broken Heart (By the Way)", "Telephone Wires", and "Radio"). Even though I generally hate pop-punk, American Eyes play the good variety of it. They're original, fun, funny, and catchy. Check them out for yourself at WWW.Americaneyesmusic.Com. (The guitarist of this band had a little message he asked me to include for his girlfriend, so the rest of you can just ignore this, if you wish: Michael says mice have nothing to worry about when other mice go out of town.)

American Eyes

Eudora graced the stage next with their brand of screamo (I'm not sure what else to call it). I'm not the biggest fan of screamo. Again, how did a screamo band end up opening for a hardcore band like Death By Stereo? I'm not sure, but whoever did the booking for this show sure had a lot of fun. The crowd didn't seem to mind-and Eudora aren't half bad, for what they are. They popped out tune after tune, such as "Satellites on Parade", "Every Answer Mute", "Breakfast of a Killer", and "Mishaps and Circumstances". The only thing that REALLY bugged me was the singer: he was all dirty and needed a shave. He looked as if he just got done working in a warehouse or on a dock-which is a fine look if you actually work in a warehouse or on a dock...but it's not so great on stage. Hopefully he cleans up a bit better for other shows. You can listen to Eudora at WWW.Myspace.Com/Eudoramusic.

Now, Skyline Collapse are more of what I would expect at a show like this. They were hard, they were loud, and they were fast. They also happened to get the first mosh pit of the night started-and wow, what a mosh pit. It's the third-most intense pit I've ever been in. (When you go into a lot of pits, you end up keeping track.) I was hit in the ribs numerous times, head-butted in the ear, punched in the eye, and I think someone bit me. It was good stuff-so good that I couldn't get one decent shot off, so if you see no pictures of Skyline Collapse to go with this piece, you know why. I wasn't paying attention to song names while I was moshing, but I was lucky enough to have a friend grab the set list for me, so I can tell you EXACTLY what they played. I got my ass kicked (and did some ass-kicking of my own) to tunes such as "This Year", "When Cities Fall", "The Resistance", "Endless Journey", "A Strength Emerging", and "The . B, be sure to check them out at WWW.Skylinecollapse.Com.

Skyline Collapse

Just before Death By Stereo took the stage, a group of kids (late teens/early 20s) came up to me and complimented me on my moshing skills, which was a very pleasant thing. But my skills couldn't protect me in the Death By Stereo pit. I was pressed up right against the stage listening to them blast out hardcore anthem after hardcore anthem (such as "Emo Holocaust", "Desperation Train", "Sing Along with the Patriotic Punx", and "No Shirt, No Shoes, No Salutation"). During this hellfest of crushing bodies, flying fists, and feet flying for your face, a rather romantic moment happened: one of the band's friends purposed to his girlfriend on stage. Even through the blood and the pain, it was one of the sweetest things ever. It's always nice when someone gets purposed to on stage. It never gets old, and it's always a crowd-pleaser. Be sure to check out Death By Stereo at WWW.Deathbystereo.Com.

Death by Stereo

After leaving the venue (and consequently being able to breathe and move again (though not without a hell of a lot of pain)), I reflected on the madness I had just witnessed inside of the club. And there is only one word to describe the whole thing: intense. Well worth the suffering. I think it is safe to say that not one person at Chain Reaction tonight left unscathed.

BULLET FOR MY VALENTINE
December 31, 2005 @ Rock City (Nottingham, England)
By Thomas Murray

Silhouettes of devil horns in the beams of red light cutting from the stage through pluming smoke-the unmistakable shapes of a heavy-metal show. Shoulders turned and heads bobbed. Mosh pits bubbled and fizzed like the domestic brew that fueled them. I turned to my date and knowingly hissed in her ear, "This is a Metallica cover." Seconds later I realized that I am an idiot and that it was a Pantera cover. Bullet for My Valentine were rocking so hard. "To all the hot bitches out there" went a dedication of "Tears Falling". A few English drunks snuggled a bit closer, but my date avoided me like the plague-probably because I was yelling my ass off and jumping up and down throwing elbows. The song winded down, and the place got a bit quieter. "Hand…of…Blood" dramatically boomed out in a slow but convincing manner. The effect lingered like merciless amounts of stripper perfume, while the quick fingering of an electric guitar intro built us up before the song exploded full force. The floor went nuts. The steel staircases groaned under the weight of stomping, jumping maniacs. The energy of Rock City was full blown. BFMV finished up with "Four Words (to Choke On)". I'll give you four words: How about an encore? Or: Play until 12 o'clock. (Even in the best of listening situations, this song drags me back to early 2005, when the new Madden NFL came out. Shamefully, I admit that I found out about BFMV because "Four Words" is one of the songs featured on that Playstation game.) As good as BFMV was on this night, they left us high and dry with no band to bring in the New Year. So now we have to listen to the damn radio while the ball drops? Crap. Actually, the house music was bad-ass in the big room: I heard some Rammstein and that new Korn song. There is no better way to celebrate New Year's than with hundreds of sweaty lunatics in black T-shirts playing air guitar and drinking their asses off. There was no sign of champagne anywhere as the clock approached 12 (nor cigars, either), just machines frothing soap onto a few Lemmy lookalikes sneering over near the stairwell. A similar machine fired out what looked like snowflakes that fell gently onto the mayhem. I foolishly stuck out my tongue to find that it was thinly-sliced soap shavings. What the hell is with all the soap? Just good clean fun, I guess. Ouch.

Did I mention that Rock City doesn't cease serving drinks until 8 the next morning? A smaller room downstairs featured the metal from a few years back. Down in that steamy cellar you got your dose of Maiden, Guns N' Roses, Bon Jovi, AC/DC, etc. Imagine the way you jump around your bedroom when no one is watching, while some crazy air-guitar riff makes you lean back and close your eyes while belting out the lyrics. Well, that is what most of the room was doing. I've never seen anything like it. It was amazing to see a whole dungeon dance floor swarming in approval of a good time and great music. Don't get me wrong: in certain corners still lurked the "too cool," but even those cursed with excessive self-awareness still had to submit to certain songs and shake their asses while banging their heads.

Between the hours of 12 and 2 was when I noticed the majority of the puking and the reassuring hugs of those about to pass out. The numbers diminished only slightly as shadowy security guards gently nudged some sleeping drunks toward the cold exits. Around 3, the hours of desperation began. Horny solo artists pawed their way through the crowd seeking partners for jam sessions. Standards were lowering, and somewhere a sign flashed: "Musicians wanted, experience optional." I learned that the British have no shame when it comes to bad dancing and dirty pick-up lines. I had long since lost my date to the endless dance floors that led out to the street and perhaps some Alfie-wannabe's flat. I overpaid for a taxi and a hotel room and slept with ringing ears and sore (from dancing) calves. In my dreams I calculated my losses and cursed the hangover I had yet to embrace.

ORANGE DROP NEW YEARS EVE
THE EYELINERS
THE COLOR
BOW WOW WOW
BERLIN
REEL BIG FISH
LIT
JOAN JETT AND THE BLACKHEARTS
PSYCHEDELIC FURS
SUGAR RAY
December 31, 2005 @ The Orange County Fair Grounds, (Costa Mesa, CA)
Photos and text by Todd Markel

Ever have the urge to celebrate New Years Eve in style, with your favorite bands playing all night long and a large illuminated ball drop at midnight? Well if traveling all the way to the Big Apple is out of the question, then the inaugural OCNYE "Orange Drop" at the Fair Grounds in Costa Mesa was the next best thing. The event was being billed as the largest celebration of its kind on the west coast, with over 30 bands and DJ's set to entertain, as you party out the old and ring in the new. Rain showers throughout the day had threatened to cancel the event, but the weather cleared up and the show went on as scheduled.

Eyeliners

Attendees had their choice of general admission tickets or for about double the price, VIP wristbands, lets just say that I ran into more than a few pissed off VIPs throughout the night. With a show of this kind you can either find a place to plant yourself and party all night, or make an attempt to see as many bands as humanly possible, I opted for the later.

Berlin

With a list of band set times in hand, I made my way to the Indie 103.1 stage to see The Eyeliners, an all girl group in the same vein as The Randies. They started their set with a song called "Here Comes Trouble" and went on to play a number of songs from their latest release NO APOLOGIES (Blackheart Records). Next door on the OC Register Stage, The Color were just getting started with their jazzy, bluesy, sound. Lead singer Wyatt Hull reminds me a lot of a younger Val Kilmer portraying Jim Morrison. I was anxious to stake out a good place to see Bow Wow Wow. They kicked it off with "Giant Sized Baby Thing" and went right into the tribal rhythms of W.O.R.K. Annabella teased the audience with a "I'll take something off, if you take something off" and after a number of t-shirts were thrown on stage, she obliged by taking off her overcoat to revel what appeared to be a belly dancer outfit. After their playful hit, "Do you Wanna Hold Me?" It was time to check out the main stage, but as it turns out they were running over an hour behind schedule. I made it back to the side stage just in time to catch Bullets and Octane ripping it up with their first song "Signed in Alcohol". The last time I caught their act, Bullets and Octane showed what a kick ass band they can be, and tonight's show was no exception. Lead singer Gene Louis is every bit a rock star and puts on a great show. The continued their set with "Sweet Dreams" from their CD, THE REVELRY and eventually closed with the killer "Save Me Sorrow". Terri Nunn of Berlin took the stage to a big welcome, she told the crowd she was a new mom and held up pictures of her pride and joy for all to see. They played all their hits from "No More Words", "Riding the Metro" to "Take my Breath Away" I reluctantly had to pull myself away to see my favorite Orange County band Reel Big Fish. Aaron Barrett and the boys started with the old standby "Everything Sucks" and then went right into their latest effort "The Fire" from their most recent CD, WERE NOT HAPPY TILL YOUR NOT HAPPY. After Aaron introduced their cover of the Cure's "Boys Don't Cry" I decided to see if Lit has taken the main stage yet. Sure enough, Lit seems to have been on stage for a while. With Danny Walker of the band Handsome Devil helping out, they played a punked up version of "Aud Lang Syne" and closed with a rousing rendition of "My Own Worst Enemy" that had everyone, including myself singing along. The high point of the night had to be seeing the queen of punk rock Joan Jett. When they played the old Runaways song "Cherry Bomb" the pit erupted with the chorus of "Hello world/ I'm your wild girl/ Cherry Bomb! ". "Do You Want to Touch Me There? " and its chorus of "Yeah, oh yeah, oh yeah" had everyone pumping their fist in the air and shouting along. Some idiot ran on stage and attempted to give Joan a hug as she played, which really seemed to creep her out, but she carried on by playing their hit "Bad Reputation". Time to run again, (This show kept me running all night long) to one of the side stages where the Psychedelic Furs were taking the audience back to the '80s with songs like "Pretty In Pink" and "Love my Way". The headliners of the evening were Orange County popsters Sugar Ray who went on just after midnight and the anticlimactic Orange Drop. I stuck around for a few songs including "When its Over" and "Falls Apart" but noticing the fog rolling in I decided to make my exit before all the drunks hit the streets. Great event and I'm looking forward to it next year.

Reel Big Fish

Bullets and Octane

The Adolescents
The Cadillac Tramps
Time Again
Bad Reaction
January 6, 2006 @ the El Rey (Los Angeles, CA)
By Marcos "The Pomp" Nevarez

As I walked through the doors and past the bar of the dimly-lit El Rey Theater, I was greeted by a chubby figure taking the mic on stage. As I reached the front of the stage, I was inundated by the pounding punk sounds of Bad Reaction. Instantly my head was banging, and I could feel the pit about to erupt. Frontman Kash stomped around the stage jamming the mic into his head while dropping to one knee with a look on his face like a little boy who just found a PLAYBOY. Their cover of Bad Brain's "Pay to Cum" instantly had me flying through the pit, as the band kept a breakneck speed that would make Darryl Jenifer proud. With an old-school sound that is their own, Bad Reaction is definitely a band worth seeing.

After seeing Bad Reaction, Time Again just didn't hold up. Everyone in the band had great stage presence, thrashing about the stage, doing the one-foot monitor plant into the exaggerated vertical power chord, etc. They were thoroughly entertaining to watch, but musically they sounded like every other band who listens to too much Rancid and other late punk bands. The little girls behind me were going crazy, but I just wasn't feeling it. They were the band that's okay in your friend's backyard but not actually worth seeing anywhere else.

When The Cadillac Tramps rolled up, you knew it, as these vatos brought everything but the '64 Impala. Decked out in swanky duds complete with flat caps, suspenders, and low-rider hats, they dished out their own style of humorous, rock 'n' roll-inspired punk. Singer Mike "Gabby" Gaborno was hilarious, as always. Periodically ripping open his shirt, Gabby stood on stage like a mall Santa who's had too much to drink, laughing while jiggling a happy face he had drawn on his stomach. Throwing out song after song, like chingasos in the pit, the band even threw out money to pay back those who didn't like them. With songs like "Should I", The Cadillac Tramps shed light on the ills of society with humor. Cracking jokes throughout their set and making you stop headbanging to laugh, they rolled off stage all too soon. These esés serve it up right-and with mad style, too.

There was magic in the air before The Adolescents took the stage. As the crowd began to grow, the MARY POPPINS soundtrack filled the room, as we eagerly awaited the Orange County punk legends. Kids chatted in excitement about seeing their punk-rock heroes for the first time, as their elders in the crowd reminisced about past shows, reliving their glory days 20 years later. Then, as "Chim Chim Cher-ee" faded out, that familiar sound detonated from the PA system, and instantly the whole theater was in an uproar. A pit erupted in the middle of the dance floor, and we were all entranced by the glory that is The Adolescents. They didn't have any big stage theatrics-and they didn't need any. We all knew the songs,. If you weren't in the pit, you were trying to crowd-surf your way on stage (or at least nodding your head to the music). Whether it was old favorites like "Democracy" and "Amoeba" or new songs off their latest release, OC CONFIDENTIAL, it didn't matter: anything sounded good that night, and everything got us moving. The Adolescents ripped through the El Rey, coming back on stage for an encore of "I Hate Children" after management tried to end the show. The Adolescents truly proved why they are punk-rock greats.

Three Bad Jacks
Brass Knuckle Voodoo
Elvis Wesley and the Pistol Whippers
Jake G and the Gravediggers
January 7, 2006 @ Galaxy Theatre (Santa Ana, CA)
By Marcos "the Pomp" Nevarez

I'm tired of bands that suck Demented Are Go's cock. I like psychobilly, but I don't think that every band has to copy them. Jake G and the Gravediggers were the typical psycho band that would open wide for old Spark, and you could hear the slurps as they played through their set.

Thankfully, Elvis Wesley and the Pistol Whippers hit the stage hard with their brand of punk-inspired psycho that got the kids wrecking. In the middle of their set, they started a river-dance wrecking pit with their song "One Man's Mysery". The pit was a furry of legs and fists, as psychos started wrecking and river dancing in mass hooligan chaos. Elvis Wesley pumped out some of the craziest psycho, Irish drinking songs that any Pat or Patty would hit the bottle to. Leaving the Emerald Isle behind, Elvis and the boys returned to frenzied, punk-driven psychobilly. As they closed, guitarist, Jesse James stuck his last power chord of the night and swung his guitar over his head, leaving a trail of feedback as the band left the stage.

Brass Knuckle Voodoo had their fans, but after a while bluesy rock starts to sound the same. Cory Davis worked the guitar, at times gnawing on that six string like a rabid wolf on a baby deer. Their hard rendition of "Folsom Prison Blues" with guest vocalist Eddie from Hellbound Hayride was also a treat, but towards the end of their set all I could think of was fucking the girl in front of me. As I looked around, I could tell that other people had also lost interest. As people began to sit on the dance floor, I returned to my daydream to what seemed to be the same song playing over and over again.

Brass Knuckle Voodoo

The Galaxy was in a stir as Three Bad Jacks took the stage. Opening up with "Run Johnny Run", Elvis and the boys started things off right, as a pit broke out and people began to rush to the front of the stage. With their hard-driving rockabilly sound, Three Bad Jacks effortlessly slapped out song after song. I never thought that anyone could wreck to Cheap Trick, but some how Three Bad Jacks pulled it off, and the pit reached a feverish point to "I Want You to Want Me". Getting sing-alongs going and exciting the audience whenever they approached the front of the stage, the band commanded the audience. Yet they were grateful for their fans, taking a break from the music to reminisce about recording their demo in a living room and thanking the fans to help them get where they are today. Returning to the music, they dedicated their song "Tell Me Why" to George W. Bush and did a rendition of "Great Balls of Fire" for Elvis Presley before closing on their signature song, "Made of Stone".

Three Bad Jacks

THE POLITICIANS
THE HUDSON DRAGS
CIVET
THE UNWANTED GUESTS
January 7, 2006 @ Club Roc (Costa Mesa, CA)

My first show review of 2006 proved to be for a night of great punk rock at a cool bar in Costa Mesa. The lineup featured the all-female punk-rock outfit Civet, rockers The Hudson Drags, and upbeat Orange County punks The Politicians headlining the gig. Well, there was an opening band by the name of The Unwanted Guests, but unfortunately, I was a little late, so I missed their set.

Civet was blasting through their set as I entered the venue. It's great to see a group of hot ladies onstage creating blistering punk music with a melody. Now, don't get me wrong: these voluptuous vixens have melody in their music, but they are certainly not a group of poppy punk girls; the have more of an aggressive sound similar to The Distillers-which is definitely a good thing. The four-member group had incredible musicianship and superb stage presence, chatting with the crowd in between songs. If you are a fan of gritty punk rock with an evil woman's touch, you should check them out. For more information on the band and to get a copy of the group's latest album, MASSACRE, check out www.civetgirls.com.

Civet thought The Politicians were the next band up, but instead it was The Hudson Drags, punks with a poppy rock edge. The band seemed to be completely in their element at Club Roc. One of their distinctive features is the band's vocalist, Chris, who has a high-pitched voice which stands out over the punk guitar riffs and pounding drum beats. The Hudson Drags got the crowd to nod their heads with the upbeat "Girl" and then wound things down with the slower-paced "Days Go". It was a strong set, and I would recommend checking them out next time they play. To find out about their next show or get a copy of their EP, head over to www.myspace.com/thehudsondrags.

With the booze flowing heavily around the bar, The Politicians hit the stage. These Orange County punks with a melodic and upbeat edge played a stellar set with songs mostly coming from their EP, WELCOME TO THE WAR. While on stage, the members asked for some shots, and friends brought up clear ones. Then this girl in the front row runs to the bar and brings up some shots that were bight red. I don't think it was Kool-Aid, because the guys seemed to get a little bit more upbeat after that. Aside from the drinking, the band played an awesome set full of upbeat rockers "Time Is Runnin' Out" and the EP's title track. A great part of the set was when the band played the amazing "Accordion Song" and the guys were joined on stage by a guy decked out in Irish clothing who played the accordion. Even though they were a bit intoxicated, they did not miss a beat and played an incredible set. The crowd was going wild, and it was great to see, as this band has been playing consistently for a few years now. If you're a fan of The Clash and old Green Day, you should like The Politicians. You must check them out the next time they play; and you need to get a copy of WELCOME TO THE WAR. For more information, cruise to myspace.com/thepolticians.

BOTTOM LINE
ZEBRAHEAD
GOLDFINGER
January 13, 2006 @ The House of Blues, (Anaheim, CA)
Photos and text by Todd Markel

Maybe I'm getting old, but I find it hard to believe that it's been five years since the House of Blues in Anaheim opened its doors. To commemorate the occasion they had three top-notch shows scheduled over the weekend beginning with tonight's Friday the 13th show.

My perfect timing had me walking in, just as the opening band Josephine, was finishing up their set. Up next, voted the best punk band in Cincinnati, Bottom Line. Recently signed to Maverick Records, they were pretty excited as they had just submitted their finished CD to their label for approval that day. Bottom Line put on a high-energy, pop punk show with catchy songs, but for the most part the crowd didn't seem that into them. They stood pretty much motionless with arms crossed and applauded politely after each song. They introduced a new song called "For the First Time" that will be on their new CD and also played a song that was co-written with John Feldmann of Goldfinger called "Train Wreck".

Goldfinger

Zebrahead came on to the cheers of their devoted fans. They started with "Rescue Me" from 2003's CD, MFZB. After losing long time singer, Justin last year, some may have predicted the demise of Zebrahead. But with new lead singer Matty Lewis and a new CD on the way called BROADCAST TO THE WORLD they are ready to prove that they are still strong as ever and that their fans are sticking by them. Multi-talented Jason Freese, fresh off of a yearlong stint playing with Green Day was helping out on keyboards and horns. From their soon to be released CD they played a song called "Anthem" which had everyone jumping around. A high point was a choreographed moment when Matty and Ali, (the rapper of the group) both gave each other high-fives and then dove in unison into the crowd. After playing their hit "Playmate of The Year" they closed the set with "Set Up".

The lights dimmed and the curtain went up, with an air raid siren blaring, a voice came on the PA "Count down commencing, 10-9-8" suddenly someone appears on stage, "7-6" it's Charlie Paulson, Goldfinger's founding guitarist (who hasn't played in the band since 2001) "5-4-3" the voice continues, "2-1 ignition!" The stage lights go full on and Goldfinger is on stage in all their glory, they immediately kick it off with "Spokesman" and the whole place goes wild. It's just like old times with Charlie spinning around all over the stage. "Counting the Days" from STOMPING GROUNDS is up next and John Feldmann confirms rumors that he has tore his ACL (anterior cruciate ligament) and was bravely playing in a knee brace. This handicap seemed nothing more than a minor inconvenience and it didn't seem to slow him down one bit. John announced that there is one thing different tonight than the last two times they played here and that one thing is so important to him that he could "Not say in words" and that one thing is Charlie "fucking" Paulson. They burst into an intense "Open Your Eyes" which made John dive right in to the crowd and float while singing "Wake up, wake up". It came to the point in the show where fans are invited to come on stage for the sing-along of "Mable" and for the first time ever I was lucky enough to get on stage and jump around. They played a little ditty called "Fuck Ted Nugent" which is a cute song that some may find a tad bit critical of Ted and his outdated ways. Next up they played what I consider to be my theme song, the ever-popular "Superman". From HANG UPS they played "San Simeon" their ode to southern California living, which was another huge sing-along. They segued from "My Girlfriend's Shower Sucks" into the classic "Miles Away" with an explosive "How deep is your love? / How deep is the ocean?" About mid way in John introduces "Dangerous" Darrin Pfeiffer who comes out from behind the drums for his famous Twinkie stunt, only this time, instead of a Twinkie they used a Snickers bar. If you've never seen it, it's pretty disgusting. Darrin asks for the craziest motherfucker in the audience to come up on stage and they have to take a bite out of a Twinkie/Snickers bar that firmly lodged in Darrin's ass. Darrin removes what's left and eats it himself. Yeah pretty gross, but funny as hell. John said "Give it up for Darrin and his awesome ass" They played a reprise of "Miles Away" and performed their trademarked "guitars thrown around neck spin". Charlie jumped into the crowd for a frantic little crowd surfing as they finished the song and said good night. Most Goldfinger fans know that this is not how they leave a stage and an encore was eminent. Darrin reappeared on stage with a guitar and after informing us that the Snickers bar went a little too far into his bum, he played his love song to hockey great Wayne Gretzky. The entire band joins him on stage for "Questions" and they closed the night with "99 Red Balloons" and goosed stepped off stage.

FLOAT THE BOAT FESTIVAL:
PEPPER
FISHBONE
VOODOO GLOW SKULLS
CHAPTER 11
B-FOUNDATION
THE BIG PILL
NO BARE FEET
OMINOUS
THE PRICKS
FIRST THE FALLEN
January 14, 2006 @ the Queen Mary (Long Beach, CA)
By Marcos "the Pomp" Nevarez

Bros…bros…BROS! So many bros. As I walked into the Queen Mary a little after noon, I looked around and knew that I was going to have to start drinking early. Thankfully, each floor of the Queen Mary had a bar picked up a martini. I knew that this was going to be a long day.

First the Fallen were pure candy-bar blowjob. They were the typical high-school, "We wanna be cool and finally get chicks, so let's start a crappy hardcore band" losers. For a Snickers they would suck you off all night.

The Pricks brought a Beastie Boys-like hip-hop sound. (refreshing after the candy-bar boys). They kicked it off with their little homie screaming the Pledge of Allegiance. This kid was hilarious, bouncing around the stage like an excited dog. The rhymes were kind of weak, but I have to give props to DJ Vanessa, who put out some fly beats.

Continuing with the hip-hop, Ominous brought a sleek, smooth flow to the stage. With their lyrical rapping and sweet, female background vocals, Ominous had a groove that could get you slowly swaying. Supporting Operation Freedmind, a hip-hop movement that promotes unity, freedom, and expression, their message was reminiscent of Public Enemy. Their DJ could lay down a track, had skills scratching on the needles.

Now, if you can jump or clap your hands and you're into feeling good, No Bare Feet is the band for you. With their boy-band-like antics and catchy riffs, the front rows eagerly anticipated their next cue to jump or clamp their hands like a child on Christmas morning waiting to open a gift. I couldn't help but laugh as everyone jumped in unison.

I had expected nothing but the worst bro music Southern California had to offer, but so far it was tolerable. Then, The Big Pill came and rocked like fuck! (I'm not sure where this phrase came from, but "rock like fuck" is the highest rating that I can give to any band.) Complete with horns, two percussionists, and a DJ, The Big Pill mixed funk, punk, ska, hip-hop, and a variety of other genres to create one of the best sounds that I've heard in a long time. With sweet vocal harmonies, hilarious rap, and astounding solos by everyone in the band, The Big Pill is doing their own thing-and sounding good doing it.

Just as I thought that things were starting to take off, they immediately came crashing back down with B-Foundation. They started off with a bluesy sound check...and it's a sad thing when your sound check is the better than your set. They were simply a Sublime rip-off, playing that slow, white-guy reggae, which the bros lapped up like honey. As I looked around, I saw a group of kids sleeping in the corner and knew that it was time to start drinking again.

Chapter 11 was a slight improvement, with a soft-rock steady beat and smooth sax; but after a while it all sounded the same. As the set went on, I was more interested in the roll of toilet paper that started flying around and the drunk father dancing with his teenage daughter and her friends. Someday I too look forward to embarrassing my kids by getting drunk and trying to grind up against a bunch of hot, underage ass. I salute you, sir.

When Voodoo Glow Skulls started up, I was happy to finally see a decent pit. With a driving ska-core sound, they pumped out the ska as only they can. Going into the pit was like trying to dance on wet ice, but the fact that bros don't know how to skank only made me more determined. As the pit grew, security became increasingly annoying, interrupting the set and threatening to stop the band. If they were worried about a few kids skanking and bros flying around, I would hate to see a punk show at the Queen Mary.

Voodoo Glow Skulls

With things starting to take off again, Fishbone started off with a cool jazz, spoken-word improv soundcheck that put half of the bands that night to shame. Switching up from ska to rock to jazz and hip-hop, Fishbone got the people crowd-surfing and moshing. With the listeners in a feverish excitement and toilet paper and paper towels flying through the air, things got even crazier when singer Angelo Moore started stage-diving. Again, security kept threatening to stop the band, and they eventually cut the power to the stage. But Fishbone continued to play and closed their set without mics.

Fishbone

As Fishbone closed, I suddenly realized that I was surrounded. Bros to the left of me, bros to the right of me, the entire bottom of the ship filled with them-all anticipating the start of Pepper. As fat, middle-aged white guys started to rap, I was confused as to why the bros were so excited. A sidenote to the band: DON'T LET YOUR ROADIES PERFORM ON STAGE! After realizing that this horrible display wasn't the band, I was relieved...until I heard Pepper. If I thought some of the bands that night sucked Sublime's cock, Pepper would let Sublime double-fist them elbow-deep while sucking cock and giving handjobs while being fucked in the ear. All of the intros to their songs were note-for-note rips from other bands you would find on KROQ. I had had a long day and couldn't take any more of this shit. I left a few songs into their set and began climbing to floor level, shouting to the bros along the way to stop encouraging this audio diarrhea. Thoroughly enraged by the time I got to the top, I politely eased my way in between some bro hoes. Then, with a MIGHTY RAGE, I leaned over the banister, saw the guitarist leaning back to exaggerate an uninspired guitar solo, AND I SPAT. I watched as the glistening glob of hatred and disgust fell like blue ice from an airplane and covered the guitarist's chest. The bros and bro hoes who had witnessed my act looked in disgust, but what had just happened needed to be done.

HIGH ON FIRE
THE BRONX
BIG BUSINESS
BURNED INSIDE
January 19, 2006 @ the Troubadour (West Hollywood, CA)
By Jasten King

Oh, bands these days. You can't label them, they don't label themselves, and sometimes they're simply indescribable. I thank God I never took the career path to be a venue booker, 'cause it's damn near impossible to put together a bill with similar bands these days, as their diversity seems to increase all the time. This was exemplified tonight when four very different bands took to the stage at the sold-out Troubadour.

After waiting in one line forever to pick up my ticket, then another line to simply get in, I finally caught the tail end of Burned Inside. Stacking the stage with a ton of amps, the dark, thick shredding of their very metal sound was nearly deafening-just as music like this should be. Banging their heads in time to the pounding near-jams matched with a heavy growl, this band may be a little easier to label; and I bet it's definitely something that will soon garner a large fan base.

Next up was Big Business from Seattle. Simply bass and drums, these two guys seem to be making a music category all their own. Having toured with bands such as The Blood Brothers, this band seems to be getting bigger every day and leaving every A&R guy who comes to see them a little confused, seeing as there's obviously no "hit single." Cody Willis (formerly of Murder City Devils) stands out as a madman on the drums, while Jared's bass and vocals makes every song something unlike the last. Maybe this wasn't exactly their crowd, but everyone attending certainly stayed to check them out-and were won over.

Finally, hometown heroes of The Bronx began their first local gig in what seems like forever. Spending the last several months writing and recording a long-awaited new album, the band started what will probably be a couple years of straight touring. Though not the last band of the night, the majority of the crowd was obviously there to see just them. The Bronx recently played a smaller gig at Anaheim's favorite dive, Linda's doll Hut, as well as a bigger gig opening for Bad Religion just a couple days prior; but this was more the night for their hometown fans to get up close and personal…and to rock the fuck out. From the first notes, the crowd went nuts, moshing and singing along with every song. With guitarist Joby's insane amp volume and singer Matt's intense screaming vocals, every song, new and old, was perfect in-your-face rock 'n' roll, which is hard to find these days and which has already made this band a big name in a short time. Tonight's gig showed that even when on a bill with much "heavier" bands, they stand out as being something very powerful and special.

The Bronx

Last for the night was High on Fire. Straight out of Oakland, this band has built a large fan base in the rather narrow music category of metal. Their slightly more rock 'n' roll take on a very metal sound has gotten this three-piece outfit a great deal of attention and sold-out shows. Signed to Relapse Records and playing showcases like SXSW, this tour is simply one more step to making them an even bigger success. Playing to a packed house, their fans held their spots close to the stage and nodded their heads right along with every song. With some impressive six-string work from singer/guitarist Matt Pike and a steady rhythm from bassist Joe Preston and drummer Des Kensel, tonight's show seemed to be quite satisfying to the fans who came for them-and also seemed to win over those who came to see the opening acts. High on Fire delivered the show they came to do.

High on Fire

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