June 2003 Show Reviews

SLICK SHOES
GAMEFACE
BULLETS 'N OCTANE
ARMY OF FRESHMEN
THE MANSFIELDS
April 7, 2003 @ The Troubadour (Hollywood, CA)
By Casey Murphy

   I arrived at the Troubadour when doors opened expecting to find an eager crowd outside waiting to get in. What I found was a few teenagers and security guards loitering around. Hoping that mostly everyone had gotten inside already, I walked in—but to my surprise I saw just one person in the crowd for The Mansfields: a photographer. Walking through the less than mellow "crowd," my boyfriend and I made our way to a cozy table at the back of the venue.

   As The Mansfields took the stage it seemed as if their image arrived 20 minutes before they did. The Colorado-based group was instantly reminiscent of an '80s hair band…minus the hair. I couldn't help but wonder how this band landed on a pop-punk bill. Their set was a solid rock set, but mostly consisted of tired riffs and Ramones cover songs. The songs were a fusion of metal and hard rock—and if you've heard it once, you've heard it a million times. I'll just say that they had a hard time keeping my attention. I was not impressed by The Mansfields' unoriginal attempt at music. NEXT!

    Army of Freshmen was the next band, and they could have easily been my favorite performing that night. From the moment the lead singer Chris took the stage, he embraced the crowd by requesting that everyone in the audience move up towards him. Right off the bat he had great chemistry with the crowd and his band; I was very impressed by his professional presence. Although there are few pop-punk bands I can tolerate, this is definitely one of them. The music is very poppy, but unique all the same. Songs like "MTV" and "Spring Break" had the crowd moving along with Chris as he danced and skanked his way across the stage. His voice and presence reminds me of an early and less whiny Jordan from New Found Glory. Chris and the five other members played energetically while remaining lighthearted and humble. Imagine the sound of New Found Glory fused with Mest, sprinkled with some synthesizers and the stage presence of Guttermouth. Although I am not a fan of pop-punk, Army of Freshmen did make me forget I had a bias against the genre, and soon my body was moving to the smooth, solid beats. I have a lot of faith that this band's charisma and perseverance will take them far. Check them out at www.armyoffreshmen.com ASAP!

    Unfortunately, the energy that Army of Freshmen presented was the most excitement I saw all night. Bullets 'N Octane's appearance was the only thing that stood out amid their performance. The self-proclaimed "one night stand rock 'n' roll band" came out decked out in studded belts, tank tops, and tight, leather pants. Shortly after their set began I wondered if they had been more concerned with their image than writing quality songs. The singer stood above the crowd as if he were a golden god...which he obviously was NOT. They blasted through their set with heavy but sharp rock tunes that I had grown bored with. The one song I did remotely enjoy was "Want It All", with its Rancid-like bass and guitar riffs. This night seemed to last forever. Good talent was becoming harder and harder to find.

    Gameface was another pop-punk band on the bill, but I had a hard time figuring out why they had the privilege of opening for Slick Shoes and Army of Freshmen, as they offered mediocre poppy songs in a mediocre fashion. I looked around the scattered crowd, only seeing bored faces and no motion from the kids whatsoever. It seemed as though all of the energy Army of Freshmen had worked hard building up had been lost in a slue of crappy bands. I was very bored. This was the longest night EVER.

   Ah, yes, nearly four hours later, Slick Shoes. After miserably sitting (and squirming) through the previous four bands, I was happy to see the Slick Shoes guys walk on stage. They drew a medium-sized crowd for a Sunday night. It became obvious that everyone was there to see Slick Shoes. You could separate the more serious fans from the others when some of the crowd started a pit and instantly began moshing their little heads off. Slick Shoes usually offer more action than talk, yet for some reason this show featured little talking AND little action. Vocalist Ryan handled the stage with mundane effort, and the rest of the band nearly stood in place. Any good energy inside of the Troubadour seemed to deteriorate moment by moment just when it looked as if we all needed to just go home and sleep. I was happy to hear them play songs like "Angel" and "Elisa" from the album WAKE UP SCREAMING, but songs from their self-titled release were less exciting. Visit Slick Shoes on the Web at www.SlickShoes.net, and look out for their new album coming in July. I'm not hard to please, but, with the little energy and originality the night had to offer, I was highly unsatisfied with the evening's performances. Better luck next time.

The Adicts
Narcoleptic Youth
The Skulls
The Voids
April 12, 2003 @ the Showcase Theatre (Corona CA)
By Marcus Solomon

    The Adicts and Mad Parade got into a fistfight! In England, they dial 999 for emergency, so it figures that the members of 999 broke up the fracas. Specifically, it was Pete Nicholson (Adicts, lead guitar) and Billy Ledges (Mad Parade, vocals) who got physical with each other before the show on Saturday the 5th. I have heard explanations from both sides—and will present neither. There are always three sides to a disagreement: two dissenting opinions and the truth. However, I will pass along Pete's e-mail to me, wherein he comments on the event. Quote: "Fight? What fight? Oh yeah, little Billy got thumped. Funny as fuck." Hm. Maybe The Adicts are taking the A CLOCKWORK ORANGE persona a bit too seriously.

    Anyway, The Adicts got hooked up with the Showcase Theatre and performed FOUR splendid shows on two consecutive weekends. I was fortunate to attend two of these sold-out events, but space permits the recounting of only one. Rumor has it that all shows were sold out within two hours. Security was tight, as the Showcase staff skillfully dealt with the hundreds fans in attendance while shooing off the multitudes who did not have tickets. One group of resourceful punk kids had a friend get drunk and intentionally barf on the security at the door. The successful plan was to distract the doorman by vomiting on his shirt while the others dashed inside. Realizing he was the victim of an ingenious but disgusting conspiracy, the bouncer chased after one of the perpetrators. However, Monkey saved the Mohawked door-crasher when he pulled the guy on stage and put his arm around Mohawk boy's shoulders.

   This review is specifically about the show on 4/12/03, but I cannot dismiss the performance of 999 on the previous Saturday. I had longed to experience the illustrious 999 for over 20 years! This group is one the originators of the genre—straight outta England. Every song from this band has an anthemic quality that makes one want to march to the cause. Even if you do not have a cause to believe in, the music of 999 will make you want to find one. The beats are primarily mid-tempo, with careful arrangement and hook-laden leads that are simply smoooooth. You can get a 999 song stuck in your head for weeks and not be annoyed, because they all sound great no matter how many times you play them. The only criticism I have of the band has nothing to do with the performance: Nick Cash (guitar and vocals) felt it necessary to remind the audience way too many times that theirs is one of the first punk bands. The kids all seemed to know their history well enough to avoid the need for this repetitive and slightly embarrassing appeal to the ego. Chills tingling throughout my body, I had a realization: one of the reasons I abandoned my ordainment as a Buddhist monk was in order to worship at the temple of music. Bow down and realize, "[...] That's the truth of it / Take it or leave it / Resign to it." Of course, the band played "Homicide"! Thought they wouldn't? A friend of mine who had never heard 999 said, "Listening to this band makes me feel cool!" Anyone who listens to 999 IS cool.

   The following week I missed The Elvis Disciples—again. Sorry. At least I am consistent. I arrived just in time to assist my favorite local band, The Voids, in putting their equipment on stage. I always rave about this group, so suffice it to say that it was another great hardcore performance in front of a still-growing legion of fans. Get The Voids' new CD, TO KILL A GENERATION, or you are a poseur.

    The Skulls were second on the agenda. Before the set began, James responded to a heckler by taking his dick out of his pants and wiggling it at the guy. It was hilarious. Although it was obvious everyone in the band put 110% into their performance, something was lackluster...but I could not figure out the problem. Two or three songs into the set, James explained, "We all have the fucking flu." Well, that explains that. Regardless, Billy Bones and the boys pushed themselves to the brink. Bones's voice sounded like a hoarse gravel pit, but that only added to the ambiance. This is punk rock, maaaaan! What else would you expect from one of THE originators of Los Angles punk? He was clearly in pain—and loving it, as did everyone in attendance. Drummer Sean Antillion did not miss a single beat, while the Kid raged and adroitly bounced all over the stage as if he were made of flubber. The Skulls continue to gain popularity, and this was the first time I could not get right up next to the stage because of all the eager fans preciously guarding their positions. Always loyal Team Goon was on hand to record the event for their excellent Website (www.teamgoon.com). Eight-year-old Team Goon member "the Milkman" joined Billy onstage to skank his little vert-skating heart out. He also assisted the aged Mr. Bones with some of the vocal delivery for the song "Kill Me, Kill Me, Kill". What's old is young again. Learn to pogo!

    Following The Skulls were local boyz Narcoleptic Youth. Loud, brash, and sloppily adept, this band is both enjoyable and irritating at the same time. I noticed I was nodding along with the music while completely aware that vocalist Joey Bondage was giving me a tremendous headache. This in itself captures the spirit of Narcoleptic Youth. No regard is given to talent, integrity, or impressing anyone. Strangely enough, this apathetic approach has forged Narcoleptic Youth into a genuine band over time. This is one bunch which behaves as if the stage is a child's bedroom with the lights off during a pillow fight. It was wonderful, obnoxious fun. I especially enjoyed their amped-up rendition of SLF's "Doesn't Make It Alright".

Shortly thereafter, the acclaimed The Adicts took over. I was far away, outside communing with the spirit of Bob Marley, so when I re-entered the club the band was already doing "Joker in the Pack". One interesting thing about The Adicts is that they rock much harder than their image implies. I have met many who regard the group as a "goofy, mime thing"—which is definitely not the case. Of course, there is a lot of feel-good zaniness, but the boys really know how to ROCK HARD in their glee. Besides, we Adicts fans much prefer feeling good rather than cultivating some contrived angst or wallowing in fashionable depression. Like the three other shows at this venue, the entire performance lasted approximately two solid hours. Monkey is the respected clown-prince of punkness. Not only did the band perform multitudes of fan favorites—such as "Just a Number", "You Make Me Mad", Fuck It Up", and "How Sad"—but also a few rabbits were pulled from the collective derby. Unexpected tunes included "Let's Spend the Night Together" and another medley of "AM Gold" classics. During the rendition of "Just Like Me", comely young ladies are invited onstage to dance and sing along while being loaned (not given) their own A CLOCKWORK ORANGE garb, including shiny plastic bowler hats. My personal favorites of this performance were "Fuck It Up" and "My Baby Got Run Over by a Steamroller". Oh, what romantic and sensitive guys. Need I say that the whole event was saturated in more glitter, silly string, and sweat? Need I say that the encore culminated with "Viva La Revolution"? Need I say that everyone had a wonderful time? But what I must say is thank you to everyone at the Showcase (especially Michelle and Joe) for making this all happen. Thank you, and goodnight.

STEREOFLUX
THE LOGS
CAPTAIN
April 18, 2003 @ Angel's Sports Bar (Corona, CA)
By Dug

    For those who've never visited this burgeoning hotspot on the Western edge of the "Valley of the Dirt People," Angel's Sports Bar is a veritable potpourri of up-and-coming bands and down-and-out never-should-have-beens. There are really two bars at the location, one being a rather tame strip bar known as Angel's Too, the other being a very nice sports bar with live bands every Friday and Saturday night. Originally the shows were free, but with the packed houses and the need to pay more for better bands the management has upped the ante to five bucks for the weekend shows.

    On any one night you can catch skinhead punk bands matched with metal-loving mulletheads, fairly well-known "B" acts with a couple of CDs under their belts, or a really great band that is just trying out new material before going on tour. The "stage" is eerily similar to Anaheim's legendary Linda's Doll Hut stage, where the band just sets up at one end of the bar and has to put up with drunks spilling drinks, talking shit, and tripping over equipment. It's not a venue for the faint of heart.

    The opening act, Stereoflux, is a hometown trio from Corona. Though previously known as The Mystery Six, the band had recently changed drummers—and names along with it. Their sound was an alternative mix that often sounded eerily similar to classic Nirvana, occasionally busting into Foo Fighters-type choruses. The lead singer and guitarist, Aleks Burgaski, also plays in a Hendrix cover band, so he's not above playing the guitar behind his head for a few solos or picking notes out with his teeth. Their best songs of their gig were a hard-driving and repetitive rocker "On and On"; "I'll Be Back", a love song featuring power chords over a military cadence; and "Photograph", a catchy, nostalgic rock tune about the young and stupid. For a band opening for the first time in a pretty strange environment, Stereoflux won over the rowdy crowd quickly. The old adage, "When in doubt, play hard and fast and loud" definitely applies in this alcohol-drenched environment. The band also handed out free CDs to anybody in the audience who wanted them, a real class way to get your music out there.

    A hard-core punk quartet from Riverside, The Logs, took the stage next. The energetic lead singer got the audience on the band's side quickly with lots of banter about drinking and some type of "fuck you" chorus on nearly every song. The band has been together for only one-and-a-half years but has definitely figured out how to be a top-notch party band. They played mostly original material, with the exception of a nice version of "Stray Cat Strut", which seemed totally mismatched with all of the "angry fucker" lyrics in their own tunes. The Logs made a point of tearing through their set, and they were tearing down their equipment before we could order another round of drinks.

    Though there were supposed to be four bands on the bill, one band failed to make it. When the closing band, Captain, took the stage at midnight, they were told to play an extended set. "No problem," lead singer Karlo Bilao belted out, "we've got three hours of material that starts now!" Captain is a Rancho Cucamonga quartet that looks like an international jam band, as the members are from Portugal, Spain, Germany, and the Philippines. With a drummer who is a dead ringer from Kramer from SEINFELD and a keyboardist who dresses like a mortician and looks like he just stepped off the SIX FEET UNDER set, the band is a strange band to behold. One thing a band can't hide with outfits and outrage is their talent as musicians, and the members of Captain are some of the best. We knew we were in for a treat from the first tune, as their high-energy blues rock sounded like a cross between vintage Allman Brothers and The Black Crowes. As they blistered through their extended set, they played brilliant covers of "Summertime Blues" and "Moonage Daydream". Younger bands can learn a lot from an experienced group of pros like Captain. When doing covers of well-known tunes, a good band should always change them enough to make them their own and not just do copycat versions. The real cover bands belong at county fairs and Vegas revues. Unfortunately, a three-hour set starting at midnight was a little lengthy for me, no matter how great the band. As I walked out into the still-packed parking lot at 2 a.m., I was hearing tunes I wished I could have stayed for.

    Angel's Sports Bar has been putting on some great shows for the last two years and has become one of the few hip hangouts on the Western edge of the Inland Empire. It's always a good idea to call ahead and check the line-up before showing up—otherwise you might end up spending the evening with a bunch of short mulletheads playing Bachman Turner Overdrive covers.

The Groovie Ghoulies
Throw Rag
The Apers
The Carmines
Thee Impossibles.
April 21, 2003 @ Chain Reaction (Anaheim, CA)
By Carlos Cuesta

    It seems as though anytime you want to have fun at a show you have to sacrifice something. For my show review, I did a little experiment this time: I brought along a friend who has never seen or heard of any of the bands playing tonight. The plan was to bring him along, and at the end of show see what he had to say about everything. At the end of the show my friend and I both agreed we enjoyed almost every band that had played. Each of us had more fun at the show then we have at any show in a long time.

   The first band that played was Thee Impossibles. This band has been around for a long time. The only reason I remember them is because of their name, which is almost the same as one of my favorite bands, The Impossibles. Notice the difference: "Thee" and "The" are two different bands. I never understood why a band would go through all that confusion for so many years, why they never changed their name. Anyways, it seems as though time has done little to help this band. They still play the most generic, lackluster form of punk rock.
The Carmines were the next band. They came out to the intro of Ozzy's "Crazy Train", which, needless to say, is always a crowd-pleaser. I liked this band, although there isn't anything super distinctive about them. They have loud, fast, energetic sound that exemplifies everything you love about punk rock. I particularly enjoyed the vocals, which were matched by some talented guitar solos every so often. The crowd seemed to be very into this band, and it wasn't hard to see why. Halfway through their set one of the bandmembers pulled someone out of the audience to give him a massage while he played. You always have to give credit to a band that works in crowd participation.
Coming all the way from the Netherlands were The Apers. This was their last date here in America before they went back to their homeland. They were so excited to have played in America and be in Anaheim that they dedicated their set to the day they spent at Disneyland. The Apers had a Dwarves-like punk-rock sound that was easy to get into even if you've never heard the band before. My favorite part of the set was when the singer, in the middle of a song, in his thick, Dutch accent, reminded the crowd he was "a fucking psycho." By this time the crowd had grown larger and were definitely engaged with The Apers.
The biggest surprise of the night had to be Throw Rag. I've heard very little of this band before, let alone seen them, so I had no idea what to think of them. The lead singer was the first person who caught my attention. He came on stage dressed as a 1960s boat captain straight out of a Shag painting. However, the singer/percussionist in the band stole the show. He came out playing a washboard and just going crazy. Halfway through the set he pulled a five-year-old little girl out the crowd to help him sing the next song. Trust me, a five-year-old singing punk rock is as funny as it sounds. Meanwhile, the lead singer duct-taped his head, which was painful to watch as he pulled off. Throw Rag sounded very similar to Rocket from the Crypt, but definitely had a sound of their own. I highly recommend seeing this band (and, from what I've been told, their stage antics get better and crazier each time you see them).

    By the time Throw Rag was done, I was so excited to see The Groovie Ghoulies I could hardly wait. I've been waiting to see this band for some time already. I've heard all the stories about when they play live and the crazy/funny stuff that they do. Before they came out they set up their stage props, which consisted of monsters for amps, "chupacabra wanted" posters, and other random monster-related stuff. Their stage presence is one to admire. They came out and started playing song after song, blending them right into each other with enough energy that got the entire crowd going—more so than any other band that night. They played crowd favorites such as "Bye, Bye Brain" and "The Beast with Five Hands". Everything I've heard about this band was true. They truly are a pleasure to see live. For their last song, they brought out the members of The Apers to sing along with them, while everyone sang along to "The Ghoulies Are Go". The Groovie Ghoulies are by far one of the best bands I've seen a long time. A lot of times when doing a show review I'll talk about how I really like a band, but really they're just okay; but I liked The Groovie Ghoulies so much that I'm actually going to see them when they come around again in two weeks—and this time I'm actually going to pay for out of my own pocket instead of having the coveted free tickets I get thanks to SKRATCH.
After everything has been said and done, the moral of the story is this: go see Throw Rag or The Groovie Ghoulies the next chance you get.

THE DENTS
THE REAL KIDS
THE KOWALSKIS
SKIPPER
May 2, 2003 @ the Continental (NYC)
By John Sweeney

    Friends had told me that the Continental (near the corner of 3rd Avenue and St. Marks Place) was a dive, so I must be hanging out in the wrong places, because I thought the place was great. The walls feature photos of past performances by Joey Ramone, Iggy Pop, and even The Dictators. The Continental is about the size of Chain Reaction in Anaheim, but, unlike Chain Reaction, this venue offers a bar for those cursed with the Thirst. And as with every tavern in Manhattan, a bottle of beer will cost as much as a conventional six pack.

   Apparently, I missed the first band, The Telephones, but I liked their name the best. Soon after I arrived, Skipper played. Skipper consists of pals Dina (guitar and lead vocals) and Christina (bass and back-up vocals), who inducted T (no, not Ms. T, just T) on drums. Skipper's alternative-rock sound is polished and radio-friendly. The vocals give one the sense that they've got a finger on the pulse of the now sound. Get these women a Hollywood agent! These three are young lovelies—and don't think they don't know it. Check out their Website at www.skippernyc.com (mp3s ahoy).

    The next band to play was essentially the reason why I was visiting New York. I first heard The Kowalskis when I was reviewing CDs for SKRATCH in 2001, and I fell in love with the songs and that voice. As many realize, when one reviews CDs, one hears much music that one would prefer had never been written, let alone recorded. Listening to The Kowalskis' first release, ALL HOPPED UP ON GOOFBALLS (1999), was like finding a diamond in a bucket of lard. The Kowalskis is the brainchild of consummate New York rocker Kitty Kowalski, a scion of NYC old-school NYC punk. The band's line-up has changed over the years, but Kitty holds the vision together with an iron claw. I don't like to use one band to describe another (and Kitty's probably sick of the comparisons (but would probably agree with this one)), but I gots to say that The Kowalskis' accessible pop-punk sound bears the unmistakable marks of NYC giants such as The Ramones and Blondie. Kitty's voice can precisely project that broad-smile glamour sound associated with Debbie Harry, while elsewhere she'll emit the scrappy ashtray yowl of the gutter urchin. Amazing guitar melodies. As a songwriter she is one of the greatest. Like The Ramones, The Kowalskis' music is 100% fun. Even when it's moody, it's still fun. For the Continental show Kitty had her hair in two blond ponytails that put me in mind of actress P.J. Soles. One might suggest, "From ROCK 'N' ROLL HIGH SCHOOL, right?" Maybe, but I've never seen that movie;, I've only seen P.J. Soles in HALLOWEEN and CARRIE. Kitty's big eyes even looked small and perky like Soles's. As The Kowalskis took the stage, Kitty drew attention to her black-and-white-striped dress, mentioning her support of The White Stripes (whom she saw at the recent Iggy and the Stooges reunion here in California). This woman is a real charmer. Her Internet photos don't adequately convey the wonder of her. In short, Ms. Kitty is a knockout. I think my jaw was hanging open for entire set. A number of the songs were from ALL HOPPED UP ON GOOFBALLS ("Career Barbie", "10 Things"), and the rest were unreleased material (such as "Depression Overdrive" and "I Love You Baby but I Hate Your Friends") awaiting inclusion on the next CD (hopefully this summer). Today's incarnation of The Kowalskis (Mike Hunt on lead guitar, new bassist Fannie Kowalski (a.k.a. Anne Husick), and Mr. X on drums (I wonder if he got a chance to talk to Skipper's drummer T)) is a group of solid musicians who were right on the money with the material, and they made the show fluid and seamless. Hearing The Kowalskis' songs live was a dream come true. Kitty Kowalski is a genius of punk-rock guitar melodies, she has THE most beautiful and entertaining voice, and a tres wacky sense of humor. ALL HOPPED UP ON GOOFBALLS is available online at www.thekowalskis.com (which also offers songs in mp3 format). I defy you to have any complaints.

    In many areas and epochs of music, I realize that I am yet a philistine, so don't make fun of my unfamiliarity with the Bostonians who next took over the stage, The Real Kids. After 30 years of rockin', John Felice, the original Real Kid (and former part-time Modern Lover), has the seasoned "been there and back" look of vast experience and a full mop of hair circa 1977. The Real Kids have a bad-ass bar-band sound with a '50s spin of outlaw rock 'n' roll (think trashy drive-ins and a cigarette perched behind the ear). John Felice has an aloof manner, but his eyes bear a striking intensity that tends to make you listen to what he's saying. His whole set expressed a poignant sense of gratitude for being able to play his own brand of punk rock in his own way and for the audience that it still attracts 30 years later. A couple of his bandmates look like he might have sired them himself. There is a good Website about them at www.rockinboston.com/realkids.
The last band to perform, The Dents, were also from Boston, but they've only been playing shows since September 2002, and this was their first appearance in NYC. The Dents are a loud, gritty, and pounding high-energy avalanche, with guitars that tend toward squealing. I'd file them squarely under alternative punk. The band is composed of two gobble-dee-delic young women (that's a good thing)—Jen Rassler on rhythm guitar and vocals and Michelle Paulhus on bass and vocals—and two full-grown men—Gino Zanetti on drums and Craig Adams on lead guitar. Why does that sort of combo always make me nervous? I have issues. The hard-edged vocals sound like two women who are sick and tired of being down in the audience. "Lemme on that stage, man!" Dig The Dents at www.thedents.com.
On my way out I said goodbye to Kitty Kowalski, to whom I'd introduced myself earlier. She shouted something in my ear, but by that point I was deaf as a post, being able to hear only ringing. She sat down and wrote a note inviting me to brunch the next day with her and The Dents. My heart soars like a hawk.

HOMEGROWN
THE REUNION SHOW
May 3, 2003 @ The Blind Pig (Ann Arbor, MI)
By Dane Jackson

   The Blind Pig is usually a club that hassles people who are younger than 19 in an effort to keep them away, so when I drove up to the club and saw the line of young kids around the block, I knew it was an all-ages show and that it was going to be a long night. Well, not that long, because the Pig booked a later show for the older crowd, which is another reason why this show started so damn early. So to pass the time my girlfriend and I went down to the 8 Ball bar downstairs to drink a bit. Sitting along the bar were old men, a cowboy, Homegrown, and Mike from Flashlight Brown. We knew the doors had opened as soon as the young girls came downstairs with their cameras to take pictures of Homegrown. While that's all fine and dandy, they completely ignored Mike. Well, Mike, if I would have remembered my camera, I would have come and asked for a picture with you, buddy!

    After the crappy local band played, Flashlight Brown took the stage. It's rare that an opening band outshines the opener, but Flashlight Brown managed to do so. In fact, when Matt told me they were going on first, I was kind of surprised. Anyways, the band played songs from their Hollywood Records debut, MY DEGENERATION—and played them with authority. The band blasted through 30 minutes of geek punk-rock anthems that left the Homegrown fans amazed. While it took the crowd a bit to warm up to these Canadian punkers, once they did, the floor came alive and fists went into the air. It's almost ironic that the fans went most crazy for the track "Ready to Roll", which sounds like a punk-rock party anthem but really is about playing Dungeons and Dragons. It's safe to say that within a half hour, between the bad jokes, great music, jumping around, and going out into the crowd with their instruments, Flashlight Brown made a few hundred more fans. When you can tell a band is actually having fun and enjoying themselves, it makes it so much easier to get into them. Highlights included "Patricia", "Butterball", "Lose the Shades", and "Ready to Roll".
While The Reunion Show was playing, I went back down to the 8 Ball to interview Flashlight Brown's lead singer and guitarist Matt Hughes. We all sat at the bar, watched boxing, drank a bit, and had a great conversation. I'm not bummed that I missed The Reunion Show because I honestly don't even know who they are. Besides, I've been listening to Flashlight Brown since 1999, so when a chance to interview one of them came along, I had to jump at it.

   After the interview, we headed back upstairs to the Blind Pig (which Kurt Cobain said was his favorite place to play live). Homegrown was just about to go on. It's almost odd seeing Homegrown in a small club like the Blind Pig when you're used to seeing them at Warped Tour shows and opening for bigger bands. It was kind of neat to see them play a small club, but kind of disheartening as well. On to their set...Where Flashlight Brown showcased everything that was good about pop-punk, Homegrown showcased all that is bad. While the guys sounded great, had great energy, and had the crowd pumped up, it was all routine. My girlfriend said after we left that once you see Homegrown once, it's like you've seen them a thousand times. After thinking about it, I agree. They played what I expected to hear, from "She's Anti" all the way up to "Kiss Me, Diss Me". They even played their horrible "Barbie Girl" cover and the "this song is only four seconds long" song. These are all things I remember them doing the other two times I've seen them. Of course, Johnny Trash also had to make it known that he was the only Asian and crack white jokes. While these were funny the first time, the third time it gets old. The one thing I did enjoy about Homegrown is that halfway through the set their drummer came up to play guitar and Johnny Trash went back to the drums. Homegrown would have been flawless musically, but their new guitarist fucked up at least two songs. Usually I don't care, but when the rest of the band looks at you and makes fun of you for messing up, you know it's a significant mess-up. Speaking of new guitarist Dan Hammond, he stuck out like a sore thumb. As soon as he walked out on stage with a cut-off jeans vest and a scowl on his face, I knew we were in trouble. Maybe when he gets more comfortable with the music, he'll have more fun and more stage presence; but until then, a rock has more stage presence than him. He did try to get active, but he seemed uncomfortable when he was messing around with the guys. When Homegrown started getting dull, I started to people-watch—which was way more fun. To my left was the militant punk-rock elitist who kept wanting to hear stuff like "SFLB" and other tracks from the band's first album. They played one old track, which made the dude rock out with his cock out; but as soon as he realized that was all he was getting, he was out of there. Then you had the pop-punk princess who screamed the whole damn time. Then, of course, there was the couple who stood in the back and danced around the entire time like they were having epileptic seizures. Man, do I love all-ages shows.

    While Homegrown was nothing special, they were still decent. With bands like them, you go in knowing what to expect. If you expect more (like the punk-rock elitist), then you'll be upset. I knew they were going to play most of their new stuff and their popular songs from previous releases. I was okay with that, and I enjoyed it. I'm not trying to knock Homegrown, because I like their music; I'm just saying that you have to enjoy them for what they are: a formulaic pop-punk band. At least they're one of the better ones on the scene. Plus, you have to give them props for bringing a band like Flashlight Brown on tour with them.

HOPESFALL
EVERY TIME I DIE
THE BEAUTIFUL MISTAKE
THE KINISON
May 4th, 2003 @ the Troubadour (Hollywood, CA)
By Casey Murphy

    Everyone was expecting Celebrity to open the show, but the audience was informed that they had been "physically assaulted in Salt Lake City by some meatheads with nothing better to do." Although this is unfortunate, a band called The Kinison took Celebrity's place and performed better than anyone could have predicted. The quintet rocked the joint so hard that not one person was left standing without a hip swaying or a leg shaking. The lead singer was a show of his own, with his scratchy vocals reminiscent of Hot, Hot Heat and stage (and floor) presence. He ran amok on the stage and managed to take himself (along with the mic stand) into the crowd—all while keeping his composure and managing to sound flawless. It looked as though he was in his own rock-star world until he jumped off of the stage and danced around in the pit. Although the performance was electric, the music itself didn't live up to the showmanship. Regardless, they left the stage, and instantly the crowd looked around at each other with "Who was THAT?" practically written on their faces. The crowd was unsatisfied with the short set, and many were crowding around the merch table after the show, eager to buy a demo.

   The Beautiful Mistake, one of The Militia Group's finest, was one of the two reasons I was so excited about attending this show. I knew that if the live set lived up to their album LIGHT A MATCH, FOR I DESERVE TO BURN, then I would be very impressed. The SoCal four-piece began with a beautifully melodic intro, which blended into "Stabbing Backwards". They blasted through the song so hard that it left singer Josh gasping for air and pausing to take his asthma medication. The intense performance sucked me into its splendor, and the audience made it obvious that they were pleasantly surprised with the tight songs that evenly combined rock and emo laced with hardcore. The Beautiful Mistake played songs such as the title track, "On a Building", and others from the album. I was thoroughly pleased with the set and glad to hear that they will be back on tour in July. Check them out at a show, or visit them at www.thebeautifulmistake.com.

    It was my first time witnessing the experience of Every Time I Die, and before I could gather a thought on the music, the middle of the crowd exploded with kids hardcore dancing, bodies spinning and arms and legs flailing everywhere. Watching them dance to the intense music was somewhat poetic, as the passion was almost tangible. ETID treated the show as if it were a "raging kegger" (as they put it) with "music on tap." The closest I can come to describing the sound is that their songs are like a musical sock in the face, powerful, unexpected, and leaving you wondering what the hell just happened. Adding to the uniqueness of the band was the lead singer Keith's persona. Not once did he face the crowd while speaking, making ETID that much more intriguing. Before the set ended, Keith didn't forget to mention that we were all invited out to "blow coke with Doogie Howser" and play L.A. tour guides amongst the "crack whores and bums." You'll find much more amusement at www.everytimeidie.com.

    The first three bands did an excellent job of presenting enough energy so that everyone was primed and ready for Hopesfall. As they quietly took the stage, vocalist Jay was in my face before I even knew what happened. If you have ever wondered about how a band is able to sound flawless live (e.g., NIRVANA: UNPLUGGED IN NEW YORK), you will wonder the same about Hopesfall. Imagine crystal clear guitars, smooth bass lines, and fluid drums melting together to produce a hard-hitting, harmonious sound that cannot easily be replicated. The intensity of songs like "Open Hands to the Wind" and "The Bending" had everyone rocking out, while they swayed together during airy songs like "Decoys Like Curves" and "April Left with Silence". The crowd (particularly the males) definitely picked up on the intensity of the band, and every time Jay leaned into the crowd it felt like every guy surrounding me felt the urge to jump on/over/across me to get a piece of the mic that was so openly shared. The fans interacted and sang with Jay through the whole set, which raised the band's likability factor a notch. Of course, they closed with the traditional "End of an Era", which everyone had been waiting for all night. After the set I shyly walked on the stage to ask the drummer, Adam, for one of his sticks, but before giving it to me he insisted on having a conversation, which proved him to be as humble and polite as they come. Hopesfall is almost always found interacting with fans after shows at the merch table…but I don't know how much longer that will last, as their fan base seems to be growing immensely. www.hopesfall.com.

    Although these bands aren't epitomes of the definitive hardcore style, they definitely bring life and passion to the scene. Overall, I was stoked to have seen such incredible performances—particularly by The Beautiful Mistake and Hopesfall (both dubbed two of the genre's best). As Billy Joel once put it, "You can't get the sound from a story"—so if there's ANYTHING that you get out of this article, I urge you to see it for yourself.

FISHBONE
KING'S X
OFF BY ONE
May 15, 2003 @ The Magic Bag (Ferndale, MI)
By Dane Jackson

    As soon as the doors opened at the Magic Bag, the line to the bar and the line to the bathroom filled up pretty quickly. The only urinal was broken, but the people at the Magic Bag compensated by dumping a bucket of ice into the base of it—so not only were you peeing, but you could watch your pee melt the ice. I'm sure it was much more fun for the people who were drunk. One guy pointed out to me that it was silly to only have one urinal for all the drunks in the crowd. My thoughts exactly. The Magic Bag is a nice, medium-sized place with good acoustics and good sight levels. The area for the fans is separated into inclined platforms, so you'll always get a good view—even at the bar, where they have monitors set up to see the show.

    Off By One (from San Diego) came on first with little to no fanfare. These guys are relative unknowns in Michigan, but after their set I'm sure they made some new fans—including me. The band played only a 30-minute set, but in that time the guys got the crowd moving and warmed up for King's X and Fishbone. Their sound is somewhere in between rock and punk music, with a dash of poppiness. As good as the band sounded musically, it was hard to hear the vocals. This was partly because lead singer Marc Gould was way into his guitar playing and entertaining duties, but also because the Magic Bag had his vocals down a bit too low. Regardless, Off By One was a good choice as opening band.

    King's X and Fishbone have both been around for over 20 years, so to see such a crowd for these guys was great. After King's X played, I realized most of the crowd was for them...but I'll get into that later. >From the time the band went on stage until the time they went off, people were going nuts. There was no moshing, but tons of singing along and lots of nodding and hand signals. The band went through a comprehensive selection from just about every album (they played everything from "Cigarettes" to new tracks like "Black Like Sunday"), and the fans ate it up. For those who aren't familiar with King's X, it is a hard-rock band with very infectious bass grooves and sing-along choruses. The band—and the fans—went craziest during "Believe" and "Vision". During "Believe", bassist/lead singer Doug Pinnick gave a nice little commentary on society, talking about how no one ever compliments people or tries to make people feel good anymore. He then went on to compliment the whole audience and tell us how good we are to them. Also, throughout the whole set he kept thanking us and letting us now how much he appreciated our reactions and support. Then the band turned it up another notch with "Visions", during which Pinnick and guitarist Ty Tabor stood side by side at the edge of the stage and got right next to the crowd. Everyone loved it. It's weird: I haven't gone to a show in a while at which the band actually made me feel good—and King's X did just that.

    After King's X's encore, what I was afraid was going to happen actually happened: all the King's X fans started to leave, which left the place about half-empty. Fishbone started out strong with "Party at Ground Zero" and didn't seem to mind the lack of audience, but as the night dragged on it really seemed like they just wanted to finish up the set. During the first half of their set, the guys went through a lot of their classics like "Skank and Go Nuts", and "Skankin' to the Beat", as well as lots of instrumentals. For the most part, the band stuck with their older music, only playing one track from their latest major-label full-length. If you have FISHBONE 101 and were at the show, you would have recognized half of Fishbone's set. As the night dragged on and people started leaving, Angelo stopped singing as much and went to playing his vast array of brass instruments. The band even stopped talking to the crowd much. Towards the end it looked as if the band was getting restless, which made the remaining crowd kind of restless, too. There were still a few faithfuls who skanked the whole time, but for the most part it seemed like the band and the crowd wanted the show to end. We didn't even get an encore, just an intense guitar solo by Spacey T. Some of the songs that I was really looking forward to hearing but didn't get to hear included "Ugly", "Lyin' Ass Bitch", "Standing on Shaky Ground", and "AIDS and Armageddon". While it wasn't the best Fishbone performance I've ever seen, I'm still glad I got to see them, because I was one of the few who were mesmerized from start to finish. I truly think the guys in Fishbone are amazing, and it's a testament to their greatness that they still put out great music. Also, I must mention the outfit Norwood Fisher was wearing: an Egyptian tunic that just went over his body. The sides were completely open, and you could see that he was going commando the entire show. That man has balls for wearing that outfit...and I'm sure some of the crowd saw them! Oh, well, maybe the people who booked this tour learned their lesson and won't book two completely different kinds of bands to play together again as co-headliners.

     Also during the Fishbone set, I learned that a guy I was standing next to got a blowjob in the bathroom. I wouldn't necessarily be proud of him at all, because the bathroom was nasty...and so was the girl he pointed to as the blowjob-giver. She was a total whore. Oh, well, you gotta do what you gotta do sometimes. Also, there was a creepy stoned guy in the crowd who kept staring at girls' chests until they noticed. If he would have stuck around for Fishbone, maybe he could have got a BJ, too.

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