May 2003 Show Reviews

The Librarians
March 8, 2003 @ the Hub (Fullerton, CA)
by Kathleen Rivas

The Librarians endured a six-hour drive from Berkeley to come down and rock a little coffeehouse we like to call the Hub. In the midst of the conventional Orange County punk-rock scene with Kelly Osbourne and Avril Lavigne look-alikes, The Librarians delivered a taste of the retro rock O.C.'s been missing out on. As the 20-somethings who made up most of the audience sat back and sipped their cafe lattes, Damon Larson (vocals, guitar) supplied the guitar hooks to kick off their first song, "Gimme Your Love", sodden with direct lyrics and fervent shouts. Ben Adrian (drums) and Lucas White (bass) supplied retro-sounding beats and dynamic bass lines. But the show would have been incomplete without Ryan Gan's (tambourine/vocals) onstage antics, managing somehow to jump from the stage onto tables, trees, and light poles—all while rhythmically beating his tambourine sticks. The band continued with "Peace and Quiet", a song that portrays the irritation 13-year-olds cause when the only word they can spell is "anarchy." The Librarians didn't forget to play the fans' favorite song, the sarcastically romantic "You (and This Bottle)". Having released their debut album, THE PATHETIC AESTHETIC, just last year, The Librarians have already structured new songs and have been performing them live. With its contorted, loud, rockin' sound, "Teenage Mistakes" stood out (and is the one the band seemed to have the most fun performing). Whether you listen to The Librarians through your headphones or experience their hyperactive live show, there is no doubt that this band has taken a route to creating genre-blurring rock 'n' roll.

THE DEAD KENNEDYS
March 21, 2003 @ the Galaxy Theatre (Santa Ana, CA)

The Dead Kennedys is synonymous with punk rock. If you are one of the many who refuse to accept the band without Jello Biafra, then get a fucking clue and get over it. This show at the Galaxy shattered all stubborn doubts with splendidly wicked elation! The band's name itself is supposed suggest the destruction of illusions. Just as the assassination of JFK destroyed so many American myths, so too should our conditioned expectations be obliterated. A few months ago, I actually left a show early because I refused to believe The Dead Kennedys could again be as good as it once was. Boy, was I wrong! East Bay Ray is the punk-rock Buddy Holly, spitting out demonic punk-surf riffs that bounce off the walls and permeate the mind; bassist Klaus Fluoride's muddy-deep pulse is still throbbing strong; Don Peligro's powerful and primal thumping of the drum kit keeps the time for music that is "the unbeatable high / Adrenaline shoots your nerves to the sky!" Nobody can create that ominous and enthralling sound/feeling of impending doom like DK. New vocalist Brandon Cruz, I gotta hand it to you: you filled some pretty big shoes and made them your own.

This show was exactly what I needed after three stressful hours of driving while lost. I had been to the Galaxy Theatre numerous times, and so I could not believe that I had become lost! After receiving several well-intended but WRONG directions, I discovered that I had mistaken the 91 freeway for the 405. Whatever, man! I was fucking lost and was about to explode from aggravation as we pulled into the Galaxy parking lot sometime after 10 p.m. Thankfully, Ian, the benevolent doorman, allowed everyone in my small entourage into the building. Things were beginning to look and feel better.

As you may have guessed, I missed all the opening bands. Oh well, DI kicks ass. I have enjoyed them many times before and will enjoy them many times in the future. Another surprise was still in store: I was invited backstage. That was cool, and I saw lots of celebrities; but the show was out front, so I quickly returned to the fore. A few moments later, The Dead Kennedys appeared onstage. Scanning the audience, I viewed a small sea of faces both young and old—predominantly young, as this was an all-ages show. Having had the privilege of experiencing The Dead Kennedys many times over the years, I wondered if all those wide-eyed kids were going to get a taste of the real thing. Within the first few notes, it was certain: The Dead Kennedys was alive and well.

I usually keep notes, but this time I just threw my paper on the floor and enjoyed the show. The band has not written any new music, but after the show Klaus told me the group might be writing some new tunes very soon. This evening we were treated to numerous DK classics, such as "Holiday in Cambodia", "Kill the Poor", "California Uber Alles", "Police Truck", "Too Drunk to Fuck", and "Moon Over Marin" (my personal favorite). East Bay Ray humorously paused a moment during the show to take a picture of photographer Heather (with her camera) as she sat onstage in front of his monitor. As the roomful of delighted fans slammed, pogoed, and sang along, I could not help but think of the irony of the situation: we were so happily dancing and singing lyrics about government oppression, while meanwhile innocent Iraqi citizens were being blown to bits in order to "save them" from the monster Hussein—who was put into power by the U.S. in the first place. Heaven and Hell exist in the same sphere.

New vocalist Brandon Cruz took the time between songs to denounce the current Bush's fascist regime and the propaganda mind-screwing by the mainstream media. This former child TV star belts out the lyrics with the passion of the Incredible Hulk. It is indescribably strange how he can sound just like Jello without sounding like Jello. It must be the passion and sincerity that allows this to happen. Many times during the evening did he allow the eager fans to share the microphone with him to sing the lyrics that many know so well.

I expected at least two encores, but the band played only one. What was played? That information is on a crumpled bit of my brain now residing in the forgotten zone. I promise to take notes next show. I was having too much fun to be very academic at this one. All I know is that I had this big, stupid smile on my face that lasted for days. I think it apropos to end with the words of DK bassist Klaus Fluoride: "Thank you for having us, and thank you for coming to the show."

SKA SUMMIT
March 29, 2003 @ Dessert Breeze Skate Park
(Las Vegas, Nevada)
By Annette Ovanessian

Before I began to tell you all about how good the first annual Ska Summit was, first I must expose you to the history and culture of ska music. You can more fully appreciate a special event like this when you know the history of its theme, so please open your mind for a brief history lesson!

The history of ska began in 1962. Since it began, we have divided its history into three waves. Each wave represents a minor or major change to its foundation. The first wave of ska started at a period of time when Jamaica was starting to take the musical styles of America and incorporate them with their own music, ultimately to create a new brand of genre. Well, it worked! Cecil Bustamente Campbell, later know as "Prince Buster," is credited with adding the after-beat into ska; and a fellow named Rasco Gordon is credited with the improvement of ska, as he added a second and fourth beat to each bar. They enhanced its originality, so that it became a new culture. I label ska a culture because its impact on Jamaica's communities created a type of rebel society. This is where the term "rude boy" is coined. These rudies were rebels against society, and they were not afraid of who they were. As all genres have internal competition, ska's competitors were known as the "dance hall crashers." During all the feuding, people started looking at themselves instead of others. AS an example of this, during the first wave of ska a law was passed against carrying guns. The rude boys immediately started an anti-gun movement, which has been reflected in songs by The Heptones, The Soul Brothers, Bob Marley, Peter Tosh, Bunny Wailer, Prince Buster, and Dessmond Dekker.

The second wave of ska started in the 1970s when reggae and punk bands started to join the forces. Bands such as The Clash and The Specials were a huge part of the second wave. In 1979, Jerry Dammers founded 2-Tone Records. This is where the colors black and white became a symbol. The 2-Tone logo of a man in a black suit, white shirt, black tie, black shoes, and a hat became the official logo of the ska image. By this time the black-and-white clothing represented and promoted racial harmony. Bands such as Madness and Selector had improved the new surface of ska through lyrics and beat. As 2-Tone signed a numerous bands throughout the '80s, by 1985 it started losing its popularity and rested in peace. The second wave was over, and the third wave of ska began introducing the mainstream emphasis to the foundation of ska's roots. It switched to a more poppy feel combined with rock. The Toasters and Fishbone fit perfectly into this wave. There was now enough acceptance of ska to expand it into almost every style of music. Bands such as Operation Ivy, Hepcat, Voodoo Glow Skulls, The Mighty Mighty Bosstones, Mad Caddies, etc., challenge its foundation and have successfully created a new wave. As the 2000s have begun, it seems like there are less and less ska bands out there representing. I feel that those who are playing ska music understand this history and have been influenced by all the bands that have participated in its creation.
The bands that keep the movement alive played at the Ska Summit this year. Over 25 bands performed, from The Forces of Evil to The Toasters. The concert was a great success! It was the most organized event that I have ever attended, so it made my drive out to Vegas well worth it. The schedules were adhered to, and the performers were impressively enthusiastic about the event itself—which showed in each performance.

As Buck-O-Nine started to perform, I became an instant fan. They did a great job with crowd participation and energy flow. As usual, Fishbone was very professional and incredibly energetic on stage. They are some true-to-heart rude boys! I was truly impressed by Save Ferris's Monique Powell's performance. She was very confident and didn't give a crap about people throwing deodorant at her! Monique and Pauline Black from Selector put it down for the ladies involved in ska music. Monique also talked about her new solo project (coming out pretty soon, so look out for that!). Neville Staple of The Specials set it off, and the whole crowd went wild. When he sang "Ghost Town", people were flying through the air! He's getting old, but he still has the energy and ambition to continue his mark in ska music.

Selector was amazing and the crowd really appreciated their performance, because they definitely represent from the second wave of ska, so their history remains deep. Reel Big Fish did a great job, but Voodoo Glow Skulls really put on a show. The Skulls definitely come from the third wave of ska, due to their heavy influence of punk rock, which is intertwined with horns and trumpets. They were full of energy and surprises, and they paved the way for The Toasters to turn the party into a festival. The Toasters were tremendously hype and clearly caused the entire audience to release all their tensions out into the air and absorb all the positive energy. The Toaster's took time to showcase each instrument and let the crowd participate with each song. Some of the smaller bands—like Let's Go Bowling, Mobtown, Skeletones, RxBandits, and Ska Daddyz—performed as well, adding extra flavor to my overall experience. I have to say that the Ska Summit was one of the greatest concerts I have been to in a very long time. It was in great appreciation for the existence of ska in this new world of pop stardom. The very few ska bands we have these days need to be recognized and valued. Who else would break away from the traditional norm of music these days? Hopefully next year more bands will come out and turn the event into a two-day fiesta!

YOUTH BRIGADE
CLIT 45
DESTRUCTION MADE SIMPLE
THE FRUSTRATED
April 4, 2003 @ the Allen Theatre (South Gate, CA)
By Jennifer Moncayo

To get in I had to wait in a long-ass line to buy my ticket—an arduous task, since they were only letting three people up at a time to the box office. While waiting in line security was constantly yelling at us to stand against the wall and leave room on the sidewalk. They were pretty friendly on a whole, but still.... To top it off there are no in-and-outs—and you don't get inside before you are cavity-searched. You even have to throw your gum away. The Allen Theatre is a new venue for shows (previously being a movie theatre). In fact, it is still under construction. The place is pretty big and has already had some good shows (such as The Subhumans).
I had never seen The Frustrated or Destruction Made Simple before. I caught the end of The Frustrated's set. My first impression of the band was that they sounded sort of like Union 13, but looked like skaters. They were okay—nothing special.

The next band, Destruction Made Simple, was the same style of music. The singer came out with zoot-suit-like attire and a painted face, some odd cross between Monkey of The Adicts and the movie DEAD PRESIDENTS. The singer seemed angry and talked a lot of shit. The crowd seemed somewhat into them. They had a consistent pit and people singing along with their songs. At the end of their set, the singer said that they will be playing at one of the Warped Tour shows in the summer. As the band walked off stage, a group of kids started yelling at them. The kids kept chanting, "Fuck the Warped Tour, and fuck you." The kids screamed it for so long that people started yelling back at them, "We heard you." Then a member of the band came out and tried to talk into the microphone, which was not on. Once it was on, he was yelling back at the kids. He said something about being older and them not knowing what it means to pay bills. It was pretty odd to see a band member shout back at some kids in the audience. The kids were getting obnoxious, so it was sort of justifiable for the band to come out and defend themselves. Overall, the two first bands didn't do it for me. I was not impressed and pretty bored.

Clit 45 took the stage next. Clit 45 is a street-punk band from Long Beach that was formed in 1994. The crowd loved them. They had a huge pit and people singing and doing anything they could to yell into the microphone. The kids went crazy, as if it were a riot. They played some good songs, including "Just Exist" off of their latest album. When they finished their set, everyone in the pit looked exhausted.

The last band of the night was the amazing L.A. punk band Youth Brigade. Youth Brigade has been around since 1980 and has created the distinguished record label BYO Records. The band started rocking out, and everyone got so excited, singing along to some of the band's best songs, like "Where Are the Old Man Bars", "I Hate My Life", "Fight to Unite", and "What Are You Fighting For". A lot of people were yelling at the band to play some of their older stuff, but the band joked with the younger people that they only wanted to hear songs that were made before they were born. During the show a lot of kids were jumping on stage and then leaping back into the crowd. When a kid jumped on stage and had a little scuffle with security, lead singer Sean Stern told them to lay off and that "there's enough fighting going on in the world right now—we don't need it here." Security kept pushing the kids back into the audience, then they decided to plant themselves in the middle of the stage. Mind you, there is no space and barrier between the stage and the crowd. It was kind of distracting to have two guys sitting just a couple inches in front of the band, but they appeared to be enjoying the music, cheering along with everyone. They eventually moved for the last song, the classic "Sink with California", when the band told everyone to come on stage. It was great, and the band looked so energized. The crowd cheered for more, and the band came back for an encore. They played some amazing songs, including "Men in Blue" and their best cover, "Someone's Gonna Get Their Head Kicked In".
Youth Brigade rocked like always. The first two bands didn't do much for me, but it seemed like some of the other people took a little pleasure in them. Seeing Youth Brigade is a must, or you are not a true punk rocker. And Clit 45 puts on a good show, so check em' out.

The New Romantics
Blanche Davidian
The BellRays
April 5, 2003 @ Hollywood Alley (Mesa, AZ)
By Liz Dietrich

When I heard the CD RAW COLLECTION by The BellRays, I was not impressed. The music didn't do anything for me. It didn't make me want to keep listening to it; it made me want to turn it off. I knew I needed to review the upcoming show, but I can honestly say that, after listening to the CD, I was dreading it. So late on Saturday night, my husband John and I made the drive to Hollywood Alley. I was already yawning and hoping that the night would pass quickly without too much pain (in the form of crappy music).

The guy at the door let us in with no hassle, which alleviated some of my already-pounding headache. The bar was filled with small, half-circle, black leather high-backed booths, and we got the last one. This made me happy, and I ordered a water with lemon. Now I was ready to review. The first band to take the stage was The New Romantics. The first sound coming from them was extreme, high-pitched feedback. Sometimes you can't help that, and so the first time was okay; but after five drawn-out squeals, I was annoyed. It seemed that the guys in the band thought it was cool to piss everyone off, so at least THEY were having a good time. The band is a five-piece: two guitarists, a bass player, a drummer, and a very very pretty singer. I think he wore more make-up than I do. The drummer stood in sharp contrast to the appearance of the other four members: his bleached-with-black-roots, '80s Beach Boy mullet and jeans set him apart from his other black-haired, leather-pants-wearing, bejeweled, made-up bandmates. Now, on to the sound. The band was tight musically. It was apparent that they spend almost as much time practicing as they do putting on eyeliner—which makes them pros at both. The singer was always on key, and that's one thing I'm a stickler for. Their stage presence was enough to keep you watching. The singer seduced his mic stand, but not so much that the band starts looking silly. The sound was mostly glam-rock (think Poison) mixed with some old rock 'n' roll and punk. All in all, this band was good at what they did, but their sound was nothing new.

The next band to play was Blanche Davidian. When they got up to play, I had to do a double-take, because it looked like The New Romantics were still up on stage but had changed their singer and drummer. I swear! These guys could have been the same band. After discussing it with John, we decided that they were different people—they just shopped at the same '80s butt-rock store. It was obvious to me that the venue appreciated this band more than the first because they had strobe lights and smoke for these guys. This excited the crowd, and people started standing and moving closer to the stage. The guys seemed very comfortable on stage and at this particular venue. The bass player and the drummer were right on with each other, which makes for a solid foundation for the music. This helped drive the beats, and you couldn't help but bob your head along. After bobbing it for two minutes to the same beat and riffs, however, you start getting a little sick. This band was tight and having a good time, but it seemed that, once they found a good beat and riff, they just couldn't leave it alone. This left me wondering when their set would end so I could go home. They definitely know their music, and I could see having their CD playing in the background at a party, but I wouldn't pay to see their show. Oh, by the way, I could feel the bass drum in my heart and in my butt, and that was, um...interesting.

The final band was The BellRays. All of a sudden, the crowd swelled, and from our seat we couldn't see a darn thing, so I actually stood and moved to a small corner by the restrooms. From here I had a perfect view of the stage and all the power that was about to hit me. The BellRays are a four-piece, but had so much more power than either of the five-piece bands that had preceded them. Lead singer Lisa Kekaula opened up the set by simply saying, "We are the BellRays!"—and the music began. It was driving, powerful, soulful, and jazzy all at the same time. Lisa hit all the notes, making it seem easy. The background vocals—performed by Tony Fate (guitar), Bob Vennum (bass), and Ray Chin (drums)—were always on key and never too much. The music had great changes, and the band was extremely tight. There wasn't an off note or missed beat that I heard. With all the changes the band had in the music, there wasn't time to get bored. I would describe the set as seamless and flawless. It seemed that these four were born to do this. Lisa's voice reminded me of Tina Turner and Janis Joplin, the kind of voice that makes you want to be a singer yourself. She's the kind of person who makes you proud to be a woman. She has incredible vocal range and stage presence. I saw her look at the audience only once, the rest of the time having her eyes closed. Usually this makes you feel disconnected from the band, but not this time. You sensed that you were lucky to observe such an incredible display of really good music. The audience was absolutely in love with her; the guys had crushes on her, and the girls wanted to be her. You definitely know while watching her that you better not piss her off, because she is a tough lady! The BellRays are the definition of truly great music. So, after seeing this musical phenomenon, I was happy to be proven wrong—and happy that the band didn't sound like the CD. Definitely try to catch The BellRays live before you buy the CD. If you can't catch 'em live though, buy the CD, anyway, because bands always need that kind of support. Just know that you are supporting an amazing group that loves music just as much as you do and has it in their hearts to perform and play amazingly.

LIKE CLOCKWORK WORLD TOUR:
THE ADICTS
THE SKULLS
THE BRIEFS
NARCOLEPTIC YOUTH
ELVIS DISCIPLES
April 7, 2003 @ the Key Club (Hollywood, CA)
By Jennifer Moncayo

Mohawks have fallen; people are smelly, sweaty, and sparkling with glitter; and the buzzes are wearing off. Everyone is on cloud nine due to the kick in the balls from all the rockin' bands on the bill for the Like Clockwork World Tour at the Key Club in Hollywood.

The show was sold out, and when I arrived there was a ridiculous line of people waiting to get in that went up the street. Why was there a line? Why wasn't it moving? I have no idea. Everyone in line had a ticket, and people over 21 were supposedly let in right away. Well, after somehow enduring the absurd line that almost put me in a bad mood for the rest of the night, I got in just in time for the best band, The Briefs. The Briefs are an amazing, Seattle-based punk band full of guys with bleached blonde hair and skinny ties. My friends and I rushed to get a front-row spot. Thankfully, when the lame Linkin Park music finally was silenced and the lights turned out, The Briefs jumped on stage and the crowd went nuts. The Briefs rocked it hard (like always) with their brilliant style and amusing humor. They played some of their great songs, like "Dalai Lama", "Rotten Love", "Knife", and "Poor and Weird". After one of the songs they added a brief comment, something along the lines of "screw Bush." The crowd went absolutely crazy for them. People were jumping and flipping onto the stage, dancing, and then diving back into the crowd. The crowd had so much love for them it felt like they were the headliners.

After The Briefs played, renowned L.A. punk band The Skulls took the stage. For some reason the energy level of the crowd dissipated. The singer, Bones, had to remind the crowd that they were at a punk-rock show and to liven up a little—which definitely worked. Everyone had a lot of respect for the legendary band and sang along to favorites like "Kill Me Kill Me Kill". The bass player, Hardslug, came out with several different hats and masks, which he seemed to enjoy alternating between songs. One of their best moments was when they played a cover of Johnny Cash's "I Walk the Line", which everyone got into. The Skulls had lots of energy, and they rocked.

After The Skulls, all that was left was the extremely anticipated band The Adicts. The Adicts are a legendary punk band from England who have been around since the '80s with a large following. Everyone was ready for them to come out, but, like usual, the wait in between sets was incredible. People started to get restless and started throwing cups, ice, and anything they could find, which kept the bouncers busy. The crowd was so anxious that people were pushing and shoving to find a spot way before they even started. The place was packed from wall to wall, and everyone looked liquored up and ready for them to come out. Finally, the lights dimmed, and a song from the film A CLOCKWORK ORANGE blasted through the speakers. The band took the stage with their A CLOCKWORK ORANGE-inspired outfits (which they are known for). The band started off with "Ode to Joy", and everyone started yelling with excitement. Then Monkey (the singer) jumped on stage with his customary bright and colorful outfit: bright, rainbow-colored pants and a purple, sequined top with white gloves and a painted face. Then they went right into their most famous song, "Viva la Revolucion." Their performance was amazing. Monkey had a small container full of toys and goodies that he would throw out into the crowd. They even had a fog machine go off every once in awhile. They played so many great songs, including "Songs of Praise", "Numbers", and "Bad Boy". When they played "Just Like Me", the band called up a bunch of girls and dressed them in bowler caps and white shirts and let them sing and dance on stage. During the whole set people were jumping and rolling onto the stage just trying to have the chance to sing with the band. One girl jumped on stage and tried to take a picture with Monkey. To her dismay she snapped the picture an inch from his face and botched it. To regain some glory (I'm assuming), she grabbed Monkey's face and kissed him and took another picture. The whole show was momentarily stopped, Monkey saying as she was dragged off stage, "I don't know if you noticed, but there's a show going on." Then halfway through the show the sole of Monkey's shoe broke; he could flap it up and down. He decided to take of his shoes so he could dance, and he did the rest of the show barefoot. The crowd had so much love for The Adicts that it was amazing, and it seemed that the band was having the best time up on stage. Everyone was singing along to their favorite songs. When the band finished, everyone chanted for them to come back—which they did to play a bitchin' encore, closing the show with their classic song, "Viva la Revolucion".

The show was great. All the bands I saw were awesome. The line-up couldn't disappoint. I hope you all got to catch this tour, because it was quite memorable and fun. It's a must to check out these bands.

Apples in Stereo
Everybody Else
Math and Science
April 16, 2003 @ the Knitting Factory
By Carlos Cuesta

Maybe it's because springtime just started to go into effect, but everything about the show and that night had a springtime feel about it. I'm talking about that take-it-easy/moving-in-slow-motion feeling you get when you have an extra hour of sunshine in your day. The show was at the Knitting Factory, and those who have been there know it runs on a very tight schedule. However, tonight was definitely an exception. The crowd seemed to get there late, and the bands took forever in between sets. I have to make it clear that this wasn't a bad thing. The show was one of the best I've been to a long time.

Math and Science was, without a doubt, one of the real highlights of the night. The band is not actually a band, just one guy playing along to prerecorded tracks he did all himself. However, unlike other one bands, Math and Science's pre-recordings emphasizes real instruments instead of a drum machines and synthesizers. John Wolf, the man behind everything, clarified what it's like playing to prerecorded music by saying, "It's not karaoke, but it's not far from it." However, there were songs such as "Clean Out Your Head" that were absent of any prerecorded music. Math and Science had a mellow rock sound mixed with poppy, melodic hooks that were so catchy you became fully engaged in the music. Think an upbeat, melodic Beck meets One Line Drawing with an Elliot Smith who's cleaned up his act and enjoys video games more than drugs. Moreover, the well-written hooks contained a certain amount of substance, similar to the way a Beach Boys melody gets you hooked. Furthermore, you could genuinely tell that everyone in the room was engaged in each song and was anxious to hear the next. In addition, Math and Science had a fun humor in the music without passing off bad jokes or clichéd humor. If you so much as hear about this band playing again, I would highly recommend investigating the matter and going to see him the first chance you get.

Everybody Else sounded a lot like, well...everybody else? The collective consensus among the people I was with and those around me agreed this band was terrible. They played their songs well. They weren't so much bad musicians as their music was bland. Everybody Else sounded like they wished they were in Rooney or Phantom Planet—so much so that they even looked exactly like certain members of those bands. Their music had a lot of the same drum beats and pre-choruses that are over used in Phantom Planet songs. You could tell the band spent a lot of time on their hair and their clothes before the show. The members of the band appeared to be in their early 20s, yet references to high school were pervasive in almost every song. When you come right down to it, if I wanted to listen to Rooney, I'd go listen to Rooney—but I don't. Hence, I was very bored with Everybody Else.

Finally the headlining act of the night (and one my favorite bands) Apples in Stereo came on. Although the band took their time getting started, they made up for it when they broke into their first song full of energy. My favorite moment of the show had to be when Apples in Stereo played a cover of The Beach Boys song "Heroes and Villains". Not only is that one of my personal favorite Beach Boys song, but Apples in Stereo did an excellent interpretation of it. It seems as though the older this band gets the faster the music is. Although I thoroughly I enjoyed the show, absent from the set list were the slower songs that originally drew in most of Apples in Stereo's fan base. The absence of their older favorites left most of the crowd shouting requests throughout their set. However, they did play several crowd favorites, such as "Rainfall". That song is one of my favorite because it's one that really showcases the singing abilities of their drummer, Hilarie Sidney. All in all, Apples in Stereo played an excellent set, definitely one of the best times I've seen them.
In conclusion, I have to say that show was definitely fun and full of surprises—the biggest surprise being Math and Science, whom I highly recommend you check out.

THE FAINT
LES SAVY FAV
SCHNEIDER TM
April 19, 2003 @ the Glasshouse (Pomona, CA)
By Tiffany Chow

I have to admit, I was a bit skeptical about going to this show. Don't get me wrong: I was definitely looking forward to attending; but I was well aware that the prevalent scene at a show like this one is generally preoccupied with image. I dreaded the inevitable "walk of shame" to the back of the line, where everyone already in line gives you the "scene once-over." Other than wanting to show off their fashion, the attendees assembled for another reason: they all just wanted to dance. And trust me, I highly doubt that anyone went home disappointed.

The show sold out rapidly, if only thanks to headliners The Faint. But even if the rapidity with which the tickets sold was due purely to the popularity of The Faint, there was definitely nothing lacking in the supporting performers.
First up was Schneider TM, an all-male trio from Berlin, Germany. I personally feel that if you hail from Germany, anything and everything goes, and you will always remain awesome in my eyes...but I tried to be as objective as possible. Regardless of my or anyone else's bias toward this group, they were incredible. It was basically an amazing display of well-assembled noise that was catchy and almost consistently evoked dancing. They played four or five songs, including a fun cover of something by The Smiths. For being highly electronic-based, Schneider TM did an admirable job of displaying their wealth of musical experience and skill. I guess it doesn't matter where you come from: the appreciation of sound is universal.

After Schneider TM finished, Les Savy Fav came on stage. Since they are one of my favorites, I was definitely looking forward to their set. Their appearance alone is entertaining: three good-looking men and an eccentric lead singer. He first appeared sporting a backwards poncho with the plastic hood covering his face, then exited the stage halfway through their third or so song to make an outfit change. He reappeared with a pirate mask, finishing the song with it on backwards. In addition to his odd apparel, he danced suggestively throughout the set and involved the crowd immensely, distributing kisses to random fans and singing almost entire songs while walking amidst them. You would think that any band with such an entertaining and intriguing lead singer has something to hide and that their eccentric frontman serves as a distraction. This is definitely untrue in regards to Les Savy Fav. As fascinating as the singer was, the entire band produced a sound that was altogether efficient. They played with a subtle confidence that showed their experience in the business. Their set list contained a balance of songs from their new and old albums. All in all, Les Savy Fav left me in awe and has now become one of my favorite live bands.
It finally became the part of the night that the house was packed for. Two wall-sized screens had been erected on the stage, and two projectors hung from the ceiling. My interest was automatically piqued and the crowded room was filled with excited anticipation. When The Faint finally began playing, the entire atmosphere of the Glasshouse was transformed. The mixture of the lighting, the media they had playing on the screens, and (of course) the music made the entire place feel like a huge club or dance party. This wasn't a live show, this was an audiovisual experience. The images displayed on the screen throughout the entire set showed a thorough preparation for this tour, as each segment lined up perfectly with the music the band played, successfully enhancing the entire experience. The crowd was one massive dancing machine, as was the band. I have never seen such an energetic and professional stage presence. I think what impressed me the most about their performance was that the band could play literally just a single note, and the entire audience would cheer, already knowing which song was coming. Some obvious crowd favorites were "Worked Up So Sexual" and "Cars Pass in Cold Blood". The Faint left the stage after a somewhat short set, obviously in preparation of an inevitably-desired encore. After an acceptable amount of cheering, the singer returned by himself and eerily performed "Ballad of a Paralyzed Citizen", craftily remaining perfectly still. The whole band returned after that song and performed two more, ending with my personal favorite, "Agenda Suicide".

I think I can confidently declare that night to be the best show I have ever had the pleasure to attend. The talent and performances of Schneider TM, Les Savy Fav, and The Faint were all equally impressive. By the end of the night, I think everyone was too sweaty and too exhausted from dancing to care much about their image—which is how any good show should end.

The Cramps
The Gore Gore Girls
The Reverb Brothers
April 26, 2003 @ the Diamond Ballroom (Oklahoma City)
By H. Barry Zimmerman

As we got on I-35 on the way to the gig, I noticed a gang of circling sanitation birds cruising low above the highway, but I didn't see any dead things. That's weird as hell. Then, when we pulled off to get gas, there was a truckload of carny kids chasing a three-legged dog around the filling station while their dad was checking for trouble under the hood. It is carnival season in Oklahoma. As night ate the daylight, we cruised the mythic darkness on our way to see the mythic rock legends The Cramps. With nature behaving bizarrely and transients lurking about, the stars got weird and the evening was shaping up splendidly for a ride with America's coolest band.

On a normal day the Diamond Ballroom is a massive honky tonk. The building boasts a 7,800-square-foot maple dance floor and a 1,200 person capacity. The walls are covered with photographs of past stage-dwellers, from Megadeath to Buck Owens. When we got out of the car, the sound of ancient rock 'n' roll leaned on us like the ghost of Eddie Cochrane. It was very cinematic. Every rockabilly cat and kitty in the Oklahoma City area was there, with pompadours and bee hives and skull and crossbones wall to wall. I looked around for Cry Baby, but he was nowhere to be seen.

The Reverb Brothers are a three-piece rock institution around these parts. Led by guitarist/vocalist Basile Koliopoulos, The Reverb Brothers have got muscle to spare and professional, sneering charm. The group's blues are a little corny, but their revved-up rock 'n' roll is very swingin'. The band came through with a warm-up set that got the kids in full-blown hoedown mode. The band ended their set with a wild, wailing guitar song about poet Miguel Pinnero. The Reverb Brothers did us proud.

Next up were The Gore Gore Girls, who are named after father of gore movie magic Hershel Gordon Lewis's last gore flick (though the group is definitely more reminiscent of the Russ Meyer classic B-movie, BEYOND THE VALLEY OF THE DOLLS). Dressed in matching white leather go-go boots and very short one-piece outfits, and sporting hairdos from the Nancy Sinatra collection, The Gore Gore Girls looked like something I dreamed up during my late teens. The band looked so 1968 Los Angeles. Man, that's cool. The Gore Gore Girls sounded like The Ronnettes meets The Seeds. The girls let us know where they call home by rocking like a Detroit band should rock: loud and hard, with guts. Featuring Amy Surdu on guitar and vocals, Melody Licious on bass and vocals, and the borrowed Nikki Styxx from Jettison Red on drums, The Gore Gore Girls did all the rock theatrics and showbiz poses. Amy and Melody leaned back to back during one of Amy's burning solos, reminding me of Ace and Paul. Amy played on her knees while Melody played over her head. The group ran through every chapter of the Phil Spector girl band how-to guide and catalog. Some of my favorite songs of the evening were "I'm Going to Get You" and "I Don't Think So". The Gore Gore Girls have got the look, the sound, the songs, and the grooviness. Hershel Gordon Lewis should be proud.

After The Gore Gore Girls had cleared out, a skeleton-man/roadie brought out guitars in coffin-shaped cases. It was time for The Cramps. The Cramps formed in 1975 when Lux Interior and Poison Ivy Rorschach met and bonded over rockabilly and instrumental records and moved to New York City. The group has ripped out its own psychedelic, punk, nutso, freakshow rockabilly sound, and the truth is in the seeing. The discs are cool, but you have got to get in the ring with this embodiment of sexy, wild emotional weirdness that is The Cramps in order to truly get it. The Cramps are rock like the ocean is wet. The Cramps don't rock, they ARE rock.
Poison Ivy wore a pair of black dominatrix boots with leopard-print lingerie and was armed with her classic 1958 Gretsch hollow-body guitar. Lux was wearing an orange snakeskin suit and matching high-heeled boots, which were topped off with big, round, Hollywood-style blue shades. Smokin'. Along with Drumdini on the drums and Scott "Chopper" Franklin (who has been with The Cramps for a year) on bass, the band was a spectacular example of freedom and the big rock lifestyle. Without explosions or a light show, The Cramps put on as powerful of a rock show as I have ever seen. Lux is the greatest frontman that I have had the privilege to witness. He stretched and posed and gave everything to the moment, including offering his ass to the people in the front row (which included lots of teenage girls) for a sweet group spanking. I am sure Lux deserved the spanking. He is 55 years old and rocked harder than any 20-year-old that I know. I was amazed. The band did classic tunes from The Cramps' 10-album career, including "TV Set", "The Crusher", and "Surfin' Bird". There were also a great deal of songs from The Cramps newest album FIENDS FROM DOPE ISLAND, including a song dedicated to Satan, "Color Me Black"; and other soon-to-be-classic tunes, like "Big Black Witchcraft Rock", "You Got Good Taste", and "Let's Get Fucked Up".
On the way home, my buddy Mike turned to me with a cheesy grin and said, "I spanked Lux." He was so proud. Way to go, dude, way to go. We were a bit overwhelmed. The Cramps earned their money and won my loyalty.

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