How come I have to be Mr Pink?
#############################
Indie List Digest!
June 4, 1994
Volume 3 Number 35
#############################
Blaise Pascal & Pavement Tour Diary, pt 2
Seam/Bedhead/Tortoise
Rodan/Eggs/Tsunami et al.
Peter Brotzman Trio, Moonshake, et al.
Pitchblende, Tone, Rake
Music West
-------------------------------
From: Marcel Feldman (marcelf@vanbc.wimsey.com)
Blaise Pascal & Pavement Tour Diary, pt 2
SEATTLE OFF RAMP TUES 26 1994
We get to the Off Ramp at 4:30, plenty o' time, & watch "the Pavement"
set up & soundcheck. There are 2 shows tonight; first are the Skinny
Boys & Pavement, then us & Pavement. i figure this'll be our first
show, as last nite didn't count.
After our soundcheck, i phone my friend Brad. he & his wife, Wilma,
come pick me up so i wave farewell & sigh & say goodbye to stress &
anxiety... fer the moment & leave the rest of the band to do whatever
it is they're gonna do.
The three of us take off to a pizza place, Piecoras. mmmmmm pizza.
good & spicy. We go back to their place, & drink some fine Seattle
coffee, then back to the Off Ramp at 8:30, catching the last half of
Pavement's first show, & we don't get on till about 10:30. The place
is packed & packing.... they just keep on filing in. i guess it's a
cool crowd, but it feels too similar to Vancouver.
RAWK! the crowd is pretty pumped as we hit the stage. A full house,
full of people i've never seen before in my life & people who've never
heard of us before (w/ a couple of exceptions).
We jammed! i shook my hair & my head followed. i swung my arms &
pounded the skins w/ swift sticks. Bass rolled thru the crowd like a
double-barrelled steam roller, twin guitars zoomed in from both sides
& the vocals crept up, stalking, then reared & dived in fer the kill.
Pavement came on.... again... & in some subterranean citified
attitude, they proceeded to blow us away in the best way imaginable.
i've never seen a crowd pogo in such unified enthusiasm..... ooo
baby, the joint was jumpin.
After the show, the 6 of us headed to Brad & Wilma's to crash, & we
were all thankful for the invite.
Comics & Coolness & Coffee in the morning. Wilma has disappeared to
work, so we tie ourselves to the road again, following Brad, dropping
Ben off at the Bus Station, & head to the Fantagraphics Warehouse
(where Brad works). Now i'm Really Smiling.
Blaise Pascal wanders around a large room, checking it out, taking the
tour. We thank the Fantag-Gang profusely & get back on the highway to
home. Vancouver Ho!
Seattle to Vancouver, stoppin fer some burritos & spicy mojo munches
just before the border, & a real cool looking can of iced coffee
called "Th Coffee." Brilliant. We get to the border, & then thru the
border in like 50 seconds. Couple of questions, couple of smiles, &
it's god-damn beautiful british columbia..... & Iggy Pop is still
screaming "Wild America" against my walls of grey matter. It's a
head fer home, get clean, & crash the Commodore later tonight.
------------------------------
From: Moo-Town Snacker <mc21@midway.uchicago.edu>
Seam/Bedhead/Tortoise--Live Review
SEAM, BEDHEAD, and TORTOISE played a benefit for an AIDS support
center at the Lounge Ax, Chicago, on Friday 20 May. I came out to see
Seam as they were the only band that I had heard prior to that show.
I left thinking that this was one of best bills I have seen in a long
time. This was one great show from start to finish; not a boring band
in sight.
TORTOISE (Thrill Jockey and Torsion)--OK, maybe these guys have a
Slint record in their collection, but to call them "another
Slint-influenced band" or "a Slint rip-off" seems a bit lazy to me. I
was quite impressed with not only the somewhat unconventional
instrumentation this five-piece band chose but also the way they
exploited it.
The crowd was thin when the band began playing. The band seemed to
ease slowly (tortoise-like, perhaps) into the set. One guy was bowing
(as in "contrabass bow") a vibraphone and was getting a sound
something like what you get when you run your finger around the edge
of a crystal wine glass. Another guy was playing what appeared to be
a small Yamaha keyboard, and two bassists started piecing together a
beat that the drummer soon picked up on. On the next song the
vibraphone bower picked up a melodica, and the keyboard player picked
up a soprano saxophone. The mic on the melodica went through some
reverb (or delay) effect, which tossed the sound of the song slightly
off-kilter in a good way.
They played some slow stuff that was, of course, bass-heavy and that
had a sparse feeling. They also did some songs with much fuller
sounds including one that had an eerie bass line topped off with a
jazzy riff on the soprano sax. At one point one of the bass players
appeared to trade his bass for a guitar, but the six-stringed
instrument was really a bass. I was pleased that all the bass never
got muddied in the mix. During the set the musicians moved around
trading instruments with each other. The drummer ended up playing the
vibraphone on one song and a conga drum on another, while the
vibraphone bower took the drum kit and the sax player played a snare
drum with brushes.
BEDHEAD (Trance Syndicate)--This Dallas, Texas, band has a lead singer
who looks like Bob Kennedy (Indiana U. cross country and track fans
know who I mean). They could have called their set The Telecaster
Convention with all three guitarist choosing this model (and the bass
player had a Fender too). One guy did pick up a Les Paul for a song
or two, and it was pressed into service when somebody broke a string
later on. Bedhead was a bit more accessible right at first than
Tortoise. Maybe their songs had more pop appeal. Although I would
never confuse the two bands, some Bedhead songs appealed to me in the
same way as some Wedding Present songs. It was that thick, distorted
sound and fast strumming. They used this well with some Seam-like
chord progressions. One song ended in a climax of this thick guitar
sound and a simple drum part (with one guitarist on tambourine), which
created an almost hypnotic effect. I also noted a slight country
flavor in one tune in which a guitarist was using a slide.
Bedhead played a free show the next day (Saturday 22 May) at Ajax
Records. The set was quieter than the one of the previous night. The
crowd was smaller too but included members of Seam. The reduction of
distortion allowed the country feel to come through a bit more.
During this set the Bedhead drummer revealed that, like Tortoise, he
owns a pair of brushes. The performance was very low-key in addition
to low volume. The drummer appeared to embellish some bits, the
singer admitted that the band had forgotten all their songs that day,
and they all indulged in a goofy cover of some '60s instrumental, the
name of which I do not know.
SEAM (Touch'n'Go)--Was this heaven? No, it was Holland. Wait, that's
not right--it was the next to last Seam performance before Sooyoung
Park's trip to Korea and Lexi Mitchell's departure from the band.
Sooyoung introduced the band: "Hi, we're Seam from Chicago." He was
met with an immediate response from a member of the now good-sized
audience: "Don't break up!"
When Seam's two guitarists appeared, the stage was again ruled by
Telecasters. The set mostly consisted of a mix of new and _Problem
with Me_ songs. Though they did play some older stuff too. Seam
displayed about five times more horsepower in this live performance
than I detect in recorded material. I would recognize songs but be
surprised at the energy and fullness of the live versions. Sooyoung
indicated he was suffering from a cold ("Comtrex users of the world
unite," he exhorted us), but the already low-in-the-mix vocals didn't
appear to suffer.
One of the new numbers began by sneaking under tension-building
rim-shot/hi-hat and moderately quiet guitars that seemed to point
toward something bigger. This bit led into only a pedestrian
snare/hi-hat beat, but then the whole thing exploded into
tom/snare/crash and nice, thick Seam chords. It was a couple of songs
off _Problem with Me_ that really carried the most power, though.
The few who were enjoying the show in a bodily manner really gyrated
then.
This was a great show, and I believe I can understand the enthusiasm
in the Indie-List 3.20 review of the Seam show in the Paard, the
Hague. Although Sooyoung says the fate of the band is yet to be
determined, it might be a good idea to catch their last show before
their "hiatus". They are playing a free, in-store show at Ajax
Records in centrally-located Chicago, Illinois next weekend. The
store is only one "el" ride and one bus ride from O'Hare.
[ah, the lag time verities of publishing. Sad but true, this is
past. Indeed, I was lucky enough to be there for the better part of
the enjoyable experience... -es]
--Martin
mc21@midway.uchicago.edu
------------------------------
From: Mark Cornick <ga03613@char2.vnet.net>
rodan/eggs/tsunami/stay free/wind-up reviews
Ho! At some point this summer, I'm moving back to Charlottesville,
where I'm going to stay until late August (when I return to school -
all right!) I was going to move at the end of July, but I might do it
in a few weeks instead. What's this all mean? Nothing, really, so
let's just get on to the reviews:
"The Monsters Of Rock II": Rodan, Tsunami, Eggs CD single (Simple
Machines, PO Box 10290, Arlington VA 22210-1290): Souvenir thingy from
the upcoming UK tour featuring these three bands, courtesy of the
hardest working women in show business. Let's just take the three
tracks in order - Rodan's song "Tooth Fairy Retribution Manifesto"
starts off with a silly live introduction of the band (from the
Working Holiday shindig), followed by about four bars of Circus
Lupus-like drum pounding and then several minutes of Rodan's
prototypical Slint-meets-Breadwinner mechanations, with muttered
vocals. I've always been a little suspicious of Rodan (as I am of any
band from Louisville with any connection, however tenuous, to Squirrel
Bait, and that includes nearly every band in that town) but I liked
this. Maybe I should listen to that LP, eh? This is followed by
Tsunami's "Cowed By The Blah Blah", which is pretty peppy and features
some nice horn accents (is that you, Rob?) As is usual for this band,
there are some nice vocal harmonies with the non-flashy but perfectly
appropriate guitar work. Hope this is a harbinger of good things for
the new album... And finally, we get Eggs' "The Argument", which is
essentially Eggs tuning and Andrew ranting about the noise gate on his
vocals, recorded at a show which happened the night before the
Friendly sessions (I was there - maybe if you listen closely enough
you might hear me heckling them for not wearing their Verve t-shirts.)
This is mixed with a bunch of really pointless synth noodling. I
mean, really, really silly. Easily the stupidest thing Eggs have ever
recorded, but somehow funny. Anyway, the Tsunami and Rodan tracks
certainly justify the $4.00 purchase price (pay no more!) for fans of
either band. On the other hand, if you like Eggs but not Tsunami or
Rodan, just give me a call, I'll play you "The Argument" over the
phone, and I'll bet anything you'll go buy something else instead. No
disrespect to los Huevos - hey, I love you guys, don't ever change,
but you could've done better. Rodan *1/2, Tsunami **, Eggs *,
overall *3/4
Tsunami "Be Like That" 7" (Simple Machines): The first new 7" from
Tsunami in a while is a teaser for their upcoming _The Heart's
Tremolo_ LP (might be out now, might not - last I heard it was just a
little behind schedule.) Side one is "the song everyone asks about"
according to the catalog. "Be Like That" isn't a bad song, but why
does everyone ask about it? It's consistent with the rest of their
recorded work, nothing terribly unusual about it. I like it, I guess.
The flip, "Newspaper," drags a bit but ultimately is worthwhile. It
took a few listens, but I like this. It's perhaps not the ideal first
Tsunami record for the uninitiated (I'd recommmend "Geniuses of Crack"
myself, if it's still in print,) but it's a good bet for fans. *1/2
"Stay Free!" #7 zine-like thing (PO Box 702, Chapel Hill NC 27514,
cpalmati@email.unc.edu): This tab-sized bundle o' newsprint, put out
by UNC-CH's radio station WXYC, isn't a half bad read. Ya gets
interviews with Lois and Secret Agents Of Her Majesty's Secret Cervix
(the latter a delightful CH band that Friendly once played with.) Also
a blatant dis of _Reality Bites_ (sorely deserving of such a pan -
whither Winona?), commentary on Naomi Wolf (y'know, _The Beauty Myth_)
and Bob & Rod Jackson-Paris, and yr usual record/zine/vid reviews.
Plus the Wonderbra, Sophie B. Hawkins not wearing one, and, with each
photo, a caption describing the fashions involved ("Anne: Leather-like
footwear by Salvation Army, $2; Ebony Anklets by Sears, $2; Star Trek
Commemorative T-shirt, $10; Jacket by Thrift World, $1.") A good deal
better than the average radio-station publication (maybe because
there's no mention of the station's programming?) I suspect this is
free in the Bermuda Research Triangle area, but if yr interested in
what's going on down there you might send a coupla bux to get one of
these things. **
"Wind-Up Toaster Pastry" #3 even-more-zine-like thing (Liz Clayton, PO
Box 7122, Ann Arbor MI 48107-7122, lclayton@umich.edu): Mentioned in
passing towards the end of Telegraph transmission #1 (did you read it?
good) but I thought it deserved a little less facetious coverage here.
Liz - student, publisher, Ajax crony, bloofga inventor - has outdone
herself with the third in the Wind-Up series. This time she
interviews Guided by Voices and King Loser; has Franklin Nothing
Painted Blue and John Mountain Goat interview each other (very funny);
reviews many, many live shows (including my neighbors LaBradford,
hey!) and some zines but, as usual, no records; has James Yo La Tengo
and Mark Coctail discuss their bands' recent television appearances;
presents cooking and car-care advice; and (of course) makes several
Ajax/Drag City in-jokes. Dennis Shrimper is apparently some sort of
vanguard design guru, because his populist hand-written ads have now
been imitated by many other Wind-Up advertisers. All this plus extra
pages and four colors for the same price, and of course the eminently
readable layout, makes Wind-Up not only a great zine but better than a
lot of music mags as well. Buy one today! ***
Mark Cornick
mcornick@nyx.cs.du.edu forwards to wherever I am, since I'm on a
continual expedition to the far corners of the net
Mark's t-shirt is the Unrest "space-station" design by Tannis Root/
TeenBeat (Teenbeat #72), $10. His white cotton shorts were bought at
a yard sale for $3; his boxer shorts are by Hanes, $1.50. Mark's
glasses are by Dr. Curtis V. Bare, Optometrist. Computer by IBM,
purchased for about $1,500 in 1989, currently worth around $500.
Mark's beer is Yuengling Porter, brewed by D.G. Yuengling & Son,
Pottsville PA 17901. Uff da!
--
mark cornick | ga03613@char2.vnet.net | "Michael Bolton, (snore), I
| mark.cornick@glib.org | want to stick an icepick in
(*) | mcornick@nyx.cs.du.edu | his eyeball." - Lois Maffeo
------------------------------
From: davidb@dbadmin2.amgen.com (David Bennison)
Subject: Peter Brotzmann + LMC Experimental Jazz Weekend
Peter Brotzmann Trio + Moonshake - Disobey 3, Garage, London
------------------------------------------------------------
I had my first Brotzmann experience last night. I went to a new club
run and promoted by Paul Smith of Blast First fame (who was there
chatting to Mr Sav Pencil, whom I spotted like the gossip columnist scum I
am). The evening went under the name of 'Disobey 3', Disobey 1 and 2
having had Charles Gale as headliner. DJ was Bruce Gilbert from
Wir{e} who was known as 'The Beekeeper' last night while his set was
called 'The Swarm.' Pretty scary coil/hellraiser/biosphere-type
inspired stuff it was too. Moonshake were on next and played one 20
minute jazz noise track with Callahan vocalising about halfway
through. The Moonshake brass section wigged out; there were about 10
people in the band, while Callahan played with his musical electronic
black box and generally acted more as 'conductor' than musical
contributer. I was dissapointed that they left so soon, it's clear
that this is an area that Moonshake will be experimenting with further
in the future. Twice now I've seem Moonshake in their new form and
found that the vocals have been very low in the mix, which I think is a
shame, although there are many who'd prefer them kept there I think.
So Peter Brotzmann came on next (looking like Oliver Reed in
Castaway) and he was accompanied by Keith Tippet on piano (the guy I
went to this club with had raved to me about him in the past so I was
keen to see him. Here comes a huge digression...My friend works with
a guy called Dave Catz/Kats? who has the most amazing collection of
old World Of Pooh/Caroliner/Archipelligo Brewing Company tapes,
records and artwork. He used to know Brandon from Nuf Sed and I was
wondering if anyone knew exactly what the connection is. Was Dave in
the Arch Brew Co or what!? ... Normal service is now resumed...).
The third member of the trio was an excellent drummer neither of us
knew. No need to describe how good the musicianship was here, it's a
different league.
So you know the score; Brotzmann and gang played an hour set where the
piano was poorly mixed, and a second set of an hour later on which was
far more satisfying. Keith Tippet was a revelation, placing blocks of
wood on the strings of the grand piano to de-tune, playing bells and
chimes, then sitting eyes closed for 10 minutes, entranced at the
sound of his fingers playing the same lightning fast flurry of notes
over and over and over. The spontaneity of true improvisation is
something I've never experienced before and I was left grinning
throughout by the way one of them will take a rest while the others
seize the opportunity to take the music off in a different direction,
pace or mood and the other just watches, interprets and responds
himself. It takes real inspiration to know when to just sit and play
minimal piano chords and notes while the drummer and Brotzmann is
going up in flames around you. They finished when Keith told us that
'Sorry. We don't know any more songs!' while Peter politely thanked
us and looked forward to coming back soon. He takes on a different
persona when not holding his sax.
I really enjoyed the whole night; there was a marked difference in the
crowd and atmosphere to the usual shows I see, although I don't think
it was for the best. There were more pseuds and middle-aged bearded
men showing a cool lack of emotion and a disdain for their
surroundings than I've ever seen. It was the first time I'd sat down
on chairs around small tables before, (I was expecting a waiter to
come and serve drinks!) and the first time I've experienced mid-'song'
rounds of applause for individual instrumental work-outs (except,
bizzarely, for Ely the old Trumanswater drummer when a group of us just
watched him play and did the jazz applause for him now and then).
Some guy gave me his 'card' and told me he'd pay me for the photos I
was taking - he was a San Francisco jazz critic who writes for
something like 'Butt-Rag' I think. He wore a beret so I left the card
there, there's just no excuse for that sort of fashion statement.
So that was the review. I thought I'd let the curious know what will
be on the bill in the next few weeks. Tonight sees the beginning of
the LMC Festival Of Experimental Music, which goes on this weekend at
Conway Hall, Red Lion Square, Holborn, London. An 'unusual' mix is
promised tonight with Thurston Moore and Niki Elliot (of Huggy Bear)
performing new work together, with noise pioneers AMM in support.
Over the weekend we see performances by Yamatsuka Eye (Boredoms, Naked
City, Hanatarash), Otomo (Peril, Ground Zero), Fred Frith (Henry Cow,
Massacre etc), Jon Rose (Slaughterhaus), Yoshidihide, Stock, Hausen
and Walkman! and others. I can't pretend to know much about some of
the above. Thurston Moore plus Pram plus Skinned Teen play at the
Russell Arms on the Sunday.
Disobey 4.
I've got the flier for the next Disobey Club night and it looks even
more impressive than the last. Get this...Bruce Gilbert aka The
Beekeeper as DJ. Autechre playing a set that I can only salute them
for being open minded enough to do (particularly as I doubt there'll
be mass dancing to them here as there was when I last saw them for a
Warp Night). Then we have a collaboration of Peter and Caspar
Brotzmann and F.M. Einheit from Einsturzende Neubauten. I'm
particularly impressed at the melding of techno, improv-jazz and
bowl-quaking guitar in one night. All hail the mighty small-chinned
one they call Paul Smith.
David...
------------------------------
From: Mark Cornick <ga03613@char2.vnet.net>
Pitchblende/Tone/Rake
Pitchblende, Tone, Rake at the 9.30, Washington, 5/27
I haven't been to a show at the 9.30 in ages - they just haven't
booked anyone I'm interested in (especially since the Black Cat
opened) and they tend to be r-e-a-l-l-y expensive. But the prospect
of seeing my favorite noise improvisationalists, Rake (substituting
for the mighty Caspar Brotzmann Massaker, who cancelled) as well as
possibly hearing new stuff from DC's "emo-ecologists" Pitchblende drew
me in. Go figure.
I arrived just as Rake (from Fairfax, VA) started their set, which
consisted of one really long song (about 30 minutes) incorporating
bits and pieces of stuff from their records. Mostly, however, Rake
just made a lot of noise, which is what I expected. This was the
first time I'd seen them as a quartet - a fourth Raker now adds moog,
sax, and drums as needed. So, anyway, their sound varied from wailing
jazz-skronk to ultra-heavy rock riffing - imagine Sun Ra's Arkestra
jamming with Halo of Flies and you've sort of got the picture. Easily
the highlight of the show - Jack Rose of Ugly Head and my new band
Gospel Midgets, who accompanied me to the show, couldn't stop raving
about them, and he's a hard guy to impress. They were that good.
When Unrest split, Phil Krauth claimed he wanted to get a job where he
wore a shirt and tie. Little did we know he meant he'd be the new
drummer for Tone, Washington's nattily-dressed, Branca-esque "guitar
ensemble." We're talking six guitarists, two basses and drums. We're
talking droning, repetitive riffs with a texture like stainless steel.
We're talking dull. Mainly this reminded me of an electrified
version of Robert Fripp's League of Crafty Guitarists. Sure, they can
play, and they've got a much more keen sense of melody than most other
noisy bands, but everything seemed so rigid, so perfectly laid out. I
was standing around wishing they'd just freak out for a moment.
Somehow, I get the feeling Caspar would've (physically) kicked Tone's
butt. (By the way, I spotted Phil's former Unrest mates Mark and
Bridget in the audience - they split after Tone, missing Pitchblende,
which seems a little odd.)
Last up were Pitchblende, celebrating the imminent release of their
second long-player, _Au Jus_. This show was almost all new material
(with the exception of "A Penny For The Guy", from their Working
Holiday single) and it sounded excellent. As usual, they fused
hardcore energy, howling guitar work, skewed melodical ideas, and a
little bit of math-rock into the loudest, most forthright noise this
side of Slint. Unfortunately, we couldn't make out most of the
vocals, due to the typically inept sound man, but that didn't stop me
from really enjoying their set. Of everything they played, the song
which they claimed is on an upcoming WGNS compilation (sorry, didn't
catch the title) was the best - along the same lines as "Lacquer Box."
Now I'm really looking forward to that album (out June 6)...
Mark Cornick, inventor, Transparanoia Adjust-O-Phonic Recording
Process (patent pending)
mcornick@nyx.cs.du.edu
P.S. Congratulations and best wishes from all of us at Indie-List and
Telegraph to subscribers Mike Gangloff and Amy Shea on their May 28th
wedding. All riiiiiiiiiiight!
------------------------------
From: Jarnail Singh Gill <jarnail@sfu.ca>
My Adventure at Music West
My Adventure at Music West: Part 1
by JS GILL
Music West is this annual music conference in Vancouver (sort of like
a scaled down version the New Music Seminar) where lots of slimy
record company types take over the downtown core, in hopes of finding
the next "big thing". Anyway, lots of bands were in town and I
checked out a few of them. This is part one of my Music West
adventure. I'll post part two later.
May 12
I couldn't go to any shows tonight because I had school stuff to do,
so I missed the Scratch Records Japan-Canada Noise Summit (featuring
Nimrod, Mexican Power Authority, Boredoms and others) and was quite
sad about it.
May 13
Its Friday! I'm free from responsibility at last! To make the most out
the night, my friends and I started out early. We got downtown at
about 7:45 pm, and the only thing going on was the MORGANFIELDS at the
Vogue Theatre. They were a pretty standard (so called) "alternative
rock band," sounding like REM crossed with your choice of '70s guitar
rock group. Their sound got tiring quickly, so we fled for the exits
as soon as possible.
Next we walked up Granville Street to the Max to check out THRUSH
HERMIT, yet another Halifax band! They reminded me a bit of Pavement,
except with at pop-punk feel. Their songs were catchy enough but the
skid row pub atmosphere of the Max didn't complement Thrush Hermit
very well. Celebrity sighting: those wacky Barenaked Ladies.
It was still only 9:30 by the time we left Thrush Hermit and made our
way to Gracelands for Pull. Pull were already on stage when I
arrived, and there was about a 10-foot gap between the stage and the
closest audience member, as everyone thought they were too cool to
stand near the stage. Pull are a band that wouldn't have been out of
place in Manchester in the late '80s, sounding like Ride, Stone Roses,
and Inspiral Carpets all rolled into one. They've got a pretty
polished live act, but it all seemed a little too glossy at times.
We left Pull at about 10:00 and walked north on Granville to "Hockey
Night at the Commodore" featuring the WHEAT CHIEFS, HUEVOS RANCHEROS,
TANKHOG, and the HANSON BROTHERS. This event was all in celebration
of the brand new "Johnny Hanson presents: Puck Rock Vol.1" CD (you
guessed it, all the songs on the CD are about Canada's favorite
passtime). The WHEAT CHIEFS started things off, and (suprise!) they
looked just like SNFU without that Chi Pig guy. Even though no one in
the half-empty Commodore was paying attention, they still ripped
through their set like they were playing in front of a packed house in
grimy little punk rock club.
[wait a minute. was the Commodore half empty, or was it HALF FULL?
why don't we ever look at the bright side of these--oh, never mind.-az]
In between the bands, we collected hockey cards of all the bands, and
watched "Slapshot" on the big screen.
One of my personal faves, HUEVOS RANCHEROS, came on next, and, to the
dismay of the pro-Canuck crowd, they annouced they were Calgary Flames
fans. Still, everyone loved their souped-up, deranged, instrumental
surf rock. Almost everything they played was from their Endsville CD,
but they did have this great new song called "The Girl from Nanaimo."
The mighty TANKHOG took the stage next, and were very loud. These
ex-members of legendary Vancouver punk bands (Slow, Ogre, TV
Repairmen), looked and sounded like they were playing out their '70's
rock star fantasies (If you take Black Sabbath, BTO, AC/DC and the Sex
Pistols, you'll end up with Tankhog). The highlight of their set was
the hockey song hat trick, which included "Drinkin' Whiskey, Playin'
Hockey", "What's Wrong with Lumme?" (a hilarious song about the ace
Canuck defenceman), and Gary Glitter's "Rock n' Roll".
To round the night off, the alter ego of those fabulous Wright
Brothers, known as the HANSON BROTHERS, rocked the crowd into
oblivion. They only took a long enough break between songs to spit an
insult at the crowd (literally) and for Tommy to yell "1-2-3-4!"
(these guys do the Ramones better than the Ramones themselves). What
more can I say? I love these guys! GO CANUCKS!
--
----------> J S Gill ---------> jarnail@sfu.ca <--------------> <------->
<------------------------------------------------------------>
The Indie-List Digest is published a few times each week (usually
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What Who Where
Editors Eric Sinclair esinclai@indiana.edu
Anne Zender azender@indiana.edu
Mailings Sean Murphy grumpy@access.digex.net
Archives Chris Karlof karlofc@seq.cms.uncwil.edu
FTP ftp://ftp.uwp.edu/pub/music/lists/indie
Consultants: Mark Cornick, Joshua Houk, Sean Murphy, Liz Clayton and
K. Lena Bennett.
Indie-List is not copyrighted. It may be freely reproduced for any
purpose. Please cite Indie-List as your source.
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please send your articles for the next
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