Nick Goes to Nashville

Nick 13
"Nick 13"
Sugar Hill Records
Released June 8, 2011




In order to give a review to this album, we must once again take a look at a genre from an outsider perspective.  Normally the leader of southern California psychobillies Tiger Army, as a solo artist Nick 13 is exploring his roots in traditional country music.  These tunes are an intentional throwback to the classic sounds from the 40's and 50's like Porter Wagoner and Slim Whitman.  Employing a lap steel guitar, brushed drums and the occasional fiddle, it is a far cry from Sugarland or Toby Keith or your pick of any pop country artist rotating on CMT today.  Instead, we are treated to some quiet, stoney introspective songs that explore Nick's softer side. References to Victrola, Route 101 in Cali, tattoos, disappointment, gambling and a wandering spirit show dedication to crafting something authentic and original, not just a cheesy, tongue-in-cheek reproduction.  Noticeably absent from this album is the dark, goth imagery that goes hand-in-hand with Tiger Army, despite the pair of songs redone from TA's albums. Even those have been given a thorough overhaul so their tone is completely in keeping with the theme of his solo debut.  Pretty much every track on here is a winner. 

On Tuesday night, Nick brought his road show to Johnny Brenda's in Fishtown.  We missed the beginning of the set because of extraordinarily bad directions from google maps (thanks a lot).  However, we saw enough to be unbelievably impressed.  He played the album plus two covers, but not the obvious choices that we predicted, instead choosing to expose the audience to lesser known artists (at least to the punk kids in attendance, myself included) like Ernest Tubb.  The show was not overly crowded and hence super intimate.  Sonically, it sounded exactly like the record.  Nick looked the part playing fifty percent of the show in a black suit, turquoise dress shirt and white neckerchief (no one could blame him for shedding the coat halfway through), with the rest of the band in varying degrees of hillbilly gear.  Nick's upright bass player was off the hook, caressing his instrument and dancing around with her like his square dance partner for the evening. Because of the size of the stage at JB's, the lap steel player was forced to the back of the stage with the drummer, but his sound was undoubted second only to Nick's voice as the predominate creator of ambiance for the evening. 

Marathon Metal

Playing to a ridiculously packed house at the Electric Factory last Tuesday night, the Deftones challenged their audience to a test of endurance. You almost have to train for an event like this. Two hours long and approaching 25 songs, they punished the onlookers with the burly, thick superlow bass and down-tuned guitar shaking the whole venue. "Diamond Eyes" and "Rocket Skates" opened the night, followed by a slew of songs from 1998 or earlier. They continued on in that fashion for most of the night, tackling two or three song blocks from each of their records, the exception being Saturday Night Wrist which got only one selection. (A shame. That album is painfully awesome.) Dillinger Escape Plan vocalist Greg Puciato came out to sing the second part on White Pony's "Passenger," and following a feedback/speaker noise drenched five minute break (guitarist Steph Carpenter didn't even bother leaving the stage), they ripped through "Root," "Nosebleed," and, of course, "7 Words" to close out the night. At this point, the audience had been bested by the band, and considering the band made sure this was the most menacing portion of the set, the crowd could not muster the energy they had at the start of the show.

Accompanying much of the evening was a film playing on the backdrop. Grainy, sometimes overexposed and out of focus, it was a breathtaking horrorshow. It was like watching someone channel surf through nothing but late night B movies. The juxtaposed images, weird enough to be way open to interpretation, created frankensteins from pulp characters. Deftones openly admit that they strive to make the prettiest heavy music that they can, and coupled with the abstract movie, the band provided a chance for mediation, reflection and free association--probably the only band that came out of the nu metal scene encouraging you to think. Though Deftones remain guilty by association, they have long since moved on from their rap-rock roots forging ahead in a direction all their own.

Snow More Delays

After being postponed a month and a half, the Bouncing Souls finally found themselves in a snow free Asbury Park last week and were able to commence with their Home for the Holidays (this year, with the subtitle Snowout Blowout) shows at the legendary Stone Pony. Because of the change in timing, several of the original opening acts were unable to play, and depending on your tastes and point of view, that could be fortunate or unfortunate.

For Mrs. Squeamish and myself, we were positively tickled pink (insert commie pun here) that the first show of the four night stand, which we would be attending, would be supported by none other than Pittsburgh's political punk machine, Anti-Flag. Taking the stage to "Die for the Government" from their first full length, these guys were in top form. Chris #2 was still only long enough to sing his half of the vocals, and in their half hour set, they laid down excellent renditions of the strongest material from each of their albums: "Turncoat," "Press Corpse," "Sodom, Gomorrah, Washington DC," "Drink, Drank, Punk." Souls bassist Bryan Keilen sang some impromptu backing vocals on "That's Youth," the song Bouncing Souls covered on their BYO split with Anti-Flag. "Power to the Peaceful" finished the evening, with drummer Pat Thetic once again hauling his skins over the barricade to play in the middle of the floor.

Coming out to the Rocky theme and a boxing style announcement that they would be playing the Good, the Bad and the Argyle in full, the Bouncing Souls finally took over for their annual celebration. For some Souls fans, this was probably a dream come true; for myself, not so much. Sure their debut album is a classic, but there are just as many misses on it as hits. However, we did get to hear "I Like your Mom" and "Quotes from our Favorite 80's Movies," and "Neurotic" and those were fun. After a brief intermission, the ring announcer and card girl were back to announce Maniacal Laughter in its entirety. This made the night. Solid front to back, Laughter is the pinnacle of the Bouncing Soul's early career, and it had been quite some time since I had listened to it straight through. "The Freaks, the Nerds and the Romantics" featured Chris #2 and Justin Sane doing backing vocals, the track they covered on the BYO split. Just before "the Ballad of Johnny X," singer Greg Antonito announced that there would be no encore, but as a special treat, the man himself, Mr. Johnny X, would come out and sing his own tune. That was more than a fair trade.

The Bouncing Souls held court at the Pony for three more nights, each one continuing through their discography. Thursday, the second night would have been my favorite, with the Souls crashing through their self-titled record and Hopeless Romantic. Two Philly bands made appearances with the Menzingers opening Thursday night and the Loved Ones being the main support Saturday, the conclusion of the four night stand. Hats off the Souls, who continue to tour endlessly. They looked exhausted Wednesday night, but still brought the party and gave fans another chance to see them more intimate venue than normal.

Quit Hoggin' the Covers!

Set times and the order of performers was unclear to me, so I was unsure how early to show up at the North Star Bar on Tuesday night. The show was sold out long in advance, so I knew no matter when I got there, it was bound to be packed. But it was a nice night out, so I headed out with enough time to ensure sure that I would not miss Teenage Bottlerocket, even if they played first. I had written off Reno, NV's Cobra Skulls as nonsense and had little to no intent on watching their set, but was glad that had I showed up early and they started playing several minutes later. The first fifteen minutes were great, real rockabilly type punk, with the stampeding drums and galloping bass lines. I was shocked at how much the country tinged tunes appealed to me. Following the barn burners, they slowed the pace down for a few minutes with some (comparatively) mellow, ska/reggae influenced tunes. They seemed to be unable to recover after that, and just kind of lost their groove which made their last few songs forgettable. I don't know that I could listen to a whole album by these guys, but they were entertaining live and I wouldn't be disappointed to see them open up another show in the future.

PS--What ever they pay their drummer, they should double it. Hands down, best percussionist of the night.

Up next were my inspiration for attending, Laramie, Wyoming's Teenage Bottlerocket. I hadn't seen Bottlerocket since they were on tour for 2005's Total and were supporting the Eyeliners. Unfortunately for them, not much has changed since then despite crafting two more rock solid full lengths. I was surprised that the crowd was not more into them given that their popularity would seem to have risen over the last few years. Fat Mike has certainly done right by these guys; NOFX has taken them on tour at least once or twice and Fat Wreck Chords promoted the shit out of They Came from the Shadows when it was released. However, Teenage Bottlerocket seems destined to be a perpetual opener. Sigh, always a bridesmaid... They played fast as hell, packing approximately a million songs into a half hour set, blazing through all their major "hits"--"Skate or Die," "In the Basement," "Blood Bath at Burger King," "Bigger than Kiss." (And a Bad Religion cover, in keeping with the night's theme) None the less, there were a lot of on lookers, at least compared with Cobra Skulls, so hopefully a few were converted by their stellar performance.

Since it was a "school night," my buddy and I left it up 'til last minute whether we would stay for headliners Me First and the Gimmie Gimmies. I didn't need to be completely useless the next to to see what is essentially punk karaoke of songs that you might normally be embarrassed to admit you like. But we were feeling energetic following Teenage Bottlerocket, so we figured, why not? But what is there really to say about seeing a cover band? It was fun and silly and better than most Tuesday nights. The songs were double timed (for the most part), with lots of retarded stage banter in between. Highlights included "Me and Julio Down by the School Yard," "Country Roads," "Blowing in the Wind," "Somewhere over the Rainbow," and "Rocket Man." I personally was disappointed that not one of the Barry Manilow covers made the list, but oh well. Since I didn't even know when I showed up if I would stay at all, I figure I have no room to complain. (Except about the guy behind me who kept shouting for Lagwagon songs. Really? Lagwagon? Not NOFX or Swingin' Udders? Lagwagon. OK, dude.) All in all, a fun night, particularly since the Gimmie Gimmies don't tour all that often.

PPS--I spotted Michael McDerrmont, drummer of the world famous Bouncing Souls punk rock band, which was extra cool. Jersey!

Three Cheers for made up Last Names

Pop punk fans from all over the world gathered Friday night to witness Screeching Weasel destroy the Troc. They don't have a new album out, they're down to one founding member and Ben Weasel is sporting a pretty decent dad gut, but that didn't stop a couple of people from flying from Russia to see the legendary Chicago band tear through an hour's worth of 90's nostalgia. It was basically the Ben Weasel show, but Danny Vapid substituted for John Jughead on guitar and backing vocals, so there was at least one other recognizable face on stage.
With little fanfare, Screeching Weasel took the stage in Philadelphia for the first time in 17 years and immediately blasted into "Cindy's on Methadone," "Guest List," and "Dingbat" with nary a word to the audience. Ben and his merry gang took only a few brief pauses to catch their breath and to thank the crowd and give Philly some props. Weasel was accommodating to most of their catalog, playing both Brady Bunch songs ("Peter Brady" and "Murder in the Brady House"), "99," "My Right," "My Brain Hurts," and "First Day of Summer." "Joanie loves Johnny" probably got the best audience response, with a pit that encompassed most of the floor and it was great to hear the whole crowd shouting "We don't give a shit about tomorrow!" during "Hey Suburbia." (Complete with the Shut Up ending.) They closed (no encore) with the classic trio "Science of Myth," "Cool Kids," and "What We Hate." Ben obviously tried hard to appease fans who admire all of Screeching Weasel's different eras and succeeded in putting together at set list that made the almost two decade wait well worth it.

Some of Friday's show was recorded for a still in production documentary about Screeching Weasel. We have heard through the grapevine (internet whispers and rumors) that this project is being headed by one of Ben's cohorts from Panic Button! Records, so methinks that Ben will ultimately have final say on what goes into the move and what ends up on the killing floor. None the less, this is probably going to be the only movie on this particular subject, assuming that they finish the thing and get it released. There is a website, but it is just a link to an email addy. They were passing out a flyer at the show looking for anything Weasel, pics, fanzines, tattoos, stories. If you got something to contribute and want to be included, give 'em a shout.

Weasel Movie

Maybe in Another Life...

Despite their obvious awesomeness, LA hardcore punks the Bronx never really seem to fill an East Coast room when the tour by themselves. Playing the modest North Star Bar Saturday night, the space towards the back of the room was sparsely filled with on lookers who did not so much nod their heads in time with the music. As you moved closer to the stage, the crowd got a little more rowdy and the first few rows were a menagerie of sweaty, tattooed guys and tough as nails chicks rejecting contact with the gentlemen's beer guts. As always, Matt Caughthran and his boys gave it their all; as a front man with no guitar to weigh him down, Caughthran is free to interact with the crowd as much as he pleases. And he pleases, working his petute off to give the audience a real rock and roll show.

Though the Bronx didn't take the stage until after midnight, their alter egos, Mariachi el Bronx provided the second support act of the night. Sporting authentic (and super sharp) mariachi getups, deep bellied guitars and a trumpet, el Bronx played 30 minutes of sun soaked, south of the border melodies.

About 90 minutes later, they were back in street clothes and up on stage bringing the rock. The Bronx tore through choices from all three of their punk full lengths. They focused on their strongest material--"Heart Attack American," "White Tar," "I Got Chills," "History's Stranglers," "Knifeman," "Six Days a Week." A slightly extended version of "Shitty Future" involved a switch of drummers midway through and they proclaimed Philly to the be the toughest city on the east coast. Older songs were played faster than the original versions, while the more contemporary selections sounded pretty much exactly like they do on record. They ignored the more mid-tempo material and concentrated on bringing the punk and bringing it hard. Despite North Star's "No Slam Dance" policy, I only saw one person ejected despite stage diving and pits of various sizes, all of which was encouraged and enjoyed by the band.

Why these guys can't attract a more devout following is beyond me. Formed in 2002, the band prompted a bidding war between a whole shitload of labels, both of the indie ilk and several majors, before they had anything other than a demo and a couple of shows under their belts. Following the release of their first album (all of the Bronx's albums are self titled), there were several tours as openers for High on Fire and Dillinger Escape Plan, amongst others. Their second album was released on Island/Def Jam and they did high profile support for Mastodon on the Blood Mountain tour. Everything seemed to be in place for them to take over the rock scene, however, they just do not seem to be able to translate this into a dedicated fan base and they seem destined to play most filled, smaller places rather than mostly filled, larger clubs. In fact, I think that more people might have been there to see the mariachi outfit earlier in the evening.

The mariachi endeavor may have been a mixed blessing for the Bronx. It has gained them some fans from corners of the rock world that might otherwise overlook them, but at the same time, it has almost set them up to be a novelty act. "Hey look! It's this punk band that also does mariachi music!" While nothing could be further from the truth, it makes them appear to be a gimmick, a joke. All of the press for this tour has concentrated on Mariachi el Bronx and while there is no such thing as bad publicity, they are dangerously close to overshadowing the fact that they are probably one of the best punk bands formed this side of the new millennium.

In Name and Blood

Following the first song of their set (one of two they were performing at the Theatre of Living Arts Friday night), Murder City Devils front man Spencer Moody apologized for getting too wild during the song and flubbing the lyrics. "We can do this two ways," the bespectacled singer told the crowd. "I can either sing the songs right or do them all fucked up," the latter of which was met by a roar of approval from the crowd. And he did proceed to sing the songs all fucked up. Since Murder City Devils' songs are pretty repetitive in general, it really doesn't matter if he sings the first verse twice, or if the verses are out of order. What does matter is that after the best part of a decade since their last show in Philly, the Devils fully threw themselves into their material and played their asses off. Seven people on stage, all giving 100%, you would never know that they were playing a second show at midnight. Not once did they hold back, or save a little energy for the later show. Moody destroyed his glasses about half way through and performed with only one lens for the balance. "People ask where Murder City is," he howled, "I said it's in my, it's in my heart!" The song immediately followed, Moody sang to the crowd, "If you're not gonna dance, what the fuck did you come here for?" With little stage banter, the Devils destroyed tracks from each of their albums with "Midnight Service at the Mutter Museum" and "Bear Away" from 2001's Thema EP being particular standouts. They closed with a mind-numbingly loud cover of the Birthday Party's "Several Sins," leaving their instruments on stage pouring out feedback until it was abruptly cut off. Many fans stood around hoping for one more helping, but security was quick to begin clearing the floor to prepare for the midnight show. "See you soon," promised the band. Unless they were talking to the superfans who were coming back in at midnight, we are probably not going to see MCD for quite some time and that's ok. The Devils were always in danger of incinerating at any minute when they were a full time band. So on the rare occasions when they show their horns, that buildup of emotion is heaved from the stage to the dance floor, and everyone is left panting and wanting more, but none the less satisfied that you just witnessed something great, though fleeting.

It's What You Buy, Not What They Sell

Great Anti-Flag show at the Trocadero last night. A no where near sold out, but none the less enthusiastic crowd showed much love for the Pittsburgh political punk machine. Despite a song selection that ignored several of my personal favorites, the Flag played a sampling from most of their albums, but a hefty part of the set list was taken from 2003's The Terror State. A few old gems, "Drink, Drank, Punk," "Fuck Police Brutality" and "Die for the Government" were highlights. They finished their set with a boat load of Clash covers (would have rather heard one cover and two other originals--maybe at least one tune from A New Kind of Army???) and then rhythm keeper Pat Thetic proceeded to dissemble the drum kit, and move it to the floor to close with "Power to the Peaceful." Lead singers Justin Sane and Chris #2 were all over the place on stage, keeping the energy high and the crowd showed its approval by beating the crap out of each other. Other than the always present 200 lb. knucklehead crowd-surfers, people generally looked out for each other and kept the violence civil.

As always, Anti-Flag had several activist organizations passing out literature and and other propaganda materials, most visibly PETA. Surprisingly missing was anyone promoting for Haitian Relief efforts and though Justin Sane gave several small speeches (his disappointment in Obama, the economy), there were no calls for support for the devastated nation. So, with a few small exceptions, it was pretty much exactly what could be expected from Anti-Flag; solid performance and a little education to boot.

The Queers were Here!

I have to wonder, when was the last time the Queers played a 6:30 show that served no alcohol? Much love to R5 productions who promoted the all-ages affair (who else is going to bring the Queers to Philly?), but I doubt very much that there were any younglings wandering around the Barbary last night. Maybe the youngest people in the room were openers the Leftovers. They have some songwriting talent and the tunes translate well live, but the songs streaming on their MySpace page come off too clean and overproduced for my tastes. Recommended for fans of the Methadones, which made them very appropriate and adequate tourmates. The Queers brought no extra musicians with them, so apparently the pop punk leg of the tour is over. In fact, Joe Queer and Dangerous Dave didn't even bother to bring their own drummer with them, with the Leftover's drummer keeping time two sets each night of the tour. That kid did right by all the Queers' classics, tearing one right after the other, often with little or no break between songs. The Queers covered most of their classic material, shying away from their newer catalog. Noticeably absent was even one representation from their latest album, Munki Brain (2007, Asian Man). It took a few songs to get going, but the crowd got nice and rowdy and fists were pumping throughout most of the crowd as pretty much everyone sang along. The many fellas sporting leather jackets must have been warm towards the end; the Barbary is like seeing someone play in a really good basement. The Queers always bring out a good mix of classic punkers, and a good number showed up for a rainy Wednesday in Fishtown. All in all, a great experience. Joe Queer passed out high fives following the set, a surprising move for someone who wrote I Hate Everything, This Place Sucks, and numerous other Negative Nelly theme songs. Even Mrs. Squeamish had a good time, though both of us were hoping for at least one Beach Boys cover, but we both agreed that they did play some different songs than we had seen in years past and they played Monster Zero. Thumbs up to the Barbary too, a new club for us, but a nice space for shows that size and they seemed to have their shit together.

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