Here’s a very early artifact from the Rockin’ Dogs’ oeuvre: a flyer introducing the band to Pacific Beach’s Headquarters club in August 1982.

“This was when we just started out, when we were in high school,” guitarist/vocalist Dave Ellison writes. “What an embarrassing flyer … haha! For one thing, we spelled ‘Headquarters’ wrong.

“For another, we didn’t play rockabilly or r&b. We were probably trying to attract fans of the Paladins and Crawdaddys … and we probably didn’t care which, so long as someone showed up. (I can’t imagine anyone did on a Monday night!)

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(Roving correspondent/ photographer Kristen Tobiason revisits and documents the scenes of our youth. Today, Greenwich Village West learns Tagalog.)

Time has reduced my memory of the Greenwich Village basement to a hot cement pit: the flickering yellow light and a stairwell descending to a gully that had possibly the worst acoustics I’ve ever experienced!

I remember Morlocks guitarist Ted Friedman’s reverb hitting the wall — flat and nowhere to go, just like the smoke from our cigarettes. But we all had a good time. … Everybody who was anybody was there, right? (Maybe I’m harboring band-girlfriend resentment from schlepping equipment up and down those stairs.)

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The Che Underground adventure inspired yet another historic gathering July 28, 2008, as veterans of Noise 292 assembled at San Francisco’s Fisherman’s Wharf to commemorate the 25th anniversary of a crucial Che Cafe performance with the Answers and Hair Theatre.

Left to right: Noise 292 guitarist/vocalist David Rives; Answers guitarist (and frequent Noise 292 pickup drummer) David Fleminger; Noise 292 guitarist/bassist/vocalist Kristin Martin; Noise 292 percussionist Hobie Hodge; and Hobie’s son Trevor, standing in for Yours Truly.

Here’s everyone (except Trevor), probably at the aforementioned July 29, 1983, show:

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The Che Underground site was first conceived to capture an interesting and undocumented moment in San Diego music history — but our scene was one significant limb among several in a tree with healthy roots and many branches.

To understand this fluorescence better, we’re undertaking something ambitious: a mapping project to lay out the history of San Diego’s rock-’n'-roll underground. Step One is to solicit some general ideas about the shape of this family tree.

Here’s my first take, which is completely skewed by my age, my location and my own tastes. For me, the San Diego underground sprang in the late ’70s from three large, intertwined roots: the first wave of SD punks (Marc Rude et al.); great New Wave bands like the Penetrators and Unknowns; and a unique SD brand of retrovisionary cool, starting with Ron Silva and the Crawdaddys.

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“You Mistreat Me” and “The Key” represent two more songs from the Morlocks’ historic show at San Francisco’s Swedish American Hall, recorded by KALX radio on Sept. 28, 1985.

“There were a couple of Swedish shows,” writes Morlocks strategist and MC Jerry Cornelius. “These were promoed by Paul Renna — another million years of tales attached to that name!

‘The first happened right after [guitarist] Ted [Friedman] went up to SFO to join the rest of the band. I was up there for the second — on my first full night after moving up, one month later. The bill was The Sea Hags, Thee Unforgiven and The Morlocks — with light show by The Brotherhood of Light.”

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(David Klowden commemorates a San Diego punk pioneer and AIDS activist.)

I was searching online for my former mentor, Renee Edgington, the founder of Shark Productions, who was responsible for creating so many cool shows in San Diego, and learned that she & her husband died in a car accident 10 years ago while vacationing in South Africa.

Anyone who attended a show at the North Park Lions Club between 1978 and 1981 has Renee to thank for making it happen.

I knew that she had been an AIDS activist in Los Angeles, but I didn’t know that she’d founded Clean Needles Now. Renee was a wonderful woman & I was deeply saddened to hear about this tragedy.

Shark Productions artifacts:

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(Roving correspondent/photographer Kristen Tobiason finds that Funland — downtown arcade that inspired a Wallflowers song of the same name — has been plowed under: “This swarthy beast consumed the whole lower Broadway strip. Another boring-ass hotel. I miss Funland and all its classic wooden pinball machines.” Wallflowers singer Dave Rinck offers a requiem.)

This is not universally recognized, but the decline of arcade games reflects the soul-sucking changes that have taken place in modern life. Back in the day, arcade games had real physical moving parts, like pinball machines and Skee-ball. Then they invented computer games, and people started going to arcades to stare at computer screens.

Nowadays, kids play home video games on their TV sets, and I believe there aren’t really arcades anymore. This happened simultaneously with the computerization of the movie and music industries. Someday kids won’t even know what an arcade or a cinema even is — and as to music, well, we all know how that’s going. …

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(Manual Scan/Lemons Are Yellow vet Paul Kaufman hails rock-’n'-roll Yiddishkeit.)
David Klowden already perfectly summarized some pastrami- and tongue-in-cheek ethnic pride in a recent post: “I am putting together a seminar & book tour for my method: ‘Dave The Jew Shows You how to Make Beautiful Women Think You’re Cooler Than You Are in Ten Easy Lessons’ ™.”

In the spirit of David’s post (and our earlier “Hyphenates” thread), here’s “Jewish like KISS,” a musical number based on the irony of having one foot in the Ché Underground and the other in a cultural Old World. (Both had a healthy reverence for the historical.)

I thought it would be fun to have our own sort of self-referential “We’re an American Band”-type number, with all the required fake bravado. I threw in shout-outs to some of my favorite Jewish rockers, Joey Ramone (born Jeffry Ross Hyman) and KISS members Gene Simmons (Chaim Witz) and Paul Stanley (Stanley Eisen). Read the rest of this entry »

Here’s a potential source of mirth and mayhem: Most of us who played regularly in San Diego had opportunities to open for bigger acts passing through town on tour. David Klowden recounted two chances to open for the Cramps; Ray Brandes and I shared a laugh over the excesses of Specimen when the Tell-Tale Hearts and 3 Guys Called Jesus opened for them at North Park Lions’ Club.

Who were your favorite headliners to open for/hang out with/mock/pilfer from? Who, not so much?

Based on ability; etiquette; prima-donnahood; and general entertainment value (intentional or otherwise), let’s sort out the keepers from the discards! No brown M&Ms!

A disc I received from Hair Theatre guitarist Paul Allen adds new showpieces to the Che Underground flyer collection. Today, a trio of flyers advertising a single show March 7, 1986, at the Jackie Robinson YMCA, featuring Hair Theatre; Synesthesia (the great band led by Noise 292 co-founder Kristin Martin); and Decision (another terrific band that featured drum god Paul Brewin, who’d most recently played with Manual Scan).

This set demonstrates the tendency of individual shows to generate multiple flyers, often featuring a different “headliner” depending on the band running the photocopier. Exhibit A also showcases the artistry of David Dick, a new addition to our roster of flyer talent.

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