In mid-June, the reunited Crawdaddys and Nashville Ramblers were the latest of our San Diego crowd to enjoy the hospitality of Spain. Both bands played the Go Sinner Go! festival in Toledo June 10 and 11, and the Crawdaddys followed up the next day with a surprise appearance at the renowned El Sol club in Madrid.

I’m grateful to Silvia Zadarnowski (spouse of Crawdaddys bassist Mark) for these photos of all three events and to musician and show organizer Eduardo Arriero Hernandez for answering my questions about the show and Spanish fondness for this San Diego scene.

Buy your tickets now for the Crawdaddys and the Unknowns at San Diego’s Casbah, Sept. 2-3!

What is your own involvement with the Spanish music scene? You have a band, and you’re an organizer of the Go Sinner Go! Festival. Can you tell me briefly about those and how long you’ve been part of the music scene over there?

I’ve played in bands since I was 17, and I’m 32… so half of my life!! I’ve played guitar and sung with Hollywood Sinners for 11 years and keyboard with Fumestones for one year. I started organizing concerts in Toledo, my home town, of national bands I liked, and I continued it in Madrid. I can try get my favorite bands from all around the world, spend some days with them and have fun!!

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Veteran San Diego musician and photographer Dave Doyle was on the scene Jan. 21 when the legendary Nashville Ramblers visited the Til-Two Club on El Cajon Blvd. to celebrate the pending release of their classic “The Trains.” Here’s his report:

“The Nashville Ramblers hit the stage Friday night, last exuding their honest, youthful charm as if I were standing in Bodie’s or Winston’s back in ’86.

“Despite the fact they are all older and live in different parts of the country, they are all consummate musicians and still perform regularly; their consistency should come as no surprise to the observant listener.

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(Bart Mendoza offers an appreciation of this San Diego bass phenom.)

Although I had seen the Crawdaddys numerous times by that point and had probably even been at some of the same parties, I was first introduced to Mark Zadarnowski (a k a Mark Z.) by Carl Rusk. Mark was living behind the Kings Road Café at the time and while I’m sure he was less than thrilled to have his house invaded just prior to a show, it was cool formally to meet a member of one of my favorite bands.

One of the bedrocks of the San Diego music scene, the roll call of bands Mark’s recorded with would rank him as a music legend, even if he had stopped after the first one.

A founding member of the Crawdaddys, he can be heard on the legendary 1979 Crawdaddy Express LP, as well as the 5X4 EP and “There She Goes Again” 45. He’s not on another release for a few years, but when he next pops up, once again, it’s on a winner: the short-lived Mystery Machine’s “She’s Not Mine.” Included on the seminal 1983 compilation, Battle of The Garages Vol. 3, the tune has appeared on several other compilations since.

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(Ray Brandes introduces long-lost film of a fleeting San Diego phenomenon.)

The folk-rock explosion of the 1960s was ignited by the release of the Byrds’ 1965 hit cover of Bob Dylan’s “Mr. Tambourine Man.” The group’s characteristic three-part harmonies, jangly 12-string guitar and folk-music sensibilities spawned hordes of sincere flatterers and helped boost the sales of contemporary artists who shared the same influences. Los Angeles became the epicenter of a shaggy-haired, granny glasses and moccasins-wearing subculture that included the likes of Love, the Leaves, the Dovers, the Bees, and the Mamas and the Papas.

Eighteen years later and a hundred miles to the south, Carl Rusk, Ray Brandes, Mark Zadarnowski, Bill Calhoun and David Klowden made a valiant attempt to resurrect the folk-rock sound and style. For a brief, shining moment in a year that saw the birth of both the Tell-Tale Hearts and the Gravedigger V, the Mystery Machine kicked up a little dust and then vanished as quickly as it had appeared. There were only three public performances: August 12, 1983, at San Diego’s Headquarters; August 20, 1983, at Orange County’s Radio City; and the final gig August 26, 1983, at Los Angeles’ Lhasa Club.

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(An excerpt from Ray Brandes’ saga of this 25-year-long collaboration. Read the full version in Che Underground’s Related Bands section!)

Editor’s note: You can catch the Nashville Ramblers in their first appearances on the West Coast in 2010 the weekend of Feb. 5 and 6, when they’ll be appearing at the Tower Bar in San Diego (Feb. 5) and the Mind Machine in Los Angeles (Feb. 6). See you there!

Steven Van Zandt, guitarist for the E Street Band and host of “Little Steven’s Underground Garage,” once called it “one of the most unspeakably gorgeous instances of romantic yearning disguised as a pop song.” Indeed, the Nashville Ramblers’ song “The Trains” is a perfect piece of pop music: a once-in-a-lifetime convergence of thoughtful lyrics, exquisite melody and flawless performances by three of San Diego’s most celebrated musicians. The song, available on Rhino’s Children of Nuggets box set but until recently only found on an obscure late-‘80s pop compilation album, would be by itself enough to secure the Nashville Ramblers a place in the pantheon of great 20th century recordings.

Carl Rusk’s timeless anthem, however, only offered the world a brief glimpse of the vast talents of this undiscovered San Diego treasure. They have remained, outside of a small group of devoted fans, unknown and unappreciated. But a devotion to preserving the music they love, as well as an anger and disdain for the era in which they live, have driven them for more than 25 years.

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(Dean Curtis hails the return of a favorite Bay area band with deep San Diego roots.)

When I moved to the Bay area in ’92, I was pretty out of touch with the local music scene. One night, I was browsing through the Bay Guardian’s music listings, and I saw “Ron Silva & The Monarchs” listed.

“Naw, it can’t be the same Ron Silva from The Crawdaddys!” I thought. I went and checked it out anyway. Sure enough, it was the same Ron, fronting a new band of hip R&B cats from San Francisco, put together in ’93 by ex-Loved One Nick Rossi. Ron’s voice sounded better than ever, and the band was top notch!

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(Tell-Tale Heart/Town Crier Ray Brandes applies his narrative skills to documenting an influential early band from his own back pages. Read the full version in Che Underground’s Related Bands section.)

At the beginning of the summer of 1981, the Ideals (comprising 18-year-old Ray Brandes on lead vocals, 17-year-old Tony Paulerio on lead guitar, 20-year-old Maure Silverman on rhythm guitar, 17-year-old Paul Carsola on drums, and led by 14-year-old prodigy Carl Rusk on bass) were gearing up for a summer of Point Loma keg parties at $50 a performance.

The band, whose short career had reached a pinnacle opening for the Penetrators at Mission Bay High School’s prom, played mostly rockabilly and early rock and roll, with Eddie Cochran’s songs making up about 50 percent of our set list!

At the end of May, with Paul away on a summer vacation, Carl called up the Crawdaddys’ Ron Silva to sit in on drums. Ron knew Carl from years of Skeleton Club shows and had recently seen the Ideals play at the Zebra Club, so he was more than happy to oblige. The gig was to be a massive block party in Crown Point, but it never materialized because the set by the opening band, Stonehenge, resulted in several noise complaints.

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(Gravedigger V/Nashville Ramblers bass player Tom Ward peruses the Cyndie Jaynes Photo Collection for stories behind the photos.)

Among Cyndie Jaynes’ photos, I recognize a subset of black-and-white images from the Cavern Club, Hollywood, in 1985. My old band the Nashville Ramblers is featured in the pictures. These particular photos show us in our earliest phase.

The lead photo of the subset captures a once-ever moment: [guitarist/vocalist] Carl Rusk and me onstage with Claudia Brandes. She made a guest appearance with us to sing—as best Carl, [drummer/vocalist] Ron Silva and I can recall—a cover of Manfred Mann’s 1964 pop hit, “Do Wah Diddy.”

The equipment we are using is our 1985 gear, and you can just barely see a Vox Essex amplifier peeking out of the photo. Carl is using the first of several Hagstrom guitars that he would employ, a pale blue one that may have come from or gone to Ron Silva. My bass here is a 1966 Framus Star bass.

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