Last week’s photographic contribution from Tell-Tale Hearts guitarist Eric Bacher of the band and audience at Greenwich Village West, ca. 1984 — salvaged from a vintage contact sheet — omitted some great shots of the band, including a grainy image of keyboardist/harmonica player Bill Calhoun.
Posts Tagged ‘San Diego music’
(A double-header: Che Underground: The Blog talks to two of our scene’s pre-eminent tattoo artists. If you’d like your story told, e-mail firstname.lastname@example.org!)
Mike Stobbe: I’ve been at Avalon Tattoo for almost 23 years now. I started tattooing in 1987, a few years after I graduated high school. My technique is just sort of a mix of my personal style, lots of comic/cinema influence, punk-rock childhood images, lots of different mish-mashed stuff. I like to think that I don’t have a particular style even though people have told me they could tell I did a tattoo. I guess that’s an evident style, but I like to be good at any kind of tattoo anyone might want me to do. It keeps my options open as far as what kind of work I get to do, as opposed to being “this guy” or “that guy.” It makes my job different all day long. That keeps me interested, I guess.
Bobby Lane: I learned little by little, I picked up what little information I could gather and started by experimenting on myself, basically. Not the best way, but many of us have taken this route. I don’t suggest it, but then again, I don’t suggest anyone become a tattoo artist. I got good enough to get a job, which is where the learning process really began.
(Bart Mendoza invites you out for an evening of free music to celebrate the debut of “String Theory.”)
For this special show, the band will perform two sets. In the first, the quartet will play the new album in its entirety, plus a few old favorites. In the second, Wendy Bailey & True Stories will be joined by special guest musicians for a run through of a dozen choice R&B and rock-‘n’-roll classics — a different guest for each song.
“String Theory” is the debut album from Wendy Bailey & True Stories, featuring lead guitarist and vocalist Wendy Bailey; bassist Billy Fritz; guitarist Bart Mendoza (Manual Scan, the Shambles et al.); and drummer Danny Cress (the Coyote Problem, Skid Roper and more).
(Paul Howland, a k a P Man, ushers in a new podcast straight out of San Diego.)
Pure Boom is one of my very favorite selectors. I met him through the Dubstep scene in San Diego in early 2009. Here though, by special request of Geeked, he’s playing roots steppers dub. Pure Boom is the only selector I know of who actually mixes this type of music, as it’s usually played “sound system style” (play the dub, flip over, play the vocal, no beatmatching). Heavy-duty mixing chops and super-sick selecting and programming skills, combine to make each of his sets a very special occasion.
(Gravedigger Five co-founder John Hanrattie recounts his side of the renowned San Diego garage bandâ€™s short but eventful history.)
I was 17 when I first played guitar for an audience. I was working as a roadie for a San Diego band called N/E One. They were a very good cover band that would occasionally write one of their own songs and include it in their set. They built up a loyal following among San Diego teenagers and started playing high-school dances and at a local â€œunder-21â€ night club called Headquarters.
They started inviting me on stage to join them in covering the Rolling Stonesâ€™ take on Bobby Troupâ€™s â€œRoute 66.â€ I was using a six-string Rickenbacker and playing rhythm guitar with Rob Glickman, the lead guitarist. I had been taking classical guitar lessons, but I really wanted to play rock â€˜nâ€™ roll. I switched teachers to someone who could teach me Chuck Berry and Buddy Holly licks. It was a long process, and I learned some chords, but my skills were limited.
During my senior year in high school, the ASB started booking bands to play in the quad during Friday lunch. They eventually got around to inviting N/E One to play, and I joined them on stage for their set. Afterward, several people approached me, asking if I wanted to start a band. I was flattered, but I held out, hoping to find people who wanted to play the same kind of music I loved. I refused to have anything to do with playing Aerosmith and Led Zeppelin covers. I wanted to play British Invasion beat and 1960s garage music.
San Diego expat-turned-San Francisco solo artist Jeffrey Luck Lucas is preparing to re-release his third CD, “The Lion’s Jaw,” and it will require $1,300 within the next two weeks to print the CDs his record label will distribute and promote.
It’s a quid pro quo: Donate to to “JLL, The Lion’s Jaw CD Release and General/Overall Local Artist Support Fund,” and Jeff will send you a signed copy of the newly redesigned “Lion’s Jaw” CD as well as his nearly completed new studio album, “The Love of Leaving.”
A Che PSA: UCSD’s Che Cafe is the target of a fundraising campaign to continue its decades-long run of music and memories. I hope a few of our many readers can get behind this cause with their wallets and creativity.
Followers of this blog will recall that the Che (for which this blog is named) suffered the catastrophic theft in August 2009 of its sound equipment, and insurance costs for the venue bring the fundraising goal to $12,000, according to the site.
This beautiful poster is a gift from artist Marc Argenter to the Che Underground. Marc, who lives in Barcelona, Spain, is also an accomplished musician and has played guitar and recorded with bands such as the Flashback Five and Els Trons for more than 20 years.
Marc jumped at the chance to design a poster for a show featuring the Crawdaddys, whom he first heard at the tender age of 16. He is well known in Spain as a graphic designer, and has an impressive portfolio of work, some of which can be seen here: http://argenter.blogspot.com/
(Author of the definitive biographies of both the Unknowns and the Crawdaddys, Ray Brandes explores the connection between these two essential San Diego bands as they prepare to revisit San Diego after 30 years. Buy your tickets now!)
During the past three decades of rock and roll music in San Diego, two groups â€” the Crawdaddys and the Unknowns â€” can arguably claim to have had the most influence over the bands that followed in their wake. Both groups looked to the past, to the greats of early rock and roll and rhythm and blues for their own inspiration, and had a mutual respect for each other that transcended local band competitiveness.
The Crawdaddys and the Unknowns are looking forward to sharing the stage this coming Labor Day weekend as the Che Underground presents their historic reunions at the Casbah. I spoke with the members of each band about their love and respect for the other group.
(Sidewalk scenes and black limousines: On July 30, Che Underground presents Sounds of the Sunset Strip at Lestat’s Coffee Shop, featuring the Sidewalk Scene, the Ciros, Wendy Bailey & True Stories, and James Ruelas. Show organizer and Ciros reed player Lou Damian reflects on how Los Angeles’ sound of the ’60s influenced so many San Diegans who came of age 15 years later.)
The crazy thing about this July 30 show is that we relate to this music from the Sunset Strip of the mid- to late ’60s as our music, as the music we grew up with. But in actuality, we were just tots or infants when it was first published. There’s something about this music that stays within our fabric even today. When I hear a Byrds song or a Buffalo Springfield song, I know that I heard it as a young man on the radio. I know I heard that song when I was a year or two old. And it’s just another part of who I am.
The garage rock, psych rock, and blues and folk rock of that era is an important contribution to American music and the West Coast sound. This is what we always championed as our West Coast identity … in the so-called “Che Underground.”