Sweet, Sexy, Smart, Success Spirit intact, they are . . . souls divine

While out in search of diversion last weekend, Petra and I happened to slide into the Paradise Lounge. We shot a coupla’ games upstairs waiting for the band to start and when they did, walked over to the balcony to check it out. Not very poetically, I said “Damn, these chicks rock!” and suggested she snap a few shots of them. Funky rock beats, happenin’ lyrics and raw talent in all corners kept the crowd moving as they played “Let It Rock,” “Screaming Love,” and “Break This Heart.” We wanted to go up close for more pics, but had to fight off a complaining guy, whom I thought was the band’s manager since he had paperwork strewn all over the speakers in front of the stage during the entire show. We thought he was acting way wack for a manager and I made a note in my brain to ask “Whassup with him?” if I and when I had the chance to interview them. We managed to get him out of the way , Petra got the shots and we enjoyed the rest of the show. Afterwards, I passed my card to the lead singer and briefly told her before they disappeared back stage that I’d like to interview them sometime. I didn’t know if they were local or just visiting, but figured it was worth a shot.

SAMPLESYou can click & keep surfing  “Let It Rock” 148k RealAudio “Why Do I Feel” 174k RealAudio If you don’t have Real Audio yet – get it now!

Judea Eden called a few days later to schedule and by then I had checked out some reviews and their website. I wasn’t surprised to find numerous quotes regarding the powerful vocals of lead singer Judea, the slick guitar licks from Carrie Baum, the kick ass drumming of Robin Bordow or the jazzy/funky bass of Joan Martin. I was surprised however, to find that I felt as though I knew more about this band from having seen them perform once than I did from reading all the reviews, articles, and bios. I decided that this interview must come up with more than “Damn, these chicks are hot!” and we made a plan to meet at Planet X Studios the following Sunday afternoon.

Clad in cowboy hat and sunglasses, slim, sultry guitarist Carrie Baum met us at the door of Planet X – she had the reserved, yet confident style of someone who shows their genius to few people and is thus not accustomed to adoration. Running late from our previous photo shoot/interview, we apologized and followed Carrie to the studio where they had been practicing for the past 3 hours. Judea came up with her beautiful smile and her cute chubbiness and introduced herself to us. We then met Joan Martin – bass player with a wide eyed, child-like, twinkling smile that makes you wonder what she’s up to.

Eventually, the drummer Robin Bordow (resembling Long Tall Sally) came over after finishing up what she was doing with the equipment .

I was already curious about Robin, as there was nextunuthin’ written about her, that I could find, and she seemed the mysterious, quiet type. As it turned out, she had plenty to say and it was plenty interesting. Robin has been playing drums with many bands for over 20 years and at age 42, has been with the same lover/partner since age 17. In addition, to keeping up with rehearsals, local and out of town gigs; she works for Hewlett Packard as an engineer of hardware for scientific instrumentation; lives in Petaluma during the work week and has a crib in the City where she spends most weekends. Robin is especially into jazz fusion and found inspiration from such artists as Chic Correa, Tom McLaughlin and Herbie Hancock. She’s played with many bands, but says she’s never been in a band with such great communication and effectiveness to make decisions and actually get things done. Robin came across as the mom in the superstar family – staying back and looking after things while the girls have fun under the spots.

Robin and Judea have been in the Bay Area for a long time, while Carrie and Joan are fairly recent New York transplants. Joan and Carrie were in a band together in New York and both ended up moving to Frisco. Carrie hadn’t been here long when she decided she would go back east as things weren’t really coming together for her here. But then Joan took Carrie to a party, just a week before she was scheduled to leave town and introduced her to Judea. Carrie and Judea fell for each other, so the move back to New York is still on hold.
Carrie Baum played with Venus Humm in New York before coming west 5 years ago, studied with S.F.’s Jim Campilongo, and thinks he’s an excellent guitar player and a great teacher. From what I’ve seen and after having already been labeled “A guitarist with enough skill and creativity to be ranked among the best in San Francisco’s club scene”, she oughtta’ know what good is. Carrie said she’s been inspired by the music of Ann & Nancy Wilson and Led Zeppelin. A quote from their website @ www.slip.net/~sodivine/, “Carrie’s dream is for a group of women to achieve respect with their talent and with what they put forth from their hearts.” – She feels she has finally achieved this with Soul Divine.

Carrie told me a bit about two of the tracks on their latest CD – “Screaming Love” is based on a past relationship and “Alive” was about a very difficult time in her life. She thinks its important to talk about and express pain, but rising above it and working through things enables her to turn it all into a positive. Joan and Judea both say they write songs according to the here and now, much more than about the past and since the present seems to be a very good time for all of them, that’s probably why their tunes come across with an optimistic edge.

Soul Divine dig playing at Bottom of the Hill, Paradise and Judea says Blue Lamp has good energy & New George’s in San Rafael is a happenin’ spot.

Together for 2 years now, things are definitely comin’ together for this group. A little more time should put them in the big time in a big way. As it turned out, that guy in front of the stage wasn’t their manager – they manage themselves – for now; he was just a fan who follows them everywhere and sometimes brings his paperwork to the club with him and tells photographers where they should be. SoulDivine has an album of songs ready to record and are in the process of locating the best record deal/financing to proceed. With the smart, steady, star quality and their solo and combined funk/jazz/rock experience rolling out the way it does, we picture them hotter than the soup at the Tenderzone’s Thai Noodle and playing in any hood they like within a year. – SFO Sunshine

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Impressions of the U K Subs Show at The Great American Music Hall by Gary X. Indiana.

Charlie Harper

The punkrock revival continues!Oldschool legends, the UK Subs, wound up their 20th anniversary U.S. tour with a triumphant return to San Francisco and a fiery performance at the Great American Music Hall. Started by singer Charlie Harper as a London R&B; combo, the band evolved into one of the original great British punk bands. Charlie solidified the lineup with bassist Alvin Gibbs and guitarist Nicky Garratt, but they parted ways after the epic Polish blitz of 1983, and finally reunited this year for recording and the tour, along with ex-Samiam drummer Dave Ayer. This summer, Nicky’s San Francisco-based record label, New Red Archives, released the 17th UK Subs album “Quintessentials” in conjunction with Cleopatra Records’ release of the 18th title, “Riot” (all their records are alphabetical, y’see). Both records feature the “classic” (plus Dave) lineup. XXX subsidiary Amsterdamned recently issued the domestic version of the 15th Subs record “Occupied” with Charlie and his “Euro-Subs”, the guys he’s been playing with in Europe (including original drummer Pete Davies). European label Fallout/Jungle is putting out the 16th record, the live Peel Sessions, three classic recordings with Charlie, Nicky, Pete, and another early member, Paul Slack. So there’s a bumper crop of UK Subs material out there folks!

Nick Garratt

The Great American gig was a blast, despite the absence of those who chose to attend the Gwar extravaganza at the Warfield instead.Still, a decent crowd showed up, ranging from teenage crusties to wizened geezers like myself. We were disappointed to find that Alvin Gibbs had returned to England to take care of some domestic matters, but merchandise gal Carly was filling in on the last few dates of the tour, and doing a splendid job! Charlie was in fine form, as good as ever, growling the vocals with his thick London accent. Nicky performed his legendary stage acrobatics, leaping into the air, doing the splits, and at one point hurling his guitar a good twenty feet in the air: I saw it coming down, I blinked, and there he was, strapped in and playing! We heard plenty of songs from the Q/R releases, and just about all the classics we could hope for, including my dance faves “Stranglehold” and “Tomorrow’s Girls”. Nicky threw some of his label’s bands on the bill: Bay Area punkers Accustomed To Nothing opened the show with a hellacious set for the handful of onlookers, minus the kids who were outside drinking malt liquor on O’Farrell; and Pittsburgh anarchy-punks Anti-Flag won the crowd over with their political diatribes and their own not- too-shabby aerobatic guitar playing mayhem. All in all a great night to be a punker in Frisco, oi oi.

Check out the new album from U.K. Subs (samples below).

SAMPLES Click & keep surfing

“Quintessentials” 113k RealAudio

“Dunblane” 132k RealAudio

“Jump On It” 97k RealAudio

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Beth Hart Band recently played the Fillmore. She gave a powerful, no fluff performance wearing a hip hop stocking cap and a full length backless black dress, looking much different from the record label head shot pictured here. The songs are good on cd, but watching her perform them adds an emotion and intensity that you just can’t get without being there. At only 27, the way she talks with zeal about her life of trials and tribulations, she reminds one of a reformed addict friend that doesn’t quite know how to control herself and act right in public. One might feel a bit sorry for her at first glance, but her out of control energy makes her a true performer of a special caliber. After a few songs, the way she just lets it all hang out becomes admirable and the audience was obviously touched by her vibe as they cheered her and yelled for more.

I overheard a fan telling the doorman “. . .When I saw her on Star Search in ’91, she seemed a little spastic for that crowd, kinda like Joe Cocker, ya’ know….. but I loved her and I’ve kept my eye out for her shows and albums ever since”. And anyone with a love for music that gets deep inside should do the same. This chick has raw emotion that explodes out of some lyrics and drips quietly out of others. Whatever the words, you can tell she’s really felt it and her streetwise demeanor comes through on stage to make the songs feel all the more real. Before begining the acoustic session, she casually answered questions from the audience and spoke openly about drugs, getting lost in them, run ins with bad guys and finding herself again. Her honesty and lack of fear for speaking the truth was refreshing and added to her bold, unhampered quality. The audience could feel her warmth and the excitement running through her as she spoke vibrantly about the happiness she has found in working with this band.

The first artist that came to mind when I played the new and aptly titled Beth Hart cd “Screamin’ For My Supper” was Janis Joplin’s enthusiastic and gut spilling style. Then I learned that she played Janis on stage for the Cleveland Playhouse’s production of Love, Janis. She has received universal acclaim for that performance and is now happy to be playing in clubs like the Fillmore with her “best friends” – the very talented drummer Rocco Bilovski from Cleveland and powerful guitarist Jimmy Khoury from Austin, who back her up in a big way, artistically complimenting her raw style.
– – – Darrow Boggiano

Interview with Andrew Levy and samples from the New Album.

SAMPLES Click & keep surfing

“I Like It” 134k RealAudio

“Day By Day” 97k RealAudio

“You Are The Universe” 134k RealAudio

“Once Is Twice Enough” 97k RealAudio

CitySites Interview With Andrew Levy

By James Cowart.

Hi Andrew, Thanks for taking time-out from your busy schedule to talk with me. Andrew : It’s my pleasure.James : As a bassist, who were your influences? Andrew : I think that it all started with James Brown and Miles Davis. They really influenced me at a young age. That is when I picked up my first instrument, the bassoon.James : What is one of the earliest memories with the original “Heavies” crew – (you and Jan Kincaid and Simon Bartholomew)? Andrew : When we first started playing together, we used to jam a lot in our own bedrooms. After a couple of those “Bedroom Jams” we just knew it was meant to be, and then everything just happened. James : Tell me about the period between the new album “Shelter” and the previous album? Andrew : Maturity, we definitely matured. We learned a lot about arrangements, melodies and structures. James : You seem really enthusiastic about how thing are going with the new album “Shelter”. Did positive change occur with the addition of Siedah Barrett? Andrew : Well Siedah stepped into the studio and we recorded a track in one day. Immediately, we all knew that this could really, really happen. James : How do you feel about the bands you are playing with at the Smokin Grooves Tour? Andrew : Well, we are playing with a great bill. I’m really enthusiastic about the bands we are playing with. But, we are definitely going to be the funkiest band on Tour. James : If you weren’t a musician Andrew, what would you be doing? Andrew : Well, (laughing), I went to college for five years, and I’d like to go back. I want to be an Architect. I’ve always been interested in achitecture. After all, I don’t want to jump around on stage the rest of my life. James : Are you familiar with the Internet? Andrew : We all have our own websites, so we’re definitely internet friendly. James : Thanks again for taking time-out Andrew. Any last words for your fans? Andrew : World – get ready for some serious funk.

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John Mayall on the “Blues for the Lost Days” Tour San Francisco show at Slim’s. Concert Photography by J.D. Brumback Interview conducted June 22, 1997 at Slim’s Night Club by Mike Somavilla (research by Gordon B. Hull & Mike Somavilla)

John Mayall was born 11/29/33 in Macclesfield, England. His father was a jazz guitarist with a huge blues/jazz record collection. John began playing guitar at 12 and piano at 14. In 1955 he formed his first group called the Power House Four. In ’62 after moving to london, Mayall formed the band “Blues Syndicate”. Turning professional in ’63 with encouragement from Alexis Korner, the first of the Blues Breakers bands recorded its first single “Crawl Up A Hill”.

Over the next 30 years, Mayall recorded over 40 records and the list of talent he discovered and fostered reads like the who’s who of jazz, rock and blues – Eric Clapton, Peter Green, Mick Taylor, Joohn McVie, Mick Fleetwood, Aynsley Dunber, Jon Mark, Andy Fraser, Keef Hartley, Harvey Mandel, Larry Taylor, Ernie Watts, Dick Heckstall Smith, Hughie Flint, Jack Bruce, Tony McPhee, John Almond and many others.

Q: You’re known as a strict task master who runs a tight ship; you once kicked out John McVie and Mick Fleetwood for excessive drinking; are you more tolerant these days? A: You’re reading quotes from magazines and articles, you know, which is not really fair. I’m having trouble answering something like that – that’s written and read out off of a magazine. I’m not a hard task master – John McVie and Mick Fleetwood were sometimes too drunk to play – so obviously they had to go for that reason and they would tell you the same thing. It was justified and as for the tolerance these days, that doesn’t really apply because I’ve never been a hard task master. I’m the easiest guy to get along with, providing I have the right musicians and I think that history shows that I have.

Q: Regarding your “Blues Alone” album in 1968, did you really lay down all the tracks in one day?
A: I can’t remember – it probably was a bit more than that. If it says so on the album. It was probably done within a week, anyway but it was a pleasureable experience. Keef Harley came in and did the drumming on it because my timing was terrible when it came to playing the drums. It’s one thing I’ve never been able to deal with.

Q: On “The Turning Point” your recorded a tribute to J.B. Lenoir entitled “I’m Gonna Fight For You J.B.” Can you talk about his influence on your music?
A: Well, I’ve always liked his music; his lyrics always struck me as being a little off the beaten track for a standard blues fare and he had a lot of great musical ideas and his voice was terrific too.

Q: “Blues Breakers John Mayall with Eric Clapton” is one of those classic, seminal albums of our time (a “must have” for all collectors), but it seems to be better known because of Eric Clapton; does that bother you?
A: It’s a great album. It put Eric on the map and put me on the map. (It sure did.)

Q: Your only U.S. charting single “Don’t Waste My Time” reached #81 in ’69, but “Room To Move” seems to be your most requested song – Is it your favorite, too?
A: No, it’s more of a signature tune really. Luckily, it’s translated very well to any particular instrumentation that I’ve had ever since. It started off as a big band number and translated into what we had on Turning Point.

Q: Are there any recordings of Powerhouse Four or Blues Syndicate?
A: No.

The liner notes for your first album were written by Alexis Corner – Can you talk about his influence, and did you ever perform together on stage or informally? A: Did Alexis write the first one? Q: For Klooks Kleek? A: Oh, did he . . . I can’t remember that. . . Yeah, maybe he did . . . obviously, you know about that. We played on the same shows together, but not at the same time. Q: “USA Union” is your best selling album in America, hitting #22 on the Billboard Charts in ’70; are you still in touch with Harvey Mandel (guitar) and/or Larry Taylor (bass)? And how did they come to join your band in the first place? A: It did? (according to my researcher, yes) Sounds very suspect to me. Yeah, Larry lives pretty near me. I see him quite a lot – but Harvey was here at the last gig, but he had to work tonight. I chose them – I’m the band leader, so I pick the musicians.

Q: In ’88 you recorded, remixed and remastered 8 songs from “Back To the Roots” (1971) and releasted it as part of archives to Eighties; Do you have any plans to do this with other recordings? A: No, not right now. Maybe something with the bottom Line if I can ever get my hands on the master tapes, but that particular album – the producer kind of mixed it so that, so . . . . I do remember playing on it, but there’s no evidence of it. I’d like to be able to get that one and hear what is on the actual tracks.

SAMPLESfrom their latest CD “Blues For The Lost Days” Click & keep surfing   “Dead City” 83k RealAudio “How Can You Live Like That” 182k RealAudio “Sen-Say-Shun” 158k RealAudio “You Are For Real” 124k RealAudio

Q: You have guested on albums by Rod Stewart, Eddie Boyd, Albert King and Shakey Jake Harris. Have you played “session man” for anyone else? A: Oh, very few and far between. I think you probably named them all there, I can’t think of any more off hand. (Buddy Guy is another)

Q: You featured a woman – Dee McKinnie on vocals on “New Year New Band and New Company” in 1975 – What brought on this change in direction? A: That was part of the band you know, the band I had then. Dee McKinnie was from Memphis and she worked with Jet Spell who was the keyboardist on that particular outing.

Q: You and Allen Toussaint did an album in ’75 – “Notice To Appear” but there were only two songs that you penned; would you say Allen had more control in those sessions? A: Yeah, he was totally in charge of it. It weas proposed I work with him. So we had to do it his way. It was his studio production entirely. I was lucky to get two songs on it (laughing)!

Q: You released 5 albums on ABC and 3 on DJM between ’76 and ’80, with none of them seeing much action; what would you say was the reason for this? A: It’s hard to tell, I think there was a general recession in the record industry at that particular time. there wasn’t that much interest in blues records – who knows what happens with these things but I know the late 70’s and early 80’s were a pretty rough time for not just me, but for a lot of blues players getting record deals. We were still doing our live gigs with no problem; to get record interest was difficult.
Q: The 1983 audio fidelity release “Casa Blues” featured Blue Mitchell and Freddie Robinson on four long instrumentals. How did this record come about? A:Well, Blue was in my band. Freddy was in my band and Blue had another album to do, so I got ROLLED into that one – it was nice.
Q: Why was there never a record release of the excellent video “Blues Alive”, taken from your June ’82 show at the Capitol Theatre in New Jersey? A: Like I said, That was the time when there was no record interest, so the video was out, so that really tells the story.

Q: “Chicago Line” (1988) featured two superb guitarists – Coco Montoya and Walter Trout. Are you still in touch with them and what do you think of their solo projects? A: Sure, yeah, Coco just released his 3rd album and Walter has about 6 albums out and Walter’s really big in Europe, not so big over here. Yeah, in fact he’s in England (touring) right now.

Q: A sense of Place (1990) is an appropriate title for your return to the charts – Do you have a perspective on this? A: Well, I don’t know about the charts. As far as I’m concerned, no album of mine has been in the charts since probably “The Turning Point”. I don’t really know. And as far as I’m concerned I’ve never had a gold record, so I don’t have any knowledge of these things.

Q: Your current label – Silvertone has released 3 stellar albums “Wake Up Call” (1993) “Spinning Coin” (1996) and the recent “Blues For The Lost Days” Do you feel that you are finally getting the treatment you deserve from a record label?
A:Well, it’s nice to be able to get support from the record company thiat is behind too, so I’m very happy with that. (Sure is, and it looks like they’re doing a good job for you.) Yeah.
Q: Your guitarist, Buddy Whittington is your latest discovery. How did you meet and what is his background? A: He’s from Texas and we had him in an opening act that we did in Dallas a few years ago. That’s how we came to meet and when Coco left, I contacted Buddy.

Q: I understand that you went to art school and at one time you were involved in advertising graphics. You’ve even had a hand in the layout and design of some of your album covers. Does art still play a part in your life? A: No so much, there’s not much time for anything else but music and family life these days, but occasionally I do some painting.

Q: Have you ever played any solo acoustic gigs? A: No, I’ve never been into that. that’s why I’m a band leader and work with sparking off other musicians.

Q: Fairport Conventions have put on shows where all the members from their various line ups converge and perform on stage in chronological order. Have you ever thought about doing a similar adventure for the Blues Breakers to reunite Clapton, Taylor, Green, Mandel, McVie, Dunbar and countless others from the John Mayall School of Music?
A: Don’t even finish, it’s total insanity.

Q: You’ve played with a lot of people – Is there anyone in particular that you would like to work with in the future?
A: I’ve got it now. This is the line up. This is the right one.

Q: In 1972, Cleve (a small label from Texas) released the album “John Lee Hooker, John Mayall and the Ground Hogs”, recorded in London. How much involvement did you have on this this project?
A: None at all. Somebody put my name on it. Ihad nothing to do with that. I don’t even know anything about it except somebody pretended I was on it, but I’m certainly not on it.

Q: I read that you lived in a tree at one time; can you describe the humble abode you once called “home”.
A: I’ve never been one for humble abodes. I’ve alwaays been one for luxuray. And if I built a tree house it was becasue it was my own building and it would be my own decoration and the place to p;ut all my stuff, but humble abodes have never been part of my life (laughing).

Q: Were you ever able to reconstruct your “library” after the fire in Laurel Canyon?
A: No, I was never able to reconstruct anything, some unbeatable photographs, records, tapes, books, magazines – everything is gone, so it was a big loss and nothing could be retained.

Q: “Blues for the Lost Days” is described as your “the best album of John Mayall’s career” in your record company press statement. How do you feel about that?
A:Well, I hope so, I hope they do.

Q: What was it like to live with Frank Zappa and Canned Heat in the ’60’s? Did you and “The Mothers” or Canned Heat ever jam together?
A: No, I never lived with them. I spent a couple of nights at Frank Zappa’s house once and maybe a night at Canned Heat’s house at the time. No I never played with them.

Q: Your wife Maggie sang with the Harvey Mandel Band before joining your band – Does she still sing?
A: No, she had a band – Maggie Mayall and the Cadillacs and when they started to split up there was no replacing the excellent musicians that sparked that off, so she’s just doing the family life now.

Q: It seems to me that without you, Alexis Korner, Cyril Davies, Graham Bond and Long John Baldry there would have been no british blues and rock scene – Just about everybody passed through the ranks of those groups and went on to great success. Would you agree that you guys were sort of the “Blues Godfathers” and forefathers, not to mention a proving ground and training school for talent?
A: Well, that’s how it worked out. We didn’t think of it at the time as being like that. We all had to work and we were all enthused and that’s what happened.

Q: On Blues From Laurel Canyon, you wrote a song “Miss James” about Katherine James from the band “Groupies”. Did you hang out with the Groupies, G.T.O’s or Plaster Casters who were all part of that music scene?
A: Yeah, they tended to gravitate around Frank Zappa’s house so throught them I met everybody.

Q: On “Blues for the Lost Days” there seems to be a lot of songs dealing with tributes and love themes – love for your wife (You Are For Real), love for your mother (One In A Million), love for life and family (I Don’t Mind), loe for old times and friends (Blues for the Lost Days), love for the hate of war (Trenches), love for mentors and heros (All Those Heros) and just an overall love for the blues throughout the album. Any comment?

A: Well, I think you just described the whole album right there (laughing).

Q: How is your current tour going?
A: It’s great as always, we never have any trouble touring.

Q: Your new CD kicks ass – how is the audience reaction to the new songs?
A: Well, you heard it tonight and there was a double encore and they still wanted more, so I think you can say it was totally excellent. (I think so. I can agree with that.)
Q: You’re turning 64 this year; how much longer do you see yourself touring?
A: As long as I’m doing what I’m doing now, you know – kicking ass. (As long as the fans are still there?) Yeah, well the fans will be there as long as I deliver.

Well John, on behalf of CitySites Magazine, I want to thank you for your time and thank Silvertone for this opportunity. We wish you much success with your new CD and the tour.

I have to say that it wa a real pleasure talking with John Mayall and the performance was outstanding. His current killer band of Blues Breakers include Buddy Whittington (guitar), John Paulus (bass), and Joe Yuele (drums) and they all put on one helluva show. I highly recommend that you check out their show whenever you get a chance.

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The U2 show couldn’t have been held at a better place. Even in the hugeness of the Oakland Coliseum, somehow the audience was made to feel close to the performers. Bono (in white hooded cape) and the Edge mysteriously appeared in the center of the arena to start the show with “Walk Away, I Will Follow” as they went back up the long catwalk to the stage.

It was apparent from the jump that there was a new image being projected by the band, quite different from the rock/leather that we’ve seen in the past. Bono seemed to be loving the photo opps during the first three tunes and was funny to watch when he was jumping around like a mad but happy orangutan, in spurts throughout the evening.

If not close to dragging, he was definitely in a more fashion conscious state than we’ve seen from him in the past. With Adam Clayton clad in a “pop tart” labeled t-shirt and bono in “elton johnish” sunglasses, clockwork orange hat, and super tight spandex, it was rather obvious that a bi-sexual / gay image was being promoted or at least displayed.

The new tune “Gone” from Discotheque sounded beautiful live – the words seem to tie in with what the band has been going through as a “mega-musical corporation”: ‘what you thought was freedom was just greed’.

Bono was somewhat apologetic stating to the crowd: “You turned us into a big rock band. We got kind of scared of the big corporation. You, start a band to make music, it becomes a huge corporation. Then you have to decide if you are going to eat the monster before it eats you.”

The Pop Mart Tour has some oddities, like a segment in which The Edge karaokes to “Cheer Up Sleepie Jean” (Day Dream Believer) and a coupla’ other tunes while old videos play on the enormous screen.

We heard “Still Haven’t Found What I’m Looking For”, “Only To Be With You” and “Stand By Me”. The new tune “Last Night On Earth” (You Got To Give It Away) was a definite crowd shaker.

The Oaktown Coliseum accommodates fabulous effects for these gargantuan events.

There was a huge lemon balloon floating beside the stage from the beginning that was later transformed into a huge shining disco ball. It floated into the center of the air space and twirled lights onto the entire crowd, making the place a mega disco joint from the 70’s.

There are a few good tunes on the new album, but it’s no “Achtung Baby”. It seems as though the promotions are teeny-bop shopping gimmicks that either the band was “semi-pushed into” or is not totally pleased with. Since they are going along with this utterly commercial crap, (what’s up with the half-a-McDonald’s arch?), I think they decided to say “what the hell” in expressing homosexual nature that they had not previously exposed so blatantly.

Maybe when all people (are you listening, “Mr. Don’t ask/don’t tell.”; give me a break) understand that bisexuality would be common practice if society and religion didn’t tell us to refuse it, then the superstars won’t have to bother getting over a rainbow that’s been camouflaged by a golden arch. Props to them anyway, for adding some positive to this project that seems to be much more about “mega-money-media-madness”, than music.

SAMPLES Click & keep surfing   “Staring At The Sun” 67k RealAudio “Last Night On Earth” 99k RealAudio “Gone” 89k RealAudio “Discotheque” 67k RealAudio

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Never mind the SEX PISTOLS, who cares about KISS, the greatest rock and roll reunion of these reunion-happy times has got to be the DESCENDENTS!

And who the hell are they, newbies might ask? Only one of the most kick-ass punk bands of the early-to-mid-’80’s Southern California scene, one of the all-time classic favorites whose stupendous comeback to sellout crowds proves that their popularity didn’t wane over the years.

On the contrary, their legend continued to grow, with bands such as SUBLIME dropping Descendents covers into their sets, and continuous college radio airplay of their classic records.

SAMPLES Click & keep surfing “Everything Sucks” 118k RealAudio “I’m The One” 67k RealAudio “Hateful Notebook” 99k RealAudio “Eunuch Boy” 89k RealAudio

The Descendents were never a bunch of hardcore jocks; rather, led by the lanky, spectacled singer Milo Aukerman, they were the nerds of punk, playing beach-pop inflected tunes about adolescence, insecurity, girls and the inevitable heartbreak, and fishing.

In sum, songs that just about anybody can like. Despite their popularity, Milo realized that the life of a rock star can’t compete with science, so he dropped out in ’82 to study biochemistry at UC San Diego while drummer Bill Stevenson hooked up with BLACK FLAG. The band re-formed in the mid-80’s and released more classic records, until Milo left in ’87 to pursue his Ph.D. Bill and the boys continued as the band ALL, while Bill also established himself as a record producer.

’96, however, was the unofficial 20th anniversary of Punk Rock, and with its resurgence still chugging along, the old heifer was being milked for every drop. Milo, apparently bitten by the punk rock bug again, returned to the fold and the Descendents recorded their brilliant Epitaph release “Everything Sucks”.

Fans proclaimed it an instantly classic Descendents record, singles (such as the title song, also “I’m The One” and “She Loves Me”) swamped radio and MTV, and the band packed clubs worldwide in the Winter and Spring.

Their show at the Trocadero last December was full to the rafters with rabid Descendents fans singing along to the tunes both old and new. Their June 2nd return was eagerly awaited, and once again it was sardine city.

Fashionably late, I arrived in time for GUTTERMOUTH, who struck me as too damn dorky. Watching the singer, I kept having these weird mental images of Buddy Hackett.

The perfect party band LESS THAN JAKE got the big E for effort, doing the ska thing with dancing horns and the whole bit while simultaneously being covered in Silly String. Of course Milo and the boys, what can I say, they were at least as great as the show in December, blasting through a slew of old and new songs, everything any Descendents fan could want to hear, only slowing along the way for their goofy ceremony of reciting the “All-o-gistics” creed, complete with commandments (“Thou shall not commit hygiene/Thou shalt not partake of the dreaded decaf” etc.) written on a duct taped scroll which was chucked into the mob afterwards.

Last time their encore included guest vocals from the guitar roadie and one of the SWINGING UTTERS; this time they topped that when they all switched instruments, Bill on guitar, Milo on bass, and a mysterious guest singer came out and out-Henryed HENRY ROLLINS on a medley of Black Flag songs (I lost it completely at that point) including “Six Pack”, “Wasted”, “Nervous Breakdown”, and “Jealous Again”. Awesome. A very, very happy crowd was left in their wake.

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“Food for the Masses”Impressions of the Spearhead Show and the “Chocolate Supa Highway” Album Photographs by Petra Arnold Words & Digitization by Darrow Boggiano

Franti has a stage presence that mesmerizes. With him under the spots, its hard to notice the rest of the group, but listening to the CD confirms that the variety of voices and musical talent is a big part of why he comes off so impeccable on stage and in the studio. Phunky rasta style from Ras I. Zulu, bumpin’ bass and keyboard from Carl Young who writes with Franti on 7 of the 15 songs on “Chocolate Supa Highway”. and glorious vocals from Trinna Simmons add a refined touch to the straight-up messages of Spearhead.

We played hell getting in to the show, but after missing just a few songs, I was able to get the feel of what the latest from Spearhead is all about. Drifting up to the balcony during “Tha Payroll” I saw some sisters nodding to each other and I could actually see pride gleaming in their faces over a brotha’ standing up for them rather than rappin’ bout “bitches, hos and when I dip, you dip, we dip”. Most of the songs discuss injustices by government, individual, and corporate oppressors. The casual wisdom of his words, and numerous ear-catching phrases are not only fun to listen and dance to, but should inspire people to be more conscious of what is really going on around them. The tunes on the new album take you many places. . . from love of family “it stops with the flowers in your own backyard”, to a society that makes money from imprisonment and doesn’t take their kids with them on vacation.

This guy was chosen to jump up on stage and shake his groove thing with the band.

SAMPLESThe tunes speak for themselves, so take a listen. You can click & keep surfing “Food For The Masses” 148k RealAudio “Rebel Music” 148k RealAudio “Madness In The Hood” 185k RealAudio “U Can’t Sing R Song” 174k RealAudio “Africa On Line” 174k RealAudio If you don’t have Real Audio yet – get it now!

David James plays guitar on much of the new album, and although she’s not mentioned on the CD I’m pretty sure Dawn Penn was the other voice/guitarist on stage at the Fillmo’, since they did a taste of her jammin’ tune “You Don’t Love Me” (no, no, no).After listening to the CD more than a few times, it makes one realize the shit that brothas and sistas are still dealing with and dying from, on a daily basis. The song “Gas Gauge” is about a brother who gets stopped for no reason and killed by a cop on his way to a job interview because he was reaching for his wallet in the glove box where someone had left a gun. The story is told in a fairy tale manner as though he’s talking about a woman who lives in a shoe and it takes a while for the truth of it all to ring through. But when it hits, it’s a powerful blow. Definitely makes you think about how many times you’ve gotten away with having shit in your glove box, but the cop didn’t stop to check you out if they saw you as ‘non-threatening’. “Food for the Masses” epitomizes the album focus and rocks with a supaphunky dance beat. It sounds like they are warning the world that the protest will continue against all forms of oppression and government control. The food is “truth”, and if that’s what the masses are buying, Spearhead oughtta’ make a bundle. The CD’s layout is comfortable as that song slides into “You Can’t Sing R Song”, which starts with a melodious Marvin Gaye style that melts into a soulful rapbeat; smooth as buttah.

“Madness In Tha Hood” is melodic and peaceful even though they are singing about hookers on Leavenworth Street, Johnny Cochran, the SFPD and crack freaks. Listening to the soothing instruments combined with vivid words picturing harsh realities sends your emotions up, down, east and west. The variety in both tone and lyric between Zulu, Simmons and Franti on this track make for a fresh combination.On the non-political front, “U Can’t Sing R Song” is more of a romantic, love song – Sensitive rap is hard to come across, but it sounds easy here. . . “long hot kisses and summer wishes. . . I mistook all your lovin’ for captivity . . . I still want you and I’m sad we had to let it go”.

“Comin’ To Gitcha” may be referring to an addiction to a lover or to dope, but since they aren’t much different, I guess it doesn’t matter. Franti sounds like he’s soothing an addict who’s coming down. Trinna Simmons and Marie Daulne add sultry and dramatic vocals that are so real, they take you back to sometime and place where you felt the same lonely desperation. Michael’s sexy ‘I’m here for you’ tone reassures that there is hope and sends chills. On “Why Oh Why” you get some autobiographical look at Franti and his basketball days. It gives a few more hints as to why he’s pretty pissed off at the world some times.. . “These memories be chasin’ me”.
Chocolate Supa Highway is a megabyte of intellect and musical masterpiece packed in to one little CD.

The beats will keep us dancing and singing along while the power of the word comes through to help Frisco and Franti lead the way in looking at whassreallyup’ in the areas of police brutality, bigotry, false imprisonment, and

“Hey – the herb’s a gift ya’ll”.

“Rock, Rock on Chocolate. The Supa Highway”

“Gotta’ go. Stay solid.”

Spearhead knows how to get people moving and maybe that’s a step toward a better world.

D. Boggiano

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