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FLESH EATERS: A MINUTE TO PRAY, A SECOND TO DIE

(SUPERIOR VIADUCT/RHINO ENTERTAINMENT/SLASH RECORDS/RUBY RECORDS; reissue, 2014; original release, 1981)

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In the late 1970s and early ’80s, Los Angeles (and, in truth, most of California, from San Francisco and south, to San Diego) was a particularly fertile environment for musicians… Punk was just coming into its own in the City of the Angels, permutating into its various sub-genres: Rockabilly (as exemplified by X and the Blasters), Hardcore (bands like Black Flag and Dead Kennedys led that charge), Goth or Horror Punk (Christian Death and True Sounds of Liberty – TSOL – spearheaded that style, adding even darker elements to a Misfits-style sound). There were others, of course… and then there was Flesh Eaters, the musical vision of acerbic poet Chris D (Desjardins), an amalgam of everything that was happening in the punk scene, circa 1981. Chris’ dark outlook and seemingly anti-social personality made being a Flesh Eater an adventurous (torturous?) affair and players came and went on a fairly regular basis.

Flesh Eaters (Dave Alvin, John Doe, Chris D, Steve Berlin, DJ Bonebrake, Bill Bateman) (photo credit: SCOTT LINDGREN)
Flesh Eaters (Dave Alvin, John Doe, Chris D, Steve Berlin, DJ Bonebrake, Bill Bateman) (photo credit: SCOTT LINDGREN)

By the time Chris D had written what would soon become his greatest musical achievement, his Flesh Eaters were a veritable super-group of LA punk musicians: guitarist Dave Alvin and his Blasters cohorts, drummer Bill Bateman and sax-man Steve Berlin (who would go on to greater fame as a member of Los Lobos); John Doe and DJ Bonebrake, from X, played bass and various percussion instruments, respectively. These men were (and are) all well-respected musicians in their own rights, but when they convened to record A MINUTE TO PRAY, A SECOND TO DIE, the stars aligned to produce a 37 minute blast of punk perfection. The original album was released on Desjardins’ own Ruby Records before it was enfolded into the Slash Records stable. This latest re-release comes from the esoteric Superior Viaduct imprint (which is also reissuing the second Ruby Records release, the Gun Club’s debut album, FIRE OF LOVE) and is available in glorious vinyl and a limited CD release. So, as I’ve waxed (somewhat) poetic about the record, I’m sure that, like Bugs Bunny, you’re wondering, “What’s all the hub-bub… bub?”

Flesh Eaters live (John Doe, Bill Bateman, Dave Alvin, Chris D, Steve Berlin) (photo credit: DAVID ARNOFF)
Flesh Eaters live (John Doe, Bill Bateman, Dave Alvin, Chris D, Steve Berlin) (photo credit: DAVID ARNOFF)

Side one starts strong with “Digging My Grave” as Chris’ controlled rage vocals add to an already disjointed, ominous feel. The primary instrumental impetus comes from Berlin’s sax and Bonebrake’s marimba… yeah, you heard right: Marimba, an instrument very rarely heard in rock music at all, forget about the Gothic punk stew that A MINUTE TO PRAY… offers up. There are a couple of beautifully discordant sax squonk solos from Berlin that add just the right vibe. “Pray ’til You Sweat” is highlighted by a very cool guitar signature from Dave Alvin and a typically dismal lyric from Chris D: “You gotta stop riding the brakes/You gotta stop robbing the cradle/Cock the gun, pull the trigger/What you got is one dead singer.” As the name implies, “River of Fever” is a fever dream of horror and depravity; and, aren’t those the best kind? Quite possibly the truest punk song on the album, the tune is an exercise in speed and precision, with a chorus that laments (or glories in… you’re never quite sure with Desjardins), “My hands are folded across my chest/My hands are folded and I’m at rest.” “Satan’s Stomp” was recorded live-in-studio, with a slightly cavernous sound, which works well on this particular track. Bateman and Doe (with an assist from DJ Bonebrake, no doubt) propel the tune forward with minimalist approaches on guitar and sax for accompaniament. The chorus is punk-fast with the majority of the nearly six minute song feeling more like a New Orleans jazz funeral until everything collapses into a deconstructive crescendo of noise before the drum and bass coda return for the final 40 seconds. Halfway through, and… what an amazing slab of pure, raw, rock and roll savagery!

Flesh Eaters (Chris D, DJ Bonebrake, Dave Alvin, John Doe, Steve Berlin, Bill Bateman) (photo credit: SCOTT LINDGREN)
Flesh Eaters (Chris D, DJ Bonebrake, Dave Alvin, John Doe, Steve Berlin, Bill Bateman) (photo credit: SCOTT LINDGREN)

What is, arguably, the most melodic tune on the album opens side two. “See You In the Boneyard” is a total ebb and flow of power and aggression, a Judas betrayal of remorse and condemnation, with lines like: “You see something different/When it’s time to carry a cross.” “So Long” is kinda like something from Rank and File or Doe’s and Bonebrake’s other band, X. Chris D’s vocals continue to be a raw nerve croak, sounding creepy and rather threatening, especially here, where the theme seems to be – at the very least – murder or – more likely – murder/suicide. Or gardening… the song could be about gardening. A John Doe/X leftover from 1977, “Cyrano de Berger’s Back” is a retelling of the love triangle of Christian, Roxane and Cyrano’s proboscis. Where the original X demo (which finally saw the light of day on Rhino’s LOS ANGELES reissue in 2001) was bright and somehow happy, this version is as dark and bleak (and wonderful) as the rest of the record. The lyrical content (and, maybe the vocals a bit, as well) of the seven minute long (!) album closer, “Divine Horseman,” puts me in mind of another street poet, Jim Carroll; however, where Carroll’s poems/songs were dark around the edges, Desjardins’ seem to be black from the core out. The song starts with a rather noirish sax passage that leads straight into a strident, punk-cum-metal Alvin guitar riff. Pounding drums from Bill Bateman and that insistent guitar never falter throughout as the bass and sax add interesting textures along with the marimba and maracas. The lyrics are very horror-themed but, at least in my mind, closer to ROSEMARY’S BABY, “Let’s have a baby with the Prince of Lies” than what the final lines reveal: “I still love you/I know what you are/Loup Garou.” Like Michael Landon always said, “You gotta love a good werewolf in love story.” And, you gotta love an album as ground-breaking as A MINUTE TO PRAY, A SECOND TO DIE. Records like this don’t come around every day or, for that matter, come back around every day so – as I’m wont to say: “Go ye forth and consume!” Both configurations are available at the usual places, my favorite of which is a staggering beast commonly referred to as a “record store.” You can also remain disconnected from all human interaction and order it directly from www.superiorviaduct.com.

DETROIT COBRAS/PUJOL/NIKKI LANE

(June 12, 2014; THE DEMO, Saint Louis, MO)

The Detroit Cobras Saint Louis Poster by James Bratten

This is my first sojourn to the Demo on Manchester Avenue, in the Grove section of the city (which has turned into something of a “Music Row,” with what seems to be a couple dozen live music venues). With a capacity of 200, the Demo is what is known as an “intimate room.” That term also connotes the friendly atmosphere offered by Jake Snyder and his knowledgeable staff. Ben Schulte, the production manager, goes above and beyond to guarantee the best sound possible, insuring a positive experience for both patron and musician. The musicians on this night’s vintage-style anything goes bill is the hard-working rock ‘n’ blues party combo, the Detroit Cobras, the punky Pujol and the real-deal country of Nikki Lane.

Nikki Lane (photo credit: DARREN TRACY)
Nikki Lane (photo credit: DARREN TRACY)

Nikki Lane, in the midst of her first headlining tour, opted to open for this show rather than go up against the proven might of the Cobras. I’m glad she did! By doing so, she has insured that the next time she plays the Lou, the fans will turn out for her. Nikki’s set was short, but very sweet: Three tunes from her just-released sophomore album, ALL OR NOTHIN’, a couple from her debut (2011’s WALK OF SHAME) and a cover of Tom Petty’s “Saving Grace.” Her backing band – they’ve dubbed themselves “Team Thunder,” a name that Nikki abhors – are a well-oiled machine… just wish I woulda remembered to get names! The guitar player, in particular, impressed with a myriad of styles, from hardcore country twang to chugging blues riffs to over-the-top psychedelic soloing. And, let’s not forget the lead singer in the band: Nikki, two albums into what should be a very successful career, certainly commands your attention with her singing (thanks in part, I’m sure, to her deft songwriting talents) and her between song quips and intros. A great set that has me counting down to her next Saint Louis date.

Pujol (Daniel Pujol) (photo credit: DARREN TRACY)
Pujol (Daniel Pujol) (photo credit: DARREN TRACY)

Shifting gears completely, Daniel Pujol and his band (the creatively named Pujol) offered an entirely different view of the Nashville music scene. Daniel’s songs and arrangements are a few cuts above the standard punk sound that you’re likely to hear on any given night at just about any club in the country. Aside from Daniel’s (and his guitar cohort, who’s name I didn’t get) continual shredding (and occasional harmonic duets), the set’s focal point was at the back of the stage: Tiffany Minton was a diminutive dynamo, keeping the beat with arms flailing and her kinetic energy driving the songs at an almost breakneck speed. Pujol’s interesting vocals – kinda like Geddy Lee on helium – were, unfortunately, somewhat lost in the mix, causing a few in the crowd to miss the nuances inherent in his lyrics. The power and musical acumen of the group, thankfully, nullified the problem.

The Detroit Cobras (Dale Wilson and Richie Wohlfeil) (photo credit: DARREN TRACY)
The Detroit Cobras (Dale Wilson and Richie Wohlfeil) (photo credit: DARREN TRACY)

Rachel Nagy, the Detroit Cobras’ powerhouse vocalist, was ready to rock ‘n’ roll. The band blasted through a long set of classic R and B and rock songs, with Rachel front-and-center and longtime band mate, guitarist Mary Ramirez, holding things down on stage left (right in front of improbable scenester and local pain, Beatle Bob). Stage right was occupied by Mary’s guitar counterpart, Reuben Glazer, and bassist Dale Wilson; holding the beat was Richie Wohlfeil, doing more with a simple kit (and a cut in the palm of his hand) than most can accomplish with a set that would make Neil Peart envious. For some unknown reason, the crowd was slow to warm up to the hard working, hard partying vibes coming from the stage, not really getting into the groove until the fourth song, a rare original, “Hot Dog (Watch Me Eat).” That’s something that I’ll find myself pondering for some time to come… all the while basking in the glow of my very first Detroit Cobras show.

THOSE DARLINS/DIAHREA PLANET/SPEEDBOATS

(22 February, 2014; OFF BROADWAY, Saint Louis, MO)

Those Darlins (photo credit: DARREN TRACY)
Those Darlins (photo credit: DARREN TRACY)

When reviewing a band live, sometimes things work out, sometimes there are a couple of bumps in the road, sometimes things completely fall apart. This review kinda falls into the “bumps in the road” category. Nothing serious, just a matter of… timing. Planning to meet up with some friends, I was at the venue early. It was then that I found out that not only was the door time an hour later than expected, but there was one more band on the bill than anticipated. All of this meant that – besides a 9:10 starting time – I had time to kill… a lot of time to kill! But… you don’t really care about that, do you? You just wanna know about the show. So…

Speedboats (photo credit: DARREN TRACY
Speedboats (photo credit: DARREN TRACY

The “extra” band was Speedboats, a newish hometown group whose sound is borderline pop punk, leaning heavier toward a cool California skater punk/stoner rock vibe. The five-piece has a great sense of self-deprecating humor and energy to burn. There was also a huge case of the nerves on display, as singer Greg Crittenden had some problems with his control. Now, how, you may ask, do I know it was “nerves” and not something else? Well… I watched the boys’ sound-check and he didn’t crack at all. There’s actually so much to like about these guys and this is such a minor complaint that, truthfully, besides the guys on stage, I may have been the only other one to notice. The guitar duo of Sean Gartner (stage right) and Karl Stefanski (stage left… where else?) elevated the music to something way past standard pop punk, particularly on a song so new that it didn’t even have an official name yet. The working title is “Roller SK8 or Die,” which as far as I can tell (what lyrics there were weren’t totally clear to these ears), had absolutely nothing to do with rollerskating or death. Speedboats got the crowd into things early on and set up the evening nicely. I seriously expect great things from these guys in the not too distant future.

Diarrhea Planet (photo credit: DARREN TRACY)
Diarrhea Planet (photo credit: DARREN TRACY)

Up next was Diarrhea Planet, a band hand-picked by fellow Nashvillains (?) and headliners, Those Darlins. Truthfully, I wasn’t sure what to expect, but what I got absolutely blew me away. Imagine… oh, let’s say, Dead Kennedys… with… let’s go with Eddie Van Halen and then multiply him by four. That’s right: old school California punk with four guitar players continually soloing, shredding and finger-tapping like mad scientists. Founding member Jordan Smith handles most of the vocals, but the other guitarists (Emmett Miller, Brent Toler and Evan Bird) all have their moments. With the rhythm section (drummer Casey Weissbuch and bassist Mike Boyle) holding everything together – in the very loosest sense – the four front line guys were allowed to entertain the fans (and, occasionally, each other) with some of the hottest playing I’ve ever seen, including two of the guys finger-tapping in harmony. Absolutely amazing! This band managed to do something that I haven’t seen for quite some time: They had the crowd moshing, bouncing and bringing back that old school punk pit vibe. At one point, they brought the “least punk person” to the stage to prove that “anyone can be a punk.” They gave Ty the mic and 35 seconds to rant, vent and be punk. He started out with a truly epic scream, but was soon lost in the swirling guitar overload. What a fun show! However – and, please, don’t hold this against me guys – Diarrhea Planet may just be the fourth worst band name ever – right behind Panic! At the Disco, Vampire Weekend and Justin Bieber. Since I have absolutely no idea where the name came from, I’m gonna go with this: It’s a geo-political statement aimed at the leaders of the world. Thankfully, the band elevates the music to a level that transcends the horrible noises of the Disco Vampire Bieber. There latest release is called I’M RICH BEYOND YOUR WILDEST DREAMS and is available at all of the usual places. Don’t let the name scare you!

Those Darlins (photo credit: DARREN TRACY)
Those Darlins (photo credit: DARREN TRACY)

In Nashville, Those Darlins (as well as Diarrhea Planet) are godlike. In fact, they had a large contingent of their hometown fans front and center at the intimate Off Broadway stage. There were also quite a few folk from upstate Illinois: Chicago and, if I heard right, a suburb called Berwyn. People absolutely love the Darlins… with good reason. The quartet took the stage and the crowd by storm, with the kind of rock ‘n’ roll that has people making five hour drives to see them onstage. Jessi Zazu (who handles most of the vocals) and Nikki Kvarnes continued the guitar showcase, with their own brand of sweet leads and tasty solos. Things seemed to kick into a higher gear with the set’s third song, “Red Light Love,” which – even if you had no idea who Those Darlins are – is a tune that you’re gonna recognize, as it was featured in several commercials for Kia Motors over the past couple of years. Unfortunately, this is where the whole time thing came in to bite me on the posterior: About the time that the band was finishing “Red Light Love,” I received a call telling me that I was needed at home. I love the Darlins, but – and I’m sure they’ll agree – family comes first. I am really sorry that I didn’t have the chance to hear the entire set from Those Darlins. If the rest of the set was as hot as the first three or four songs, I certainly missed a great one!

Those Darlins (photo credit: DARREN TRACY)
Those Darlins (photo credit: DARREN TRACY)

Before I go, I’ve gotta say something about the venue. Off Broadway is currently one of the best sounding rooms in Saint Louis. The vibe is awesome and laid back, as are the people who work there. Even though Off Broadway is smaller, the closest comparison I can come up with is the late, lamented Mississippi Nights. If you have the chance, get out to Off Broadway for some live music. Check out their schedule here: www.offbroadwaystl.com.