So Much Music in So Little Time

By spring of 1994, I was a curious bystander to the meteoric rise of The Ernies, based on their ska appeal and following in Boy O Boy’s big footsteps. They went from gigs at Crazy Charlie’s and Buffalo Joe’s to opening for the Screaming Cheetah Wheelies at the Flood Zone in just nine months, covering everything currently popular with an overtone of ska. I was doubly curious because the lead singer, Will Hummel, had been in my Cub Scout troop when he was a sprout. Would one of my former Cubs become a rock star? Could I sell my story to the National Enquirer?

Now they were back at the Zone, opening for their mentors, Boy O Boy, packing them in, much to the dismay of the FZ bouncers who warned me alcohol-fueled fights always broke out. (Boy O Boy, if you don’t know, became Fighting Gravity. As far as I can tell, only two of the guys have hung in and for some reason, I would always get anonymous hate mail whenever we wrote about them, usually directed at the lead singer, Schiavone McGee.)

On this night McGee, without the band, started the show singing one line. “All I need is a holiday,” and then went silent. The audience sang the rest back to him. They were good at taking directions. Hands in the air! Jump! Bounce! You could tell they were in college. I almost expected McGee to sing, “Close your bluebooks and pass them to the front.”

(2007 aside: Do colleges still give exams in bluebooks?) Anyway, The Ernies just seemed destined to make it. They were signed almost immediately, yet like Boy O Boy, the style that established them was a passing fad and they didn't sound like themselves once the record company finished with them.

We went to the 1708 Social Gallery in the Bottom, a club I described as looking like a stage set from “Brideshead Revisited.” We sat on white sofas and drank Dinosaurs: Long Island Iced Teas turned green by a dose of Midori. “They were so strong, we attracted Jurassic narcs.”

(“Jurassic Park” was big then. Was that clever or was I still high on Dinosaurs when I wrote it? In any case, the Social Gallery hosted bands like Lovesake which featured civilized instruments like upright basses and violins. Then it became something like a goth disco.)

On a Sunday night, we endured an unusual opening act at the Hole in the Wall, a poet whose poem consisted almost entirely of “Daddy’s going to take out the Harley. Want to go for a ride on the Harley?” The band was Gibbon Hick, with Marty McCavitt on keyboards and baritone sax, Pippin Barnett on drums, Paul Watson on cornet and guitar, and Steve Williams on bass and vocals. I sold an old telephone to Watson once and he seemed very glad to get it. He was in a lot of bands.

“Jazz audiences are attentive. No talking, no wandering around. They really listen as if their collective concentration is another instrument in the band. After the set, they literally passed a hat. ‘Feel free to contribute to the deconstruction of music,’ and the audience willingly did. It was jazz church of the holiest kind.”

At the Sunset Grill, we saw the band that all the other bands hated because they got all the gigs, The Fredds. They were the Sunday night house band at Mulligan’s in Innsbrook and always got the big money shows, the bachelor auctions and chili cook-offs.

“They play progressive dance music! They’re a cover band, but they cover, like, the new stuff on the radio, the stuff you can dance to,” I was told, as I tried to imagine people dancing to Beck’s’ Loser’ or Counting Crow’s ‘Mr. Jones.’”

One night, I saw five bands in five hours in five different places. We caught up with No Small Feet, another big cover band, at Lightfoot’s, a hotel lounge where “bank secretaries go to meet insurance salesmen.” Lee Covington was playing behind a rack of three keyboards and the band tried to resist the pleas from women who just wanted to dance to songs they knew.

“Guess what, we’re going to play another original song and you might not be able to dance to this one either,” Andy Edmunds chided them over the microphone.

It isn’t always easy being a dance band, although don’t tell that to Bio Ritmo. Even in ’94 at the Metro, they had everyone dancing, at the same time declaring the Metro had the worst PA in town. A block down Grace Street, we watched Rocket 69, “New York-style, ‘70’s punk a la The Heartbreakers” drown out their lead singer Dan-o; then we joined the preppy people packed into the Flood Zone for NRBQ. Across the street, BS&M were playing the outside patio at the Sunset Grill, but we opted to stay warm and go inside Scarlett’s for the last three songs in The Useless Playboys set. The stage was decorated in glittered moons and stars that vocalist Mike Geir had made from cardboard he salvaged from Marvin’s basement.

We finished the night at an after-hours downtown place called Casablanca’s and had pancakes smothered in peaches and cream. How did I do it? I didn't pay covers. I had a little press pass I made and laminated at Kinko's.

(I was startled when I arrived at the BS&M website. This band has sure changed, although it still seems to belong to Dave Barton, another hated guy in '94 because he got all the good gigs.)

A private Rites-o-Spring party at Peter Headley’s house on W. Cary was better attended than most club shows, and even advertised on the Rock Line. Headley wisely nailed his bedroom door shut for the duration. White Cross, with the reunited line up of Crispy Cramner, Mike Rodriguez, Joel Benson and Rob Mosby, opened for the Vapor Rhinos. Stuffed animals bounced all over the house until the stuffing was literally beat out of them.

My writer Kami Godbey was no slouch at descriptive prose. I could picture her night at the Metro with Sliang Laos and “a crowd as diverse as a family-sized pack of General Mills cereals. Grunge kids, goth chicks, skinheads, punks and freaks were all jammin’, or maybe all that motion was just everyone trying to unstick their shoes from the tacky gook that layers Metro’s floors. I kept getting stuck to the wall.”

Kami also discovered the Trip Thugs at the Metro and she was enthralled enough to seek them out at the “Thug house” on the 2400 block of West Main. They were Patrick Corregan, John Ekermeyer, Kelly Turner, and Mark Young. They even had a staff “manager and artist” Russell A. Duerr, and soundman, Mike Brady. They had been together five months and were already clocking in seven or eight gigs a month at places like the Metro and Crazy Charlie’s.

They were from Northern Virginia except Young, who was from Salem, and Turner, from Los Angeles. Inspired by Avail, they come to Richmond to seek their fortune, although it ultimately didn't help. Kami got creative with my recommended questions and asked things like when was the last time they were naked, could they tell the difference between different brands of toilet paper, and if they ever had that “not so fresh feeling.” Maybe that’s why the serious music writer guys in town hated the Journal and still do. All they blog about is how great Punchline used to be. Still, I give the girl props, and she took photos, too. After a year or so, she disappeared on me.

For reasons I can’t remember now, we had to Photoshop the band photo Kami took of the Trip Thugs, even though we didn’t have Photoshop. Photoshop may not have been invented then. We took two different photos and pasted them together into one, and it worked perfectly. It was Scissorshop.

The 1995 Musician Quiz

We ran a variation of this quiz in a 1995 issue. All the girls I met who had dated musicians had the same stories about how these guys lived, and a pattern developed.

You have seen every episode of “Ren & Stimpy.” +15
You have seen every episode of “Southpark.” +10
You can quote from memory the entire movie “Spinal Tap.” +5

You are in a committed relationship. +5
You were in a relationship, but she was committed. +10

You own a house. -5
You rent an apartment. +5
You rent a room in someone else’s apartment. +10
You never know whose sofa you’ll be sleeping on tonight. +15

You have gone to an all-night drug store to buy Kwell. +5

You are half deaf. +5

You have more than 500 records. +10
You play on half of them. +20

You have a futon mattress and you’ve been saving up for the frame for the past five years. +10

Your wardrobe is black, gray, black, and gray. +5
Your underwear is just gray. +10.
You don’t have any underwear. +15.

You play in another band. +5
You play in two other bands. +10
You’re John Leedes. +15. (The 1994 15 point answer was You’re Charlie Kilpatrick.)

You have lived in the Fan District. +5
You have lived in The Ritz. +10
You have lived in the Ellwood Sweat. +15
You have lived on the Spine. +20.

You never have a condom when you need one, but you always have a guitar pick. +5
You can make a girl come with a guitar pick. +10

The best time you ever had, you were drunk. +5
The best time you ever had, you were stoned. +5
The best time you ever had, you were drunk and stoned. +10
You don’t remember the best time you ever had, but people tell you it was great. +15

You have a full-time job that has nothing to do with music. -5
You have a part-time job that has nothing to do with music. +5
You work part-time as a bartender. +15
You work part-time as a restaurant cook. +20
You work part-time washing dishes. +25
Your girlfriend has a job. You play music. +30

You have more stereo equipment, amps and instruments than furniture +5
You have dishes, but you use them as ashtrays +10
You have an ashtray you use for a dish +15

You have never owned a car newer than 10 years old +5
You have never owned a car. +15
Your dream is to own a van. +5
You are living in a van. +20
You and your entire band are living in a van. +25

Your girlfriend has dated another guy in your band. +5
Your girlfriend has dated every guy in your band. +10
Your girlfriend is dating you only to get to another guy in your band. +15
You wouldn’t even have a girlfriend if you weren’t in a band. +20

To you, the major food groups are the Village, Joe’s, Third Street Diner, and Denny’s. +10

You can name every band you’ve played in and the set lists for each, but not the last five girls you dated. +5

Your wife/girlfriend has never been with you on New Year’s Eve because you’ve always been working. +10

Bonus points:

You have worked at more than 20 Richmond restaurants. +20
Your bar tab is more than you made playing. +15
Your girlfriend's bar tab is more than you made playing. +20

175-200 points: You are a real Richmond musician!
75-170 points: You’re a musician.
0-70 points: You’re not a musician. Why did you even take this test?

Christine Gibson

Here's the obit from the Times-Dispatch website. Since it is going to disappear from the site after Dec. 13, I've moved it here so it never disappears.

Christine Ann Gibson
GIBSON, Christine Ann, 55, of Richmond, Va., died on Dec. 9, 2007 due to complications after a courageous battle with breast cancer. She is survived by her awesome daughter, Maria Christine Gibson Applegate; her loving husband, Thomas William Applegate; sister, Susan Gibson of Mont Clair, N.J.; and aunt, Hazel Tipton of Fresno, Calif. She was born Sept. 12, 1952 in Newark, N.J. to Richard and Margret Gibson. She left New Jersey and came to Richmond to attend classes at VCU. Once in Richmond, Christine became a vocalist, visionary, and the attitude for Richmond's legendary punk rock band, BEEX. Under Christine's direction, BEEX enjoyed a 30-year run from its beginning as one of Richmond's first punk bands, established in 1977. At the same time, she became vice president of operations at Vatex America. After a career span of 24 years beginning as an embroiderer, rising through the company and ending as vice president, she was proclaimed Vatexian of the Year several times over. Christine was also the creator of the BARBIE GARDEN, an ongoing art installation featured in her yard on one of the Fan's many interesting streets. Christine was more than any of this and then some. Those who knew her are better for it and they know it. Donations may be made to OAR of Richmond Inc., 1 N. 3rd Street, Richmond, Va. 23219.

Hollywood Grill

I admit it. Oregon Hill scares me. I used to have a friend who lived on S. Pine Street, known as “the spine” among the ancient, formerly cool people. I liked going to see him in his dollhouse apartment. Over the years, I met other people who lived in the Hill in various states of bohemian poverty. Then I met people who were buying houses in Oregon Hill and getting these massive, funky spaces for hardly any money.

Still, it scares me. Especially at night. I think it has something to do with the necessity of knowing how to parallel park and the claustrophobic, narrow streets.

So it took much bundling up of my courage to go to the Hollywood Grill, former site of the notorious Chuck Wagon where you never knew what was going to happen and you had a 50/50 chance of ending the night at MCV. But that was the old days, before the demographics of Oregon Hill began to shift.

Hollywood Grill is not named after Hollywood, Calif. It is named after Hollywood Cemetery, which predates Tinsel Town. I was immediately surprised. Oregon Hill is on the cusp of a massive gentrification, with rehabs and new townhouses that look architecturally like the old townhouses, popping up everywhere. No parking skills were required. China Street had plenty of open spaces on this particular Tuesday night. To further acclimate you, the Grill is about two blocks south of Mamma Zu’s.

This is a small place with a wall of booths, a six-seater bar, and one overpowering pool table. The blackboard special on Tuesdays is 50 cent tacos, (also a great name for a band.) Monday night is free pool, Wednesday is someone called Uncle Bob on his guitar, Thursday is karaoke, and Friday and Saturday is live music. On this particular night, an experiment was in progress: do 50 cent tacos need a band to bring people in? That is the question.

The band serving as the lab rats in this experiment was the Harrison Deane Band, in which my husband plays bass, explaining why I made this trip in the first place.

The spotlights on the pool table kept the band well-lit, although it must be very distracting for them when people are lining up shots literally right under their noses. And if someone’s playing pool, you can’t really dance without bumping into them.

Hollywood’s menu is strictly school cafeteria style, serviceable and inexpensive. Sodas are served in the can with a plastic cup of ice, all the better for taste and fizz since Coke shot out of a bar spray nozzle is just nasty. There are no desserts on the menu, but at a workingman’s bar, dessert is a Marlboro Red anyway. Sunday brunch starts at the late hour of noon and there’s a choice of four things! Woo woo!

I thought I was in for a slow night at 8 p.m., with only six others in the place, but as the evening progressed, the crowd grew like an amoeba, doubling in size every hour. By 10 p.m., we had a shouting woman holding her cell phone up to the band and noodle dancers fueled by PBR moving the chairs back so they could undulate to anything that sounded remotely like a Grateful Dead song.

My bill for two tacos and a can of Dr. Pepper came to $3.75 (the soda was $1.75?!). I left a $2 tip because I am just that fabulous, and so is the band. With two guitars, bass, drums and keyboards, their layered, polished sound is worthy of a crowd of 200. But that would have required 400 tacos.

A Trip to Grandpa Eddie's

Anything with the name “grandpa” in it seems like it’s not going to be what’s happening now, but I kept hearing about bands getting gigs at Grandpa Eddie's , so off we went.

I thought we’d find it at the former location of the Three Chopt Sports Grill, a split room in a strip mall on Three Chopt near Cox Road that kept the band on one side and the drunks on the other. But it wasn’t there. It was on the west side of Cox in a brand new brick building. We arrived at 9 p.m. on a Friday, just in time for the band, but long after the dinner crowd had cleared out.

The restaurant, which moved to the Far West End from its original Goochland location, is positioning itself as the Tobacco Company of the West. Most of the places on the West End that host local music are not known for their food. Grandpa Eddie’s wants to be all things to all people, a place to eat as well as linger after dinner. Bands play Friday and Saturday nights from 9 to midnight. The restaurant’s great looking website has the line-up posted.

Jack Taggart, who books the music, says, “There’s nowhere in the West End to play that is totally geared around the music. We need to find those pockets of people. It’s a long way to go downtown for West Enders, so to get a place established out here would be great.”

I like clubs where you don’t have to stand, clutching your beer. At Grandpa Eddie’s, you can sit with a clear view of the band from just about every booth in the place, as well as the bar, which is behind large glass windows, and also serves to separate the smoking area from the non-smoking dining room. The room is a warm, cozy copper color and the acoustics are, in my sound tech husband’s estimation, “dry,” i.e., reverb isn’t bouncing off the walls. Grandpa Eddie’s politely turns off the wide screen TV above the band, always a nice touch. There’s no dance floor. If you get happy feet, you’ll have to dance by yourself next to your table.

Our food arrived before we could even settle into the booth or finish the baby cornbread muffins served as a free appetizer. That was fast! Everyone has their own opinion of barbecue, so we won’t argue that here. The menu is online. We had a sandwich, “Kansas City’s Famous Burnt Ends,” with slaw and fries, and a rack of ribs with collards and slaw. For dessert, we split the donut sundae, a glazed donut with a scoop of vanilla ice cream, chocolate sauce, whipped cream and a cherry. That was just odd. Doughnuts are not easy to negotiate with a fork or spoon, so it was a dessert that fought back. With soda and tea, our bill for two was $33.55. The house dessert is peanut butter pie.

Where does used restaurant ketchup go? Everywhere I eat, the bottle of ketchup at the table is always brand new, even at Arby’s. How can that be?

Back Alley Hoodoo was playing that evening. They also have a good website and if you Google them, you’ll find links to videos on YouTube, too. They are older, seasoned blues musicians, as are most of the bands currently on the schedule. No loud kid bands for Grandpa Eddie.

I’ve never understood how you can play the blues as a band. Something like “Red House,” which Back Alley Hoodoo covers, sounds more poignant when wailed by one solitary guy and his acoustic guitar. If you’ve got enough buddies for a band, you shouldn’t have the blues!

Tell Me Something New

This makes me sad because I don’t want to come off as sounding snarky, but we really need to control our enthusiasm, at least to reasonably normal levels, when writing about bands. During the newspaper days, when I sensed the reviews were coming from friends and family, I ran them in the letters column rather than in the reviews column.

Now everything goes onto the same web page, although no doubt the readers can detect a biased review. It depends on the size of the room, but normally, less than 20 people is not a crowd. Two couples dancing is not a crowd dancing. It’s four people dancing. Watch those adjectives or you’ll give yourself away as a publicist and it dilutes your message. The very fact that my paid reviewers were so hard to please gave them credibility when they were surprised by a good band. Don’t be so easy that you’re suspect.

And remember who your readers are. The audience on the Journal’s website is mostly musicians, and they don’t really care how good a band is because they’re probably not going to see you unless you’re opening for them. They’re interested in the room, the acoustics, the stage, whether there’s regulars who come to the club all the time or if the place will be rolling in tumbleweeds unless they bring their own friends. If you have insider information about how much the club owners pay, or if the doorman gets to keep half the money, whether the house PA barely works, or the TV is going to be blaring sports right over the vocalist’s head – share that.

Otherwise, we already know that every one of you is the greatest band that ever was and deserves to pack the house with standing room crowds every night. We already know you cover songs fantastically, yet with such originality you make them truly your own. Your originals are indeed No. 1 hits that everyone will be singing next week. We all know you “will not disappoint,” a favorite cliché used in all the hundreds of reviews I’ve published. Every bar is wonderful because they booked you and you want them to book you again, so their food is fantastic, the microwaved chicken fingers are where microwaved chicken fingers were born, the beer is the coldest ever in history, the bathrooms so clean and sparkly, and the manager and waitstaff are saints. They practically give foot rubs, they’re so accommodating. Your thousands of fans are the most fun people; so much fun that all the rest of us must go to your next show and rub elbows with them so the fun will spread. We will have a great time, maybe the greatest of our lives.

Yes, we know all that. Now tell me stuff I don’t know.