So here it is. The not-so-widely anticipated fourth installment of Barb's Untitled Column. I apologize for the delay in getting it posted, but rather than spending a lot of time justifying it with excuses and explanations, I'll just dive right into the meat of the column: reviews of shows in the area from December 2002 through June 2003. A lot of new local bands have been forming lately, a phenomenon that I'm sure is partially fueled by the fact that the city now has several good music venues that aren't hesitant to feature promising, and sometimes young, local musicians. The Disposables, Old Major, The Nancys, and United Fists are all bands that fans of punk, rock, and music in general should make a point to go see. With more bands and venue choices than ever before, conflicting shows are happening more and more often. Flip a coin and head on out—our local bands and venues need and deserve your support. The Green Door was packed on December sixth for Life is Cheap: Old School Punk Night, the fourth tribute show produced by Oklahoma City's The Mix Tape Club. The evening was divided into three sets, hosted by Roustabouts, Klipspringer, and Twenty Minutes to Vegas. Guest vocalists joined all three bands, with Tory Ayers from Euclid Crash singing Fear's "I Love Livin' In The City" and Ross from Shackles Await tackling another number, with the Roustabouts clearly enjoying ripping through a few familiar favorites. (I apologize for the lack of details. My ever-present notebook didn't make an appearance on this particular night to keep track of what was going on, because I was too busy psyching myself up for my Green Door stage debut later in the evening!) Twenty Minutes to Vegas finished off the night with a set that included "Kill the Poor" by the Dead Kennedys and "Bombshell" by Operation Ivy. The Oklahoma Gazette's George Lang joined the boys for a dead-on rendition of The Sex Pistols' classic "Anarchy in the U.K," (I have seen the future of rock 'n' roll and his name is George Lang!) and Todd Clark didn't miss a word of the epic Suicidal Tendencies' song "Institutionalized." As a result of a somewhat ill advised belted-out rendition of the B.C. Clark Anniversary Sale Song at a get-together of friends, I was asked by TMTV to join them onstage for the Fear singalong classic "More Beer." While it was fun jumping up there and singing lines like "Gonna kill a case or maybe two!" and I had no problem helping supply back-up "oh yeahs" and "talkin' 'bout my generations" on a couple of other songs, I know I'm probably better off covering things from the floor, rather than trying to pass myself off as an actual performer. Overall, it was a hell of a night packed with punk rock classics, and was yet another successful Mix Tape Club production. I headed back out to the Green Door the next night for New Jersey's Hudson Falcons, one of the handful of bands that I never miss when they come to town. Opening up the evening was a young local punk band called The Unemployed. Up next, Hudson Falcons' lead vocalist Mark Linskey pulled up a stool and performed an acoustic set featuring songs off his recently released acoustic album "Stay Hard, Stay Hungry, Stay Alive: Songs of Freedom." The thirteen-track CD is available via Roachender Records (Roachenders.com), and includes cover songs by artists including Bob Dylan and Bob Marley. Up next was Tulsa's The Beer Mongers, ripping through their set of heartwarming classics like "I Hate Hippie Scum." The Hudson Falcons opened their set with "Free Lori," one of their many songs with a political message. I was thrilled when Mark dedicated "Sweet Rock n' Roll Bad Ass Bitch" to me, one of my favorites off the Falcons' latest album, "For Those Whose Hearts and Souls Are True." After playing a long set, the crowd still wanted more. The Falcons were happy to oblige and played "Revolution" off their "Desperation and Revolution" album. Unfortunately, two long- term members recently left the band. Drummer Ben Glotzbach has headed north to join Angels, Saints, and Heroes, and guitarist Uncle Chris also amicably parted ways, intending to start a new band sometime soon. Mark will continue to tour with his solo acoustic set, and I'm hopeful a new Hudson Falcons line-up will form soon. December 11th also included a trip out to the Green Door. Unfortunately, my notes on the evening have since disappeared. I'm guessing it was one of those nights I didn't have my notebook on hand and ended up using a flyer or something that disappeared in the eight months between the show and the writing of this column. Pulpit Red opened the evening, with a band called Jackass and Thee Trash Brats finishing things up. I recall liking Jackass, but can't find their website—every search I've done comes up with a million sites for the MTV series, rather than the band. Thee Trash Brats gave me a copy of their 2001 release "American Disaster." Full of glam-punk anthems, it's a great album. Together fifteen years, the band recently called it quits. Roustabouts got the evening off to a rousing start on December thirteenth, with a set so tight there wasn't time to applaud and register appreciation for the previous song before the next one started. The set included several songs off their Haunted Town Records release "The Only One." Anybody who hasn't picked up a copy of it yet should. It's street punk-infused rock perfection, and makes an interesting study on the evolution of a local band, now that Roustabouts' style has progressed (more on that later). That One Guy took the stage next. He's the kind of musician that makes me stand completely still with a spaced-out smile on my face, as he coaxes music out of various pipes, saws, shoes, and other implements. His warm stage presence was complemented by rhythmic songs with drunken giggle-inducing titles like "Weasel Pot Pie." Up next was Roger Miret and the Disasters, headed by the frontman of the legendary NYC hardcore punk band Agnostic Front. Roger was wearing a Roustabouts t-shirt with the sleeves cut off, and effortlessly riled up the crowd, which was full of people hoisting beer cans into the air and singing along. He was kind enough to give me a copy of the band's September 2002 self-titled release. It's full of street punk anthems, and finishes with a track called "New York Belongs To Me," dedicated in memory of the World Trade Center and based on the Cock Sparrer song "England Belongs to Me." Roger Miret and the Disasters are touring with Dropkick Murphys and The Unseen, and will be touring with Rancid starting in November. I finished out the year by witnessing the Steely Dan tribute show at the Green Door, attending a screening of "Mouth Garden in Progress," a hilarious film produced by a couple of local guys, Derek Doublin and Matt Brown of The Fellowship Students, that later took Best Comedy Feature at the 2003 New York Independent Film and Video Festival, and then toasted in the new year with Twenty Minutes to Vegas at VZD's. On the fifth day of the new year, I trekked out to the Green Door to see Peelander-Z, a group that billed themselves as a Japanese Noodle Samurai Punk Band. Opening the evening was a band from Colorado Springs called The Great Redneck Hope. They'd stopped at the bar on a whim, and waited in the parking lot for four hours, hoping to play a show that night. The soft-spoken group of guys unleashed an unexpected torrent onstage, with an energetic lead vocalist screaming his way through the setlist. Regular readers of this column know that variety of music usually isn't my cup of Schlitz, but it was rhythmic and melodic enough for me to like it this time around. Three Out of Five filled the middle slot of the bill, with some technical difficulties marring their set. Peelander-Z literally paraded up to the stage. Their set was heavy on audience participation as they held up signs and got a couple of audience members to play guitar and cowbell. They had the best sense of humor of anybody I'd ever seen on the Green Door stage, and a few elements in their songwriting reminded me of the Blue Man Group. January seventeenth, Dead by Dawn and local two piece Union Calling opened up for Austin's The Flametrick Subs. Their set was lengthy and entertaining, as usual, with lead singer Buster Crash's inter-song speeches touching on politics and current events, interlaced with his now-familiar but still funny stories about cat whirling and life in the trailer park. The Mix Tape Club struck again on January 25th with a tribute to The Clash, organized in memory of Joe Strummer. Mayday Malone made their Green Door debut, with local drummer extraordinare Ed Van Buskirk filling in. (Brandon from Norman's The Shatners eventually joined the band as a permanent drummer.) Twenty Minutes to Vegas' Damon and Dylan Boelte joined Mayday Malone onstage, as the Mix Tape Club continued its tradition of getting musicians from different bands to collaborate. Roustabouts were obviously very familiar and comfortable with the material, although I later learned they learned one of the songs the night before! The overall setlist for the evening included "Know Your Rights," "London Calling," "Rock the Casbah" and other Clash classics. In a related note, look for the release of a final Joe Strummer and the Mescaleros album on Hellcat/Epitaph in October. I spent a sizable chunk of February out of town for business and pleasure, missing a few local shows I would have otherwise attended. Highlights of my trip? Riding the classic 1925 wooden Big Dipper roller coaster in San Diego, hanging out with my friend Pat Todd in Los Angeles, where I was thrilled to get to go to a Lazy Cowgirls practice session, and riding on a scooter for the first time of my life in Las Vegas. I'd always had a mysteriously weird viewpoint when it came to the idea of actually riding on a motorcycle or scooter. I'd convinced myself that if I ever got on one, it would immediately fall over and I'd crack my head open on the concrete below. Happily, I found out that wasn't the case and after I got over my initial ohmygawd I'm-tempting- fate-and-I'm-gonna-die reaction, I knew I had to get a scooter someday. Barreling down the neon-charged streets of Vegas, arms around the waist of whichever friend I'd hopped behind, I realized what I'd been missing out on. If anybody would like to buy me a scooter, please get in touch. (Hey, it's worth a shot, right?) I was happy to be back on my home turf on February 21st for a four-band lineup. Moore- based band Pain Relief had been chronicling their practice sessions on their website, and were obviously excited about playing to a huge crowd as they opened for The Queers. They temporarily added Joe from The Shatners as a second guitarist, to help flesh out their overall sound. Armstrong took the stage next, saying that when they had come through with All, Oklahoma City was the best city on tour, and not to let them down. They were a melodic three-piece with a few slower breaks and an occasional showy guitar solo. Nashville band The Teen Idols took the stage next. With a female bassist adding backup harmonies and an enthusiastic frontman, they kept the evening's momentum going strong. The Queers finished off the night, performing for a frenetic pit. I was happy to hear their versions of "Like a Parasite" and "Mrs. Brown You've Got a Lovely Daughter." They performed a few songs they said they don't usually do anymore, including "Boobarella" off 1993's "Grow Up." The Queers left the Green Door soon after they played, and a local band member later told me that guitarist/vocalist Joe Queer came across as being extremely rude, seemingly intentionally crushing his hand when he offered it for an appreciative handshake. I'm not sure if Mr. Queer was just having a bad night or if that's his usual way of handling things, but coming off with a rock star attitude generally isn't a good idea. I'm glad it's rare that band members come off as being assholes to the people that paid to see them play. February 22nd, The Mix Tape Club presented "No Stairway: A Tribute to Led Zeppelin." While I'm not very familiar with the band's music, it was interesting to watch the talented people onstage obviously enjoying putting their spin on the band's songs. Three days later Atom and His Package stopped by the Green Door. Where my notes from the evening disappeared to remains an unsolved mystery, but I do recall being entertained by his performance. I finished off February by attending a show that still brings a smile to my face when I think back on it. Local three-piece Pain Relief opened the evening with songs off their self-released CD "Learning Through Suffering." Even in Blackouts was up next, a phenomenal band featuring female vocalist Lizzie Eldredge, backed by four talented guys, including John "Jughead" Pierson of Screeching Weasel fame on guitar and backing vocals. They more than proved the phrase "acoustic punk rock" is not an oxymoron, although they did plug in for a few songs. Their setlist included impressive renditions of Operation Ivy's "Knowledge" and Screeching Weasel's "Hey Suburbia," and I was absolutely giddy to hear them launch into the Yaz song "Only You." They finished off the evening when an acoustic encore of "Every Night," off 1993's "Anthem for a New Tomorrow." Even in Blackouts' "Myths and Imaginary Magicians" is easily one of my most-often listened to CDs that I've picked up at a Green Door show. It features twelve songs, including three of the covers mentioned above, and was originally released by Hope and Nonthings, before being re-released by Lookout Records in April. There are also a couple of great instrumentals on the CD. I'd love to see John branch out further and move into film scoring, joining the group of rock musicians that turned into score composers, including Danny Elfman, Mark Mothersbaugh, and Mark Knopfler. I was disappointed by the unusually small crowd for a Friday night show, and am looking forward to Even in Blackouts' return, when it's possible they'll stop by my place for a living room show. (And it's a shame Pain Relief wimped out of playing their cover of "Supermarket Fantasy!" John was extremely laid-back and friendly, and I'm sure he would have loved their rendition of the Screeching Weasel classic.) Klipspringer took the Green Door stage March ninth, with Twenty Minutes to Vegas up next. Bassist Dylan Boelte made an impressive lead vocals debut, making me wonder why it took so long for him to step into the limelight alongside his brother and guitarist, Damon. TMTV also played a new song (called "Double Negative," I believe) that clearly showed how much fun they've been having expanding on their sound, with a trippy instrumental bridge that took me by surprise before the song broke back out into a frantic rhythm. The Lazy Cowgirls were up next. Frontman and songwriter Pat Todd went all out, running through songs off several albums including "Rank Outsider," "Somewhere Down the Line," and the latest album "I'm Goin' Out and Get Hurt Tonight." Reservation Records will be releasing that last album on October seventh, with another planned for release sometime near the end of February. Make plans now to call in sick the next morning, and don't miss these guys when they come back by the Green Door on October 22nd. But don't just take my word for it. According to Mark Deming of the All Music Guide, "If The Ramones had been a road-tested biker gang instead of pop- obsessed cartoon speed merchants, they might have sounded something like The Lazy Cowgirls. Merging the buzzsaw roar of first-wave punk, the sneering attitude of '60's garage rock, the heart-on-your-sleeve honesty of honky-tonk, and the self-assured swagger of The Rolling Stones, The Lazy Cowgirls play raw, sweaty outlaw rock and roll at its most furiously passionate and physically intense; like a Harley gunned up to 95 mph, The Lazy Cowgirls may not sound safe, but they sure are fun." I made a rare trip down I-35 to see David Dondero at Norman's Red Dirt Café. Opening up the evening was one-man band Nate Denver and His Neck. Accompanying himself on electric guitar with occasional pre-recorded drum tracks, he plucked his way through several humorous songs, saying before one song "This song is about being held hostage by a stuffed hippopotamus." I ended up buying his CD "Prepare to Die," which features sixteen songs recorded in and around his room in San Francisco. Dondero took the stage next, with his trademark beat-up acoustic guitar with a hole broken in it. Accompanied by Craig D. on the drum, he played several of my favorites off his album "Shooting at the Sun with a Watergun," along with new material that I hadn't heard before that was instantly appealing in the same way his earlier songs immediately struck me. With memorable melodies supporting lyrics that usually tell a story, he's always fascinating to listen to. A new album called "The Transient" will be released October seventh, and I'm hopeful he'll be touring to support it. Shackles Await was up first on March thirteenth. They're great guys, but the growly/screaming vocal style just doesn't do anything for me. Lead singer Ross quite pointedly asked me to write something rude about the band. Sorry, Ross, but the best I can do is admit that I laughed pretty damn hard when a friend referred to you guys as Showers Can Wait! Up next was New Jersey hardcore band Ensign. Again, somewhat screamy but melodic enough with rhythmic changes that were enough to arouse my interest. At one point, the singer dedicated a song to George W., saying it was an old song and he didn't realize then how relevant it would be today. An interesting set-up, but it didn't make much difference since I couldn't understand what the lyrics were saying. They played a cover of the Descendents' "Coolidge," putting their own spin on it and screaming rather than singing the familiar song. Avail was up last, with singer Tim Barry on the floor seconds after the first song started, inciting a pit as the small but loyal crowd sang along. The variety in the band's overall style kept things interesting. Beer was dripping off the speaker overhead, as Barry said "You guys get an A+ for audience participation!" It was a great set that unfortunately ended on a sour note, as cheerleader/go-go dancer Beau Beau said "We don't do encores. Encores are for rock stars!" seconds after the last note ended. Excuse me?? Encores aren't for "rock stars." Encores are performed by musicians who love what they do and who are happy to indulge their fans when they ask for more. The Avail website claims Beau Beau displays a positive attitude at all times. What's so positive about essentially telling an entire audience to fuck off? March fifteenth, the Green Door hosted a hell of a four-band lineup. Local boys Twenty Minutes to Vegas got things started, beginning their set with the debut of a new song called "Gotta, Gotta." It's a great song, and I have to wonder if these guys are ever going to write something I don't like! Eric Green artfully spun his drumsticks, as they continued through a set of old favorites interlaced with new material. Guitarist Damon Boelte broke a string, so bassist Dylan passed the time by telling a story about a long walk back to Las Vegas hotel earlier in the year, an experience he ended up writing a song about. Back on track, the band launched into a newer surf-esque instrumental called "Chupacabra." I know Damon and Dylan were thrilled to be playing just before one of their favorite bands, The Gadjits. (Their 1999 release "Wish We Never Met" was frequently played on the portable record player the boys brought along to Las Vegas earlier this year.) The Gadjits hopped onstage next, with a set heavy on songs from their latest album "Today is My Day." It features thirteen songs with titles like "Waffle House is Not a Home," and includes a Hammond and Rhodes among its instrumentation. The third band of the night was Chicago's four-piece band The Arrivals. With catchy rhythms and frequent lead vocal sharing, the songs were more complex than your usual three- chord punk rock. Dillinger Four finished off the night, with an immediate pit enveloping bystanders into the frenzy. Beers were thrown and fists were in the air, as the crowd sang along and watched incredulously as bassist Patrick Costello removed layers of his clothing. They dedicated "Jesus is a Dick" to a kid in the audience whose mother wouldn't let him keep anything he bought at a punk show. A live Dillinger Four album was released August 12th on LSD Records. After recovering from the previous night, I was back at the Green Door for another four band lineup. Unfortunately, it turned into a three-band lineup when I arrived just in time to hear the final few notes of Red Planet's set. Sorry guys! I've enjoyed your music before, and was pretty irked to miss you this time around! Tampa's The Washdown put on a good show, with the lead vocalist swinging his microphone and really getting into the music. The Washdown is finishing up recording a full-length album for Lookout Records. A three-piece from London called Ikara Colt was up next, with a female guitarist, straightforward melodies, and the always-fun-to-listen-to British accents. Sweden's Sahara Hotnights closed out the night. I'd read a few different articles that compared them to The Donnas, but I didn't hear the resemblance. (Although I don't own any Donnas albums after their 1998 self-titled release, so I know it's likely their sound has evolved.) They put on an upbeat show, and the guys in the audience obviously enjoyed the relative rarity of an all-female band. Moments after the United States started bombing Iraq on March 19th, local street punk band All Out Attack took the stage. The correlation between the name of the band and the conflict that had just started overseas was a little eerie. Their set included a cover of The Virus' "Rats in the City" and "Chaos," by London oi band 4-Skins. The second band that evening was Union Calling. Singer/guitarist Mickey began the set by stating "This is an acoustic set to showcase our songwriting." A song or two was performed without the drums, and a cover of the Johnny Cash classic "Folsom Prison Blues" was included in the setlist. One of The Spinns commented later that Union Calling was the best band they'd seen on tour. It was unfortunate that the local opener vacated the premises before the bands they were there to support played. A couple of bands that had played to sparse crowds the previous night (due to the St. Patrick's Day holiday), stuck around and jumped on this bill the next night. A three-piece band from the Netherlands called Caesar (apparently pronounced say-czar, rather than see-zer, pizza-pizza style) featured a female drummer and vocalist, with hypnotic music that occasionally reminded me of Sonic Youth. Good vocal harmonies dominated the set, and it was cool to see the bassist wearing a shirt emblazoned with the name of the next band of the evening, The Spinns. The three-piece band from North Carolina was fun to watch, with two of the guys sporting neckties and one song with a long instrumental break that featured a pleasurably slow build-up of the pace back to full rock'n'roll speed. However, I did get a laugh out of the fact that on their website, they spelled the name of our fair state Oaklahoma not once, but twice! Mark Linskey of the Hudson Falcons finished off the night with a solo acoustic set. He clarified that he's not "ex-Hudson Falcons," and assured us that they're just taking a break from touring. Soon into the set, he dedicated a song to the Roustabouts, saying "They represent OKC real proud, you should be real proud of them." The evening was full of dedications, with various songs going to yours truly, the Green Door's Reggy & Lucy, and each individual Roustabout, with the song "Worker Fate" going out to "all the hard-working people of Oklahoma." It was really great to hear a solo acoustic version of one of my favorite Hudson Falcons songs. Mark's passion for what he was saying was evident as he played "An Ode to the Open Road," as he sang "It's the only place I feel alive." He also addressed the Iraqi war, saying "No matter how you feel about the war, support our troops," shortly before playing "Requiem for a Patriot." He was touring in support of his solo acoustic album "Stay Hard, Stay Hungry, Stay Alive: Songs of Freedom." In the liner notes, Mark says the covers he chose were influential to him as a songwriter, and "the common thread that runs through all these songs is freedom. Freedom both in a universal sense, but also on a very personal level." This is a required purchase for Hudson Falcons fans, and for anybody else who likes acoustic guitar music with a message. The next night, there was an amazing three-band line-up at the Green Door. The show began with a darkened stage, suddenly lit up by a sign that said Epoxies, as the five-piece band started playing. Lead vocalist Roxy Epoxy remains to this day the most energetic female vocalist I've ever seen on the Green Door stage. Dressed in a decorative combination of plaid, stripes, and fishnet, she didn't stand still for any more than two or three seconds at a time. They play an amazing fusion of new wave and punk, with a theatrical keyboardist adding vocal harmonies, and an identically dressed guitarist and bassist. I picked up a copy of Epoxies' self-titled CD, and listen to it at least a few times a week. It's one of those rare albums that is made up entirely of great songs. They're returning to the Green Door on September 17th. Do yourself a favor, and DO NOT MISS THIS SHOW! All the way from Rotterdam, Netherlands, The Apers had the unenviable task of following the Epoxies. Fortunately, they were good, too, although in a different vein than the previous band. Lead singer Kevin Aper said they were 10,000 miles away from home, but were happy to be in Oklahoma. The four-piece band played an extremely fast-paced set, with a flamboyant guitarist dressed in tight jeans, who could have been an extra in "Almost Famous." The vocals occasionally reminded me of NOFX, with a few love songs and singalong choruses. I bought The Apers' latest CD "The Buzz Electric," released on the Netherlands label Stardumb Records. They pick up the pace a bit with a song called "Too Many Backpacks at the Show," with a chorus that says "Too many backpacks at the show, I'm telling you they gotta go. If Jimmy really ate the world, Man I would crack his fuckin' skull." Their laidback stage presence and great music made for a good middle course of the evening, and whetted our appetites for the main course: Groovie Ghoulies! The three-piece band was making their second stop at the Green Door. The set started off with a couple of unfamiliar but great songs. This may sound completely hokey, but I really feel that to hear a Groovie Ghoulies song is to love it. With lead singer and bassist Kepi's artwork adorning the walls (I'd like to see a show of his work at Size Records), they rocked their way through an upbeat set, with the audience dancing and singing along to songs like "When the Kids Go Crazy" and "Ghoulies Are Go!" Kepi mentioned the last time they came through it was September eleventh, and this time the country is at war. He exclaimed "It's not us! We came to cheer you up!" With little-to-no breaks between songs, and drummer Scampi's braids flying through the air, making her look like a hellbent Laura Ingalls, Groovie Ghoulies again left their audience feeling elated and energized by their performance. The Ghoulies just released an album called "Monster Club," that includes a re-recorded versions of older songs including "Running with Bigfoot" along with new material. They're playing shows in Japan and Australia, before crossing the United States, with a stop at the Green Door on November 17th with The Flipsides. Norman ska band Third Grade Scuffle was up first March 21st. The seven-piece band includes a saxophone and two trumpets. Their set included a cover of Slayer's "Raining Blood," showcasing the lead singer's vocal talents. They returned to an all-out ska style with the last song, "Drop Out." While I'm definitely not an expert on the genre, I was impressed to find out our state had another good ska band on top of Special Disaster Team. (I have yet to hear The Magnificent Seven, so they're still out of the running at this point!) Next up was Spit Valves from Orlando, a ska band with rougher-edged vocals. At this point of the evening, I was watching the show from the bar and talking to guitarist Eddie, who said by the time The Voodoo Glow Skulls got up there, they'd be too drunk to play. Tsunami Bomb was the third band of the night, playing songs off of "The Ultimate Escape," that definitely came off as more intense in a live environment. They were obviously appreciative of the crowd's enthusiastic reaction to them, with bassist Dominic at one point saying "You guys are making the show!" (Dominic has since left Tsunami Bomb, and the band is lining up a new bassist.) Count the Stars, a pop punk/emo band followed Tsunami Bomb. I'd heard they were similar to Green Day, but the set struck me as a little more mellow than what I usually think of in relation to Green Day. The Voodoo Glow Skulls didn't let their alcohol intake slow them down, with the lead singer saying "We're the Voodoo Glow Skulls, and guess what? We're NOT gonna be on the Warped Tour this year!" as they took the stage. The sold-out crowd started an aggressive pit that mirrored the high level of energy onstage. They have the polish of a group that's been together a long time (since 1988), with three brothers among the members. With yells of recognition after various songs announcements, they played a set that included songs off "Steady as She Goes," their sixth full-length album. It was recorded at Eddie Voodoo's Dogrun Home Studio, which features 24-track digital recording. They'll be playing the Sziget Festival in Budapest, Hungary with several bands including Slayer. March 26th, Three Out of Five and Hope's The Carrot started off the evening. Glasseater played next, with a mixture of screaming and singing, and a song or two that reminded me of Seaweed with more of a punk edge. Green Door webmaster Jimmy Bones admitted he came to see The Eyeliners because he'd heard on a KSPY interview that they would be wearing lingerie onstage. Lead singer Laura did have a sparkly bra that was visible through a mesh top, but I'm hopeful Mr. Bones realized there's more to the band than just an assembling of cute chicks. The Eyeliners opened their set with "Sealed With a Kiss," the title track off their latest album. They played a lot of recognizable songs, and it was great to see them in the intimacy of the Green Door rather than the expanse of the Warped Tour in Dallas last year. Laura had a cordless mike, enabling her free movement as the guitarist Gel blew bubbles and flirted with the guys in the crowd. (FYI, Laura plays the drums on all the Eyeliners' albums, with guest drummers filling in for live shows.) After a brief break, the three sisters took the stage again for an encore of "Do the Zombie" and "Blitzkrieg Bop," a hell of a finish for a great set. March 30th, a Fat Wreck Chords showcase hit the Green Door. The Flipsides got the ball rolling, a three-piece band with a female vocalist/guitarist. Vancouver's The Real McKenzies were up next, a six-piece Scottish-themed punk rock band decked out in kilts playing aggressive yet melodic music accented by the punk rock bagpipes of Matt MacNasty. Lead singer Paul McKenzie came up with the best song introductions, at one point saying "This song is about the best drug ever. Forget ephedra, cocaine, heroin. It's called Whiskey Scotch Whiskey." They also played that traditional song that goes "You take the high road and I'll take the low road." I can't remember the title, but I'm sure you're all familiar with it. Starting out slowly before kicking it up a few hundred notches, it was a lot of fun to hear. Overall, The Real McKenzies were amazing, and I'm still regretting not picking up any of their recordings. (They recently released a new album: "Oot and Aboot.") My notes are a little sketchy, so I'm not sure of the order of the next two bands. Mad Caddies are a six-piece band with a trumpet and trombone among the instrumentation, with ska and rock elements in their music and the trumpeter occasionally adding vocal harmonies. The trombonist was so frantic in his playing, it's a good thing a tall person wasn't standing nearby, because they surely would have gotten clocked in the head by the long piece thingie on the instrument. (Trombonists, feel free to correct my terminology on that one!) Chicago's hardcore band Rise Against incited beer and fist raising, with bassist Joe Principe frequently jumping into the air and lead vocalist Tim McLlrath alternately singing and screaming with unbridled energy. They played music from their latest album Revolutions Per Minute, as well as crowd favorites like "My Life Inside Your Heart" off their 2001 release, The Unraveling. March 31st, there was a diverse three-band lineup at the Green Door. Flat Stanley's bassist bailed on them the night before in Dallas, so recently added guitarist Jason took over on bass, allowing the Tampa-based band to finish the tour as a four-piece. (They have since added a new bass player and are back to being a five-piece.) Specializing in melodic rock n' roll with occasional twinges of punk and metal, lead vocalist/guitarist Buck has an urgent quality in his voice that makes him particularly interesting to listen to. Jason's backing vocals proved he could have been a Vienna choirboy if Flat Stanley hadn't gotten a hold of him first! The band recently re-released "Analbum Cover" which features the addition of nine tracks from their debut album. They're touring Europe in November, and eventually plan to make it back to the Green Door. Mike Silverman (a.k.a. That One Guy) once again brought his seven-foot tall Magic Pipe and assorted contraptions to the Green Door stage. I can't even begin to try to understand how he uses all of the various processors, mixers, filters, kick drum pedals, and other elements to create the music that he does. Judy Garland would have wept in tranquilized bliss in reaction to his version of "Somewhere Over the Rainbow," played by drawing a bow across a saw. Don't miss him next time he comes through town, and pick up a copy of his "Songs in the Key of Beotch" album while you're at it! South Carolinian headliners The Independents brought their blend of horror, punk, and ska to the stage, beginning with "Little Blue." Pyrotechnics were notably absent this time around, perhaps prompted by the tragedy with Great White. Lack of fireworks didn't diminish their performance, even though keyboardist/guitarist Blackie had been lying in the van, sick with the flu, up until a few minutes before the band played. Lead singer Evil Presley obviously loves to flirt with his audience, occasionally jumping to the floor to serenade whoever's handy. It was a tight show, with few breaks between songs. The Independents recently released an album called "Live From Murder Beach." The 22-track CD includes covers of "Mother," "Blitzkrieg Bop," and "Suspicious Minds." They recently released an EP/CD-ROM called "Full Moon Arise," that includes five songs along with interviews, artwork, photographs, video, and other elements documenting the band's first decade. They say they're conducting a full North American tour September through November, but as of this writing, Oklahoma has been left off the schedule this time around. April sixth, the Subhumans canceled their long-anticipated appearance, but British/Scottish punk rock band Beerzone still made the trip to the Green Door more than worthwhile. Local band All Out Attack got things started before Beerzone launched into "Strangle All the Boybands," the title track off their kickass CD. The song's melody sometimes gets stuck in my head for days at a time. Iian is a great frontman, with cheerleader-worthy high jumps and a lot of overall energy. At one point he said Green Door is the best club in America and we should support it, along with Size Records. Beerzone played several new songs, since it's been quite awhile since the release of "Strangle All the Boybands." All of the new songs had the familiar feel of their earlier material, with catchy melodies and singalong choruses. They performed an encore of "Punk Rock Party" to close out the night. April 18th, my best friend and fellow columnist Teri and I piled in the car for the oh-so- scenic drive up the Turner Turnpike to Tulsa's Unit D. With a punk rock soundtrack and a road trip dinner consisting of fine Taco Bell cuisine and Code Red Mountain Dew, we were off! The trip was trouble-free and uneventful, right up until the time we drove into Jenks! After a quick U-turn we were back on track, and pulled up to the strip of warehouses where Unit D was located. Walking from the car to the venue, I wasn't expecting much inside. I figured the DIY-venue would be pretty bare bones, and was surprised by all of the amenities that were offered inside. With couches and tables scattered around the area, along with a bar lined with barstools and a few fast food restaurant-style booths, there was plenty of seating. Free darts and a free pool table were also nice perks. There was a slightly raised stage in a corner, with "Live at Unit D" in red paint over an orange and yellow fire. It's obvious a lot of time and effort was put into the creation of Unit D. If I lived in Tulsa, I'd become a regular customer. If you live in the area and haven't checked it out yet, please keep an eye on the shows page for upcoming events. Unit D is definitely the kind of venue that deserves your support. Thanks to our jaunt into Jenks, we ended up arriving shortly after Enid band Earth A.D. finished their set. Sorry guys! Unit D regulars The Beer Mongers filled the middle slot of the evening, beginning their set with one of their many songs that probe deeply into complex issues that impact our perception of humanity: "I Got a Beer." The acoustics sounded really good, with the sound contained by a ceiling covered in stuff that looks like it would grow on a sunken ship. Bassist/vocalist Skip was the most visibly energetic of the four-piece group, with recently added guitarist Chris alternately looking bored and angry. I'm hopeful when he becomes more familiar with the songs, he'll be more enthusiastic about being onstage. With a lot of funny drunken banter between songs and an encore featuring "I Hate Hippie Scum," overall The Beer Mongers did a good job of getting people riled up and ready to see The Midnight Creeps. Hailing from Providence, Rhode Island, the four-piece band included vocalist Jenny Hurricane, guitarist Heather Mars, bassist Jonas, and drummer Jeff Creep. Jenny's an attention-grabbing front woman, with grunts, growls, and howls and constant movement helping her dominate the stage. When they dedicated a song to any underage drunk people, one of the state's most dedicated underage drinkers, Kat, gave an enthusiastic holler. A Motorhead cover got a great reaction from the audience. I bought The Midnight Creeps' eleven-song CD "Doomed from the Get-Go." It starts with a cover of Jonee Earthquake's "The Ballad of GG" and explores the age-old themes of sex, drugs, and rock'n roll. With songs with choruses chanting "All for one, fuck 'em all," it's a great addition to my collection of albums that I like to listen to when I'm pissed off. Off by One opened the evening on April 23rd. Their music included several melodies that featured the bass, with the tempo switching back and forth between easygoing and frantic. Three-piece band Ann Beretta was up next with the bleached blonde guitarist handling most of the vocals and the bassist adding effective vocal harmonies. They played a tight set to a relatively small but enthusiastic crowd. Austin's The Applicators headlined the bill on what was at least their third appearance at the Green Door. They'd added a new guitarist to the line-up and played several new songs that showcased lead vocalist Sabrina's ability to sing. Her animated facial expressions proved she's actually paying attention to what she's singing, rather than just reciting the lyrics. While the set did include an encore, The Applicators had to refuse a mohawked young fan's request for their cover of The Dead Milkmen's "Violent School," saying their new guitarist hadn't learned it yet. They headed to Europe for a tour in August, and I'm sure they'll make another OKC stop sometime soon. April 25th, Green Door owners Reggy Wheat and Lucy Garth made their long-term relationship official. Following the ceremony, wedding attendees headed for the Bricktown Brewery for the reception, where everybody was invited to show up and celebrate. Twenty Minutes to Vegas and The Flametrick Subs provided entertainment, with both bands playing their customary kick-ass sets. April 30th, hometown heroes Roustabouts made their first appearance of the year at the Green Door, with a set that was mainly comprised of new songs along with a couple of old favorites off their "The Only One" album. The new material definitely take the band in a different direction, with rock songs that included instrumental breaks that occasionally reminded me of "End Hits" era Fugazi. Guitarist Daniel Felton wrote most of the new songs, and says they'll still play a few of their older songs. The band has been playing shows since 1998, and didn't want to be labeled as street punk, preferring to allow their music to evolve and speak for itself. It's definitely an effective transition, and watching Roustabouts evolve has been a thrill. While some diehard street punk fans may be worried about the new direction, I think their anxiety is unwarranted. If Roustabouts had suddenly become a polka band, that's when I really would have gotten concerned! San Jose's No Use For a Name were the headliners for the evening. A lot of the crowd was obviously familiar with their music, and everybody got into the audience participation aspects. I'm fairly sure it marked the only time the crowd at the Green Door yelled "I feel good about me!" in unison! Their music had a pop punk vibe, and the band members' good nature onstage was appreciated. No Use For a Name is heading out on a September/October tour of Canada and Europe. May seventh, scheduled headliner Sylvain Sylvain had to cancel after the band's van was stolen with all their equipment inside. (At least that's the story as I remember it.) The two local bands scheduled to open for them carried on with the show, with The Disposables up first. The three-piece band is yet another one that includes a talented pair of identical twins, a feature that seems to be somewhat of an epidemic in our city! The band includes brothers Kevin and Charles Davis on guitar and bass, along with the effectively manic drummer Dustin. Charles handles the lead vocals, ripping through a loud set that focused on the songs off their 5-track self-titled CD. It's relatively rare that a local band has a good recording that also sounds just as striking in a live environment. Pulpit Red followed The Disposables, with vocalist Gary Shilling in his trademark tight pants and silver shoes, going all-out despite the sparse audience. (Look for an interview with Gary elsewhere in this issue.) Gary's one of the city's most extroverted front men, dancing and wrapping the microphone cord around his neck as he gallivants his way through the set list. Pulpit Red and The Disposables will be playing at the Hi-Lo on September ninth, celebrating the release of their split CD on the Welfare Records label. The CD will feature a few previously recorded songs by each band. Sioux City Pete and the Beggars will also be performing at the CD release show, so make plans now to come out to the HiLo. I arrived later than usual at the Green Door on May ninth, opting to stay home and hang out with Gary England for awhile as tornadoes once again sporadically touched down in the metro area. Once the danger had passed, I headed up to the bar, where a few band members were assembled outside, watching the skies with the awe typical of people who aren't used to living in tornado alley. Walking inside, I saw Lake Green Door had started to flood the floor, leaving at least three inches of water before it began to dissipate. I missed local openers Shackles Await and Akimbo, but arrived in time to catch The Blood Brothers. My notes from the evening aren't legible, but I recall liking the group more than I usually like bands that feature screaming vocalists. They'll be back at the Green Door on October 7th with The Texas Chainsaw Masschoir along with local openers This Was The Year To Lose Friends and Someplace to Hide. May 13th, I headed up for the Tuesday night beer bust and live music showcase at the Hi- Lo. With friendly bartenders, $7 all you can drink Killian's, and an eclectic and cozy ambience, it's become a fairly regular Tuesday night pastime for me. The stage area includes a couple of cut-out window areas that have sometimes been creatively used, but that also obstruct the view of the band, depending on where you're standing. Norman's Mandragora took the stage first. I must have been focusing on my refills, because my notes on their performance solely read "2nd song would be good as background for a sleazy strip bar scene in an independent movie!" At this point in the evening, there was a small but attentive crowd, other than the table of drunk friends in the corner whose glass balancing project went awry, spilling beer all over the table and me. I guess that's what I get for sitting at a table full of inebriated people! The next band of the night, Paper Lions, were from Athens, Georgia. The four-piece band included two guitarists, a bassist, and a drummer. The music included distortion-heavy guitar solos that occasionally reminded me of Dinosaur Jr., with lead vocalist Jesse effectively using the upper reaches of his vocal range. The music also made good use of the second guitar, with high-pitched spacey melodies echoing on a higher plain above the rest of the music. Every member of the band was in motion, with the bassist doing a subdued dance, leaning back and bending his knees in time to the rhythm. The Paper Lions' set was short, leaving me wanting more, but since it was a work night, anyway, I didn't protest as loudly as I would have otherwise! May seventeenth, I arrived shortly after The Black Males finished their set, due to a family commitment that took longer than expected. The Disposables took the stage next, with Kevin obviously relishing playing his guitar solos, and drummer Dustin's braids flying through the air as he pounded on the drums. They dedicated their cover of the Kiss song "Parasite" to all the Kiss fans in the audience, who obviously enjoyed their rendition. The only complaint I ever have about The Disposables is their sets are always too short! Denton, Texas-based five-piece Riverboat Gamblers were up next. In my enthusiasm over getting to see them again, I inadvertently took a few too many Rumpelmintz shots. Consequently, my notes on their performance look something like Egyptian hieroglyphics. All I could decipher was "Drink Alone yeah," presumably in reference to one of my favorite songs off their self-titled CD. At one point, lead vocalist Teko attempted to grab my notebook. In retrospect, I should have let him have it, since it's not likely he could have read anything I wrote anyway, but instead I refused and he improvised some of his song lyrics, saying "What does it say? I have to know!" and later delivered a funny speech saying something along the lines of "Dear diary, the singer's not very cute, but the bassist is hot!" His spontaneous sense of humor was hilarious, and I recall an enthusiastic pit complete with beer throwing, so even in a liquor-addled haze, I know they put on a great show. Their latest release is titled "Something to Crow About" and is available on Gearhead Records. Catch them at the Green Door on October 14th. I'm glad it's a weekday, so I'll be less inclined to overindulge this time around! May 21st, All Out Attack got things started. While there were a few technical difficulties that interfered with the flow of the set, they were pretty tight once they got things rolling. The set included a great rendition of The Misfits' "Skulls," along with covers of GBH and The Virus songs. I really like the instrumental break section of a song called "Disgusting" that includes a chorus of "you don't like us we'll never change." It's somewhat melodic and rhythmic, adding an interesting element to the overall song. But I have to say that when I sporadically decided to read their lyrics on their website, I was horrified. "Stand Up And Fight" is an anti-choice song with lyrics including "we need to fight they're sucking their brains out we can't hear their screams they will no longer live stand up for our god they're killing his creation, serve him by fighting this sin." I was also sad to see on their homepage: "We are not your typical pro-fag political punk band." While I certainly support the right to believe and promote whatever you want to, I won't hesitate to say that knowing the band is anti-choice and homophobic definitely makes me see them in a different light. Next up was Richmond, Virginia based Sixer. Lead singer/guitarist Leer Baker got things started by saying "We're the greatest rock n'roll band you've never heard of. This is called 'Czech Street Prison'" before launching into their first song. I could occasionally hear echoes of Social Distortion and Jawbreaker in the four-piece band's music. Leer was obviously enjoying being onstage, at one point saying "You guys having a good time? Me too!" Due to a lack of funding, I borrowed Sixer's debut album for BYO Records "Beautiful Trash" from my friend Matt. With ten songs, it starts with the pleasantly rhythmic "Unusual," and includes a song named after my mixed drink of choice, "Whiskey Sour." It's about a girl who drinks whiskey sours (that applies!) who also looks a lot like a private dancer (okay, so the resemblance ends there.) Another one of my favorite tracks is "Fabulous Disaster," which effectively builds from just drums and vocals before adding in a bass line and harmonizing backing vocals, and then the guitar. Sixer will begin touring again in late September, bringing along Austin's Born to Lose, and they're working on getting onto a fall tour with the Supersuckers, as well. May 25th, a lineup that had been planned earlier in the month hit the Green Door stage. The Disposables played first, with guitarist Kevin saying "Green Door! What a fine ass establishment to play!" before they launched in their first song. Dustin is easily one of the most entertaining and aggressive local drummers to watch. They dedicated their cover of "Parasite" to their friends in Pulpit Red. I listened to the beginning of Pulpit Red's set from the pool table, as I finished up an intense game with Bouncing Betty. Theatrical lead singer Gary Pulpit dedicated a song called "Girl Like You" to all of the "beautiful ladies" in attendance. Drummer Dan Francis adds occasional vocals, and reminded me somewhat of Max Headroom with his glasses. Sylvain Sylvain took the stage next, with a technical difficulty adding about a ten-minute pause in their set shortly after it began. The three-piece band includes a young bassist/backing vocalist, who I believe was the drummer's son. They started the set with a long instrumental number and frequently paused for tuning breaks. Their upbeat numbers were definitely better than the slower punk rock couples' skate numbers, which tended to interrupt the flow of the set. Sylvain Sylvain himself didn't appear in the bar until shortly before his set, which is something that never sits too well with me. Regardless of how legendary a person supposedly is, it's common courtesy to watch the bands that are supporting you, especially when one of them is loaning you their instruments! May 31st, The Mix Tape Club presented "Raquanet" a tribute to hair metal bands. Ambassador Bill's vocalist/violist Tanya Felter took the microphone first. Decked out in a short black leather miniskirt, she belted out Motley Crue's "Shout at the Devil." Lydia Idontknowherlastname and Tory Ayers jumped onstage to sing the Kiss classic "Lick It Up." They were an effective duo, since both are good singers who are obviously comfortable onstage. Regular Mix Tape Club performer Amanda Martin took over the lead vocals on Warrant's "Cherry Pie," proving why she's one of the metro's most in- demand actress/singers. TMTV's Dylan Boelte was sporting a long curly black wig in honor of the occasion, and handled bass duties on a few songs, including "Sweet Child of Mine." The song triggered an audience singalong, with everybody going all out on the "Where do we go, where do we go now?" bridge. The Fellowship Students drummer Jacob Becannen took over center stage for Bon Jovi's "Living on a Prayer." He hammed it up, and was obviously enjoying the chance to get out from behind the drumset. Damon Boelte played acoustic guitar to accompany Todd Clark's version of "Patient." Ambassador Bill's Adrian Fallwell tucked one of his arms away for Def Leppard's "Rock of Ages," and played one-handed, in imitation of Rick Allen. Forty Minutes of Hell's Brandon Kistler brought his trademark spasticness to the stage for "Night Train" to finish out the first set. The second set included The Fellowship Students' Matt Brown singing that "Here I go again on my own" song and Nathan Siler nailing Van Halen's "Panama." The set also featured Quiet Riot's "We're Not Gonna Take It," which brought back fond memories of the Ancient Chinese Penis rendition of it several years back. Overall, it was another highly entertaining show put on by the Mix Tape Club. Next up on their agenda is TV Party: A Tribute to Our Favorite TV Theme Songs on September sixth at the Green Door. June first, Gravity Propulsion System got things started after having several technical difficulties. St. Louis' Ring Cicada was the evening's second band. The four-piece band of really nice guys will play at The Conservatory on October 24th. Their complex music was heavy on distortion and effects-driven melodies, and occasionally incorporated mellow, bluesy riffs. The first piece featured meandering melodies complemented by the high energy level of all of the band members. Ring Cicada's set was all instrumental until the last song, when one of the guitarists stepped up to the microphone. Their latest album, "Good Morning Mr. Good" was recorded with Steve Albini. San Francisco's instrumental psychedelic surf band Mermen, a three-piece band that includes a female bassist, started their set on a mellow note, with a piece that could have been background music for a scene in "From Dusk 'til Dawn," with a sultry, ethnic feel to it. The drummer used a megaphone to make announcements between songs. At one point, a cool clangy walnut percussion instrument added ambience to a song that would be a good underscore if Robert Rodriguez decides to give up on Spy Kids and go back to his Depserado/Dusk 'til Dawn roots. Size guy Jim Paddack requested an obscure song that the Mermen hadn't played in four years, proving the band had some loyal fans in attendance. June fourth, five-piece punk/psychobilly band Mad Sin began their set with a clip of dialogue from one of the Evil Dead movies. A guy named Holly supplies backing vocals and plays the a sparkly red upright bass. The lead singer was extremely energetic, leading the band through rock and rockabilly music with lots of really great chord progressions. One song began with a ballad-inspired introduction before suddenly launching into fast paced singing. A highlight of the set was a rockabilly-style cover of the Sex Pistols classic Anarchy in the UK. Mad Sin will be recording a new album at the end of this year. Four-piece Memphis-based band the Porch Ghouls, were up next for their second appearance at the Green Door. Featuring a suitcase serving as a kick drum, a lead singer that's also a harmonica virtuoso, and matching burgundy shirts and black pants, the Porch Ghouls specialize in kickass swamp rock. The guitarists and bassist occasionally used slides (which I'll admit I had described as "metal finger cover thingies" in my notes) to add a little distortion and twanginess to the music. With maracas and harmonica along with the suitcase drum, the unique instrumentation helped add interesting elements to the music. Throw Rag is the only six-piece band that I know of that includes a washboard, bugle, and a cowbell among its instruments. Combining a variety of genres into something they've called "sailor rock," the band members were hamming it up and obviously having a good time. Their set included occasional audience participation elements and a lot of joking around. Up next—Supersuckers! I managed to stay up front for a few songs and photos (which later mysteriously disappeared from my camera's memory card), and reveled in the instantly appealing music. I feel guilty for not owning any of their work, especially since I'd seen them open for Mudhoney about twelve years ago in Tulsa. Charismatic front man Eddie Spaghetti, decked out in a black cowboy hat and sunglasses, introduced the band by saying "We're the Supersuckers, and we're the best rock n'roll band in the world!" Longtime drummer Dancing Eagle is no longer in the band, and there are no immediate plans to replace him. June sixth I made the pilgrimage to the American Legion Hall in Norman for NYC's The Banned. Christophe, singer/guitarist for Mockingbird Lane, organizes and finances a lot of these shows himself and deserves more support for his efforts. His three-piece band started their set with an instrumental piece. Christophe's vocals hit the low registers, as he went for a creepy/echoey effect. After being instructed by the Norman police department to turn down the volume, they finished the set with a Joy Division cover. The lights were turned out for Festival City Saints, with the darkness creating a more comfortable atmosphere. I've seen these guys a few times over the years, and I'm not sure why they didn't click with me before the same way they did at this show. Their punk-twinged rock occasionally reminded me of groups as diverse as Hudson Falcons and The Undead. The four-piece band put on an all-out set, and I'll look forward to seeing them again, now that it's finally dawned on me that I should be paying closer attention. Norman's Mandragora played next, with a wall-of-sound approach that had some in the audience comparing them to Blue Oyster Cult. The Legion Hall has a great ambience, with the walls covered in black and white photos of veterans in their uniforms, usually with serene or distant looks in their faces. A velour couch with tranquil images of boats drifting in reed-filled water made an especially comfortable between-bands pit stop, and it's terrible to know the Legion Hall is no longer allowing live music shows. The Banned's bassist, Brian Manning, suggested I go out to my car to listen to their "Songs of Innocence and Experience" EP and come up with a couple of requests. I ended up requesting four of the CD's seven songs, and would have been happy to have heard the other three songs, as well! The Banned released a full-length CD "Imitating Art" in May of this year, and were showcasing their new material. Beginning with a new instrumental, the unfamiliar songs had the same energy, rhythm changes, and persistent melodies of their earlier material, and included some great guitar solos. Some of their songs would have prompted a hellacious pit at a better-attended show, and I'm looking forward to seeing them play at a different venue the next time around. The next night, Oakland's Fleshies took the Green Door stage. The four-piece band was headed by Johnny No Moniker, who was on the floor before the first second of the set had transpired. There was more of a screaming quality to his vocals than I remembered from the last time, but overall I liked their brand of aggressive punk and rock n'roll. (But the audience was subjected to the usual complaints about 3.2 beer…if I had a dollar for every time a musician onstage griped about it, I could retire comfortably!) June 22nd, The Fellowship Students played a CD release show at VZD's. The four-piece band is made up of natural performers, with every member singing at some point and a keyboard occasionally being added to the mix. Their CD, "The Youth Want Distortion" includes a video of the title song and should appeal to anyone who likes catchy power pop. There was an unusual one-band bill on June 26th at the Green Door. I can't recall what happened to the local openers that evening, but a couple of members of the Last Call Brawlers were missing, as was one of The 440's. One of the Last Call Brawlers filled in on bass, with various members filtering in later in the set. My notes on the evening have disintegrated, but The 440's put on a great show even with the mix-up in their lineup. Guitarist/vocalist Miss Sparkle Plenty is an entertaining front woman, and I'd love to see these guys play for more people next time around. They really went all out, for the fifteen or so people in attendance. If their energy level was that high for that small of a gathering, I'd love to see how much they'd rock out for a crowd of three-hundred. I picked up a copy of The 440s/The Chickenhawks split CD "Sumthin' Sleazy," and recommend you do the same. I finished off the month by attending a performance of The Chocolate Factory's "Hair." Their rendition of the classic 1968 musical was great, with appearances by some of the metro's best musical theatre performers. Now that I'm through the month of June and starting on page eighteen of this ridiculously lengthy installment of "Barb's Untitled Column," it's probably time to start wrapping it up. My apologies to any bands that were glossed over, but if I didn't get this column posted soon, the lynch mob was going to track down my home address! If you haven't been by yet, be sure to check out the Atomic Brown Scooter Shop, located at 4415 North Western. Run by locals John Ebrey and Damon Boelte, they sell Bajaj and Stella scooters, and offer service and accessories, as well. Artists interested in participating in a show of local artists' work at Size Records this fall should send photos of their artwork to dustin@sizerecs.com. Dustin is also hard at work booking a few national visual artists for shows at Size in 2004. And by now, I'm sure everyone is aware that a venue called The Conservatory will be opening in the space on Western once occupied by the Green Door. Dustin's the sole owner, with booking handled by Gianni Santillie. They're planning on keeping it as an all-ages club with a full-service bar once they start hosting shows in September. That's it for this issue, kids. Time for me to start working on my column for Issue #5! As always, keep me updated on what's going on with your bands, and I'll do my best to get the word out!