Interview with Camilo Gonzalez of Naked Raygun/Silver Abuse

Photo from www.nakedraygun.org
By Chris Carlton

Camilo Gonzalez played bass on Naked Raygun's "Basement Screams" EP and "Throb Throb" LP. He is also a founding member of Silver Abuse, and played in later incarnations of Toothpaste. Since 2007, Gonzalez has been playing with the reunited Silver Abuse. He also played bass on one Shellac song, "The Rambler Song."

Squid Pro Quo: You were born in Havana, Cuba. When did you move to the States?

Camilo Gonzalez: "Boy, let's see: My family moved to Miami when I was five. I still remember Cuba and wonder what life would have been like there. My dad was tired of all the killing and instability and I think he feared it would never end. He's never really liked Marxism."

SPQ: What was the first band that really influenced you into wanting to play the bass?

CG: "I've always like music, but I never learned to play an instrument or write formally. When I was in high school, progressive rock was the cutting edge. I knew I could never play that. Therefore, I was really pleased when I heard Neu! and Terry Riley and some of the other minimalist "Kraut Rock" of the early seventies. Bob Damnrau, Bill Meehan, Dennis Sosniak and myself had a type of stick band. We'd go over to the park, get drunk and pound on the ground with sticks. The big sticks would produce a boomier sound so of course, I was the bass stick because I lifted weights. Later on, Bill's dad bought him a bass but he sang and let me borrow the bass. Then Dennis tried to stab Bill to death, so we disbanded."

SPQ: What was the punk scene in Chicago like back in the late '70s/early '80s?

CG: "There was no punk rock in Chicago during the mid-'70s that I was aware of. There were pioneers a bit later, Skafish, Tutu and the Pirates and ourselves. And then, perhaps reflective of what was happening internationally, a wave of great bands seemed to spring from nowhere. One week, we'd go to Oz on Hubbard and hear The Effigies for the first time, then Strike Under the next week, then maybe The Wayouts! Because of the deteriorating manufacturing and printing base here in Chicago, loft space became absurdly cheap and folks would host parties where it was possible to hear great bands for free or very little. The community was small and somewhat incestuous for all the good and bad that entails. I recall drugs and sex being easily available. We hosted one party where a lesbian orgy supposedly broke out in the washroom. At that same party, a fight broke out between an African-American friend we had invited and a Nazi skinhead. The skinhead thankfully, got the worst of it, but I think that spoke to the fact that even back then, punk was not monolithic and infighting occurred."

SPQ: How did Silver Abuse get started? There are two different versions out there. Can you give us your version of how the band got together?

CG: "Some time after Dennis tried to kill Bill, Santiago Durango was inspired to form a band. I had met him in high school art class and played drums with an earlier band with him and another guitarist. Bob Damrau later became our drummer, I moved over to bass and I don't think the other guitarist was into punk. Bill Meehan joined us as singer. I don't recall when we finally called ourselves a band; might have been in Santiago's parents' gold coast condo sub-basement over shots of piss-poor whiskey."

SPQ: Did you and Durango leave Silver Abuse to join Raygun, or did you and Santiago juggle both bands for a time?

CG: "I was an art student, so I though punk rock should be minimalist and musical virtuosity was an impediment. Sant didn't agree and wanted a more sophisticated sound. We butted heads, he left to form Naked Raygun and Silver Abuse broke up to form The Wayouts! I played with The Wayouts! and later, a reformed version of Silver Abuse before Sant asked me to join Naked Raygun. But I might add the initial transition was rough and I almost didn't make it. I never played in both bands concurrently until recently."

SPQ: I know you played a couple shows with Raygun recently: The Busted At Oz reunion gig at Double Door, along with Silver Abuse and your other band, Toothpaste. How did that gig come together, and was it difficult playing in all those bands in one night?

CG: "Initially, I suggested to Eric Spicer that we should reform an earlier version of NR and have it play a few songs. Unfortunately Pierre, NR's current bass player, suffered a stroke and couldn't perform. It was decided that the original lineup should play the whole set, not just a few songs. Jim broke his collar bone in a bike-riding accident and Eric was able to fill in. It was exhausting to play in three bands, but I didn't feel it right away since on stage, you run on adrenaline. It took me a couple days before I was my chipper self. Not something I would recommend."

SPQ: I'm sure it brought back memories of playing with bands like Articles Of Faith. Was there ever any tension or rivalry between bands back then? Or was it a big happy family type scene?

CG: "In retrospect, there seems to have been some tension between the hardcore and the more classic punk crowd. Naked Raygun always liked hardcore bands and played with many of them, so I could never understand the rift. The principle tumults seemed to have been Mr. Vic Bondi and the Effigies and Mr. Bondi and Steve Albini, but after a while, things seem to have gotten increasingly fractious. I'm a big goofy guy. If there was tension, I wasn't aware of it. I tried to get along with all and generally, I did. For the most part, bands were cooperative. We informally booked shows together in a wide variety of punk-friendly venues, so a lot of cooperation was necessary."

SPQ: How did the after-show gig at Cobra Lounge the night Raygun opened for Dropkick Murphys come about? Where you asked to join in, or were you just there in house?

CG: "Eric talked to me earlier about possibly playing the Congress set with them but realized I didn't know the later songs. He suggested maybe I can join them for a few songs anyway. I went to the Congress Show, but was too late to see them so Gretchen and I went to another bar to see another band. I got a call from Eric asking me to come to Cobra Lounge and play."

SPQ: I know you got an in-store lined up with Silver Abuse in the coming days. Any new gigs or plans for recording any new music in the near future?

CG: "We're playing with The Wanton Looks at the Cobra Lounge June 25th, scary-good pop rockers, worth the price of admission themselves. We have an album coming out soon, so find out the best way to pirate it. Maybe a few more things in late summer."

SPQ: How can fans get in touch with Silver Abuse and Toothpaste? Do you have a website you want to promote?

CG: "We have MySpace pages (Toothpaste and Silver Abuse).

SPQ: Thanks a million for taking the time to talk with Squid Pro Quo, Camilo. Being a big Raygun fan, this is really a dream come true.

Naked Raygun - "All Rise" re-issue

In the mail, I just got Haunted Town Records' re-issue of Naked Raygun's "All Rise" LP. It sounds great - way better than the original recording.
"All Rise" has great classic Naked Raygun songs such as "The Strip," "Dog At Large," "Peacemaker," "New Dreams" and "Home of the Brave." Basically, most of the songs on the record are amazing (and sound amazing!), but a large portion of their live set consists of "All Rise" songs. It's nice to hear these songs polished up and on vinyl.

Haunted Town Records pressed 865 copies on green vinyl, 550 on white and then I don't know how many on black. Neither Vinyl Collective or Haunted Town's site has the info. for the black pressing.
On the original release of "All Rise," the track listing went:

1. Home of the Brave
2. Dog At Large
3. Knock Me Down
4. Mr. Gridlock
5. The Strip
6. I Remember
7. Those Who Move
8. The Envelope
9. Backlash Jack
10. Peacemaker
11. New Dreams
12. Slim
13. Rocks of Sweden

The new track listing is mostly the same, except instead of "Slim" then "Rocks of Sweden," it goes, "12. Vanilla Blue" then "13. Slim." Both those songs are off the "Vanilla Blue" 7''
"Vanilla Blue" is a great song, written by bassist Pierre Kedzy, but what's great about "Slim" is that the entire track consists of Slim Pickens quotes from my favorite Mel Brooks movie, "Blazing Saddles."
"God dang it, you use your tongue perdier than a 20-dollar whore!" And who can forget (especially in Illinois, relating to the Blagojevich tollways), "Somebody's got to go back and get a shitload of dimes!"
Yessir, all this can be found on the new re-issue of Naked Raygun's "All Rise." I can't wait for the next three Raygun albums to come out, as I can actually compare and contrast the original "Jettison" LP and "Understand?" LPs.

Interview with Eric Spicer of Naked Raygun

Eric Spicer with Naked Raygun (1988)
By Chris Carlton

Squid Pro Quo: Who was your biggest musical influence growing up?

Eric Spicer: "I had more than one. I really like Paul Cook from the Sex Pistols, John Maher from The Buzzcocks, Mark Laff from Generation X and Clem Burke from Blondie. These guys really shaped the way I play. Before that, I listened to a lot of Iggy Pop, Roxy Music, David Bowie and T Rex."

SPQ: Did you always want to play drums, or was there an instrument that you wanted to play before?

ES: "Yeah, I always wanted to play drums. I started lessons at 5. I like piano too and wanted to take lessons, but my parents bought an organ. My mom wanted me to play in church, so that didn’t work out so well. I like guitar and tried to learn it, but I couldn’t sit still long enough."

SPQ: How did you come to play with Naked Raygun?

ES: "I had seen NR a few times and liked them. A friend of mine told me that (Jim) Calao quit, so I asked to try out. I’m pretty sure that I was the only drummer to do this because after the first few times we played together, we just kept scheduling practices. They never said, “You got the gig.” Hell, maybe I’m still on probation.

SPQ: How was the Chicago scene different then than opposed to now?

ES: "Well, obviously it was a lot smaller, so everyone pretty much knew each other. That’s how you have so many bands with different members of other bands. It was kind of cool though, you know? It really was an exciting time. So much new music from all over the place and meeting bands that came through town. It’s still cool today, but technology has probably made the biggest difference. Back in the day, when a band we liked released a record, we’d run to Wax Trax to buy it. Now we just click on iTunes to buy the one song we like. Back then, when we had a show, we’d make a flyer, take it to Kinko's to get it photocopied and then take the bus around town to put up flyers. That was actually pretty fun. Today when a band has a show, you get a message on Facebook or MySpace. And don’t get me started on texting or twitter..."

SPQ: As the band's popularity grew in Chicago, was it difficult to find acceptance in other cities around the mid west?

ES: "No! Why the hell would that happen?! As we toured, our popularity grew everywhere – here and in Europe. But since Chicago is home and we’ve played here more than anywhere else, we’re more popular here. And that’s just fine with me."

SPQ: "It's such a big part of the live Raygun experience, so I have to ask; How did the whole "Free Shit" thing start, and do you recall what the first item was?

ES: "Ha! No, I don’t remember what the first Free Shit was or when it was – I’m sure someone does. If I remember correctly, it was Pierre’s idea. He had some promotional catalog that had all sorts of really cheap stuff that companies could buy and use as marketing. I don’t even know where he got it. So we got whatever it was and in the middle of the set, Pierre drags this big ass garbage bag onto the stage and began throwing the stuff into the crowd saying, “Here’s some Free Shit.”

SPQ: When the band went on hold back in the early '90s, did you ever think that there would be a day when you would get back on stage again and play with Raygun?

ES: "No. I was quite sure I was done. I hated music and everything about it. When I first joined the band, I wasn’t involved in any of the “business” end of things. I really didn’t want to be either. All I wanted to do was play drums and drink beer. But after a while, I started becoming aware of what was going on, even though I tried to ignore it. The way that the record labels worked, the things our own “management” were up to, dirt bag promoters and other things just made me sick. I gave my drums to my friend Shawn and said, “Take them, I’m done.” Oh yeah, the funny thing is I still don’t own a set of drums. I’ve been using my friend, Sean McQ’s drums. My kids bust my chops all the time. They say that all my friends are named Sean (Shawn) and Patrick."

SPQ: When the band played Riot Fest for the first time in 2006 after so many years apart, was there any intention of getting back together full time? Or did you guys decide after that show?

ES: "The original idea was to just play Riot Fest. Then as we were practicing, we decided to maybe do a few more shows. It snowballed from there."

SPQ: The band has released two 7" EPs since returning. Are there any plans for a full-length release?

ES: "Yeah, eventually. Since no one buys CDs anymore, we aren’t in a big hurry. We just thought we’d release cool vinyl and digital singles until we have enough stuff for a full-length. Actually, we have a new 7” coming soon. Pierre wrote a really kick ass song called "Burning Red" that totally rocks. Besides, getting this band together for anything is like herding cats."

SPQ: You recently played drums on the "Black Sheep sessions" with members of Rights Of The Accused, Stiff Little Fingers and The Methadones. Can you tell me a little bit about the project and how you came to be involved? When should we expect a release date for the single? And are there any plans for the band to play a couple songs live to promote the single?

ES: "I’ll answer 10, 11 and 12 together. James Toland from The Black Sheep restaurant got in touch with me on Facebook because I do heating and cooling service work and he had some issues in that area. I went to look at his equipment and when I was done for the night we sat around drinking some beer. He told me about his idea for recording a single and I said it sounded cool. Then he contacted other people saying I was doing it and got them to go in. Now I’m not saying this is all bad, James is very motivated and gets stuff done. The whole thing ended up being very rushed. I had an idea for a song that wasn’t completely worked out that we recorded and I am really disappointed with the result. I don’t know about any release dates and if there are any live shows, I don’t know if I will play them. I did however play drums with The Blue Ribbon Glee Club this last week end at the Wax Trax Retrospectacle – that was fun.

SPQ: Any upcoming Raygun shows in the works?

ES: "No big plans right now. I need a longer lasso now that Jeff moved to Florida."

SPQ: Where can we get information on upcoming releases, show info and merch?

ES: "That’s a good question, I ask it all the time. You can go to www.nakedraygun.org, Riot Fest on Facebook or MySpace and Naked Raygun on Facebook or MySpace.

SPQ: Thanks a million for taking the time to talk with Squid Pro Quo, Eric. We hope to see you guys real soon!

ES: "Thanks Chris!"

Interview with John Haggerty of Naked Raygun/Pegboy

Photo by Stacia Timonere (1987)
By Chris Carlton

Squid Pro Quo: You've been a big part of the Chicago scene for more than 25 years. How has the scene changed since 1984?

John Haggerty: "Everything has changed, for better or worse. This city is almost unrecognizable compared to what it was 25 years ago. The scene was very small and everybody knew each other back then. It seems to be larger and more diverse now."

SPQ: Musicians cite you as being a huge influence on them. Who influenced you as a musician?

JH: "I am very flattered any time I am cited as a positive influence. That's what it is all about for me. When I first picked up the guitar, there was no such thing as punk rock so I gravitated towards blues and blues-derived rock. Johnny Winter, Jimi Hendrix, Led Zeppelin, Black Sabbath, Deep Purple and Thin Lizzy to name a few."

SPQ: When Pegboy formed in 1990, it was almost like a super-group. You came from Naked Raygun, your brother Joe, from Bloodsport and the Effigies and Larry Damore and Steve Saylors from Bhopal Stiffs. What was the initial reaction from people when they came to see you play live? Were expectations high?

JH: "We were well received right from the beginning, fortunately. I think we were hoping that our prior experience would allow us to skip square one and go on to square two. In that sense, I think expectations were slightly elevated."

SPQ: The band's gone through a few bass players since forming. Do you feel you have a solid line up now with Skinny Mike Thompson in the band?

JH: "I think Skinny is in for the long haul, whatever that may bring."

SPQ: It's been a while since the band's last release. Is there any new material in the works?

JH: "Sorry, still no new material. We have been working on and off on new material for quite some time but haven't come up with anything great. We won't put out anything we think is less than great. There would be no point in doing that."

SPQ: You recently played with Jake Burns from Stiff Little Fingers in Nefarious Fat Cats. What was it like playing with Jake?

JH: "Playing with Jake Burns is a blast. We used to cover "Suspect Device" back in the Raygun days. Now when I play "Suspect Device," I look to my right and it's Jake Burns himself singing it! Quite a thrill for me. I look forward to playing with him for a long time to come."

SPQ: Looking back at your time in Naked Raygun, did you realize then how much of an influence the band had, not only in the Chicago scene, but in the punk scene in general?

JH: "We had no idea back then that we would make such an impact. We had high hopes of course, but basically, we were doing it to have fun and maybe sell a few records."

SPQ: People remember a lot of things about a Raygun show. From the crowd interaction to the Free Shit! What do you remember most about those shows? Any fond memories?

JH: "People seem to remember me chainsawing a raw turkey one Thanksgiving show at Metro. That was pretty funny. Bits of turkey flesh flying everywhere. Stage divers wiping out on blobs of animal fat. Those were the days, eh?"

SPQ: When you look back at all the music you've contributed to the Chicago punk scene, what are you most proud of?

JH: "I don't think there is any one thing that I can say I am most proud of. I am most happy just to be considered a part of the Chicago punk program."

SPQ: Is there a website where people can get in touch with Pegboy? Maybe find out about upcoming shows and possible releases?

JH: "Yeah, we have a Facebook and a MySpace page."

SPQ: John, I can't thank you enough for taking the time to talk with Squid Pro Quo. It's been an honor on my part. I hope we get to see more of you and Pegboy in the coming months! Thanks again.

JH: "Thank you, Chris. It was my pleasure."

Interview with Ken Fitzner of The Bollweevils

Photo by MXV
By Chris Carlton

Interviewer extraordinaire Chris Carlton chatted with The Bollweevils' guitarist, Ken (Weevil) Fitzner about The Bollweevils' humble beginning, end and lots of interesting stuff in-between.

Squid Pro Quo: The Bollweevils have been a big part of the Chicago punk scene for about the last 20 years. How did you guys get started?

Ken Fitzner: "Bob, our bass player, and I started really getting into punk at the same time. We would go see Naked Raygun. It was such an intense experience, I think it just almost forced us to want to form a band. We met Daryl there. Initially, we thought his friend Paul would make the better singer; turns out it was Daryl. We always battled the front, which meant we had to get the wall of death from the skins, but we held our own. We originally had a drummer, Joe; he played our first two shows with us. The first one was at a place called Club Stodola on the north side. Bob was singing at that point. Then I sent a letter with a tape to Naked Raygun. I had forgot to include a phone number. I just wanted to let them know that I loved the band. One day, I got a letter back asking us if we wanted to play with them at the Metro. It was the Metro's 9th anniversary show. We opened the show. The next night, Pearl Jam played in the same slot we had. After that show, Joe quit, we found Brian and figured out that the only way we could play shows was if we set them up ourselves. The rest is history."

SPQ: I had the chance to see the band live a couple times since your return to the stage and it felt like you never left! What was it like getting back up there and playing those classic songs after so may years away?

KF: "I'll speak for the band first; we have always been the type of band that didn't need a lot of practice. I think we might practice once or twice before a show, so it easy to get back up there. Once we are on stage, it is amazing most of the time. Our new drummer, Pete, is so amazing, it makes it. I can get tired of playing the old songs, but when the crowd gets into it, it makes it worth it."

SPQ: With the release of the "Weevillive In Color" DV, and seeing some old footage, I was wondering how much more footage is in the vaults and will that footage ever see the light of day?

KF: "We have a lot; some of it is good, some not. I'd love to YouTube it. We'll see how embarrassed we want to get."

SPQ: I know Naked Raygun was a big influence on the band. But what are your personal musical influences?

KF: "I could not live without AC/DC, The Smiths, Government Issue, Bad Religion, Steve Earle, Johnny Cash, Johnny Horton, The Cult, Dag Nasty, Minor Threat, Old 97s, Glucifer and Foreigner. Kinda an eclectic mix, I also love ragtime jazz; mostly anything with a huge guitar."

SPQ: As documented in the Weevilive album that was recorded at The Metro on the "Heavyweights" tour, Daryl said the band would never play there again. What was it like actually playing Metro again after that fiasco? (Memo: Security at Metro was roughing up friends of the band and members of the audience, almost causing a riot to break out).

KF: "Ha. Well, interesting story; our first show was with Daryl at the Metro with Raygun. It was fun, we had seen may shows there already. Then when we were part of the Underdog Collective, Ben Weasel came to a meeting and told us about the Metro fucking bands over and how security beat on kids. We signed an open letter stating we would not play there. After a while, as we got more popular, Marc Ruvalo of No Empathy was able to negotiate a deal for punk bands; $5 door, no merchandise cut, no gate around the stage, etc. We decided that it would make sense for us to try it. We have always been pretty independent as far as how we do business. I think that used to get under the skin of some "scenesters", I think it still pisses some people off. Then the infamous 4th of July show. All along, we knew something was different, by the time we played, the crowd was into it. Funny thing is, nothing the crowd did was any different than what they had done at any show. The security got a little out of hand, we were pissed off and Daryl's famous quote, "We're The Bollweevils, we're never playing here the fuck again."
We had had a number of great shows there. I guess time heals all wounds. I remember talking to the guitarist of Pennywise (Fletcher) and him telling me that they told him, "they didn't want another Bollweevils show." It was Big Black banned before us so it was a nice torch to carry. When we did our "comeback" show, it was a benefit. It was at the Metro, we said yes. Funny thing is that most of the people in bands that signed the letter have played there with other bands. In fact, some have worked at the Metro. In some ways, I think we played a small part in making it "OK" for a punk band to play there."

SPQ: I know that Dr. Strange Records isn't doing a lot anymore as far as releases go. Is there any plans to have the old albums re-released? Specifically the out of print "Stick Your Neck Out" and "Heavyweight" albums?

KF: "All our albums are available online, iTunes, Napster, etc. I would love to strike a deal with a small label to get some of it back on LP or CD, I'm just not sure if a label would be interested."

SPQ: At the end of the "Heavyweights" album, there's about 10 minutes of recorded conversation. Anyone who owns the album will know what I'm talking about. I gotta ask you, was any of that filmed? That was some funny stuff!

KF: "Most of that was recorded on a hand-held tape player our drummer Brian had. We went to Missoula, MT to play a festival show for $100 and got payed with a check that bounced. We drove out on a Friday, played on Saturday, drove home Sunday. Needless to say, we were slaphappy."

SPQ: After The Bollweevils split up, you formed The Feds and released an amazing album, "Chicago Bureau" as well as the "Classified" 7". Do you think fans embraced your new band as much as The Bollweevils?

KF: "I don't think we were around long enough for the fans to catch on, although until the new Bollweevils stuff, it is the best-sounding stuff and best songwriting I've done."

SPQ: Any plans for a Feds reunion gig with The Bollweevils?

KF: "Um, Louie the drummer, who I love, lives in LA, who knows where Mark Piss is these days, maybe in a gutter, so no - probably no reunion, although we have talked about The Bollweevils covering a song."

SPQ: You guys have hinted about a show coming up in the summer and a new single. Is there gonna be a new full length in the works? Possibly a tour?

KF: "I think we want to release singles ala "Singles Going Steady" (Buzzcocks). We have quite a few things written. Touring would be fun, except we all have jobs and families, so unless it works for everyone, I'm not sure."

SPQ: How can fans get in touch with you and the band? Is there a website you want to plug where we can get news on up coming shows, releases, tour info and merch?

KF: "We have a Facebook and MySpace page. You can e-mail me at kafitzner@gmail.com. I would be remiss if I didn't mention my band after the Feds: Callaghan; probably the most fun band I was ever in. The challenge for you will be to find our releases."

Shot Baker - "Take Control" review

Most of today's "Chicago punk bands" have strayed far from their roots. By roots, I mean bands like Naked Raygun and The Effigies, two Chicago originals from the early 1980s that gave Chicago a defined, unique sort of working-class sound.

Sure, Chicago has popular bands like Alkaline Trio, whose influences include Naked Raygun, Pegboy and a slew of Chicago originals, but they are a completely separate animal.

But in 2003, Shot Baker exploded onto the scene.
My first time hearing them was at a Mopes reunion show at the Beat Kitchen in the summer of 2006, where I picked up a five-song demo with a little bird on the cover.
I immediately fell in love with the philosophical, yet contemplative lyrics backed by such strong, driving music.
At first, I was reminded of Screeching Weasel, not by the band's sound, but by its messages and thoughts. One of my favorite elements of Ben Weasel's lyrics is that he admittedly doesn't know everything, but finds a niche in not knowing and he still tries to figure things out. I sensed this in vocalist, Tony Kovacs' lyrics.
It's something I can relate to, just like Shot Baker's new album, "Take Control," released on June 24 on Riot Fest Records.

The album, less than 30 minutes long, has a lot packed into it.
The first song, "Short On Time," is a straight up punk song about accepting the way things they are, even if they would be better changed. It's not a song about giving up, but a song about living and going with the flow, so to speak.
Kovacs sings "If you can't beat 'em, join 'em/I'm done searching for the truth."

Immediately following "Short On Time" is "Falling Apart," a song re-recorded from the little bird demo I picked up two summers ago.
This tune's eye-opening lyrics sing of fear and man's ignorance. Kovacs sings about how the borders of large and powerful countries are nothing more than lines drawn in sand and how depending on which side you're on, the other side's men are always going to be less than yours.
It's about the ridiculousness of pride and arrogance. But like most Shot Baker songs, it's a hopeful tune, ending with a message.
"Let evolution strike the human heart/Ignite the light of truth/Compassion will triumph over ignorance/It all starts with you."
Kind of like a "Your vote matters" message, only without the false pretense lying underneath.

The next song that really caught my attention and sparked a bunch of neurons was "Just In Case."
Kovacs really digs a philosophical mine in this one, as he breaks everything down by saying, "Did you ever stop and think? Your ancestral history. All those people had to meet and all the circumstances had to be just right, down the line, back to the time when man first started. This big bad life is what you're handed, will you take your time for granted?"
There's a little hint of sarcasm in there, poking fun at all the depressed people we have wandering the Earth for no real reason.

But the real kicker in this song that makes me want to live each day to the utmost fullest is when Kovacs says, "Now is your greatest journey, make it all worthwhile just in case there is no afterlife/Live like it fucking matters, search for heaven deep inside just in case there is no afterlife."
I can't say enough about how truly amazing "Take Control" is. It covers both spectrums of musical enjoyment. If you're more into the words, this album's got it. If you're more into the sound, this album has it down to a beat.

Do your ears and mind a favor and pick up "Take Control" by Shot Baker. For anybody else who hasn't quite figured things out but are open to life's possibilities, this album is an ass-kicking, reassuring pot of gold.

The Dopamines, The House That Gloria Vanderbilt, Bi-Furious, Das Kapital at Mad Maggie's:

So here is the first installment of my weekly music blog for the Elgin Courier. It was Monday night's Dopamines show at Mad Maggie's in Elgin, IL. Rock!

http://blogs.suburbanchicagonews.com/cn_bylines/2010/08/the_dopamines_the_house_that_gloria_vanderbilt_bi-furious_das_kapital_at_mad_maggies.html

NOTE: Freelance writer Jason Duarte books shows in Elgin and Chicago, sings backup in Rex Catapult and blogs about the local music scene Wednesdays exclusively on Between the Bylines.


After devouring a delicious sub sandwich for dinner, I headed over to Mad Maggie's (51 S. Grove Ave., Elgin) Monday night to catch a good ol' weeknight punk show. Headlining were The Dopamines, touring from Ohio in support of their new album, "Expect the Worst," out on Paper and Plastick Records. And supporting were some great Elgin/Chicago bands that have a tightly-knit following, but always have flown under the radar.

Elgin's The House That Gloria Vanderbilt and Bi-Furious and Chicago's Das Kapital opened the show. The House That Gloria Vanderbilt features Todd Pot, better-known as the vocalist from his former band, Apocalypse Hoboken. Bi-Furious features members of Elgin's Vacation Bible School and Sass Dragons, and Das Kapital features Marc Ruvalo, owner of Johann's Face Records. Vacation Bible School and Rex Catapult were supposed to play but couldn't.


More on the Elgin bands, links, after the jump.

Bi-Furious are a skate/thrash/hardcore band. The four-piece's songs were short, fast and aggressive, like a 21st Century Minor Threat or JFA.

The House That Gloria Vanderbilt strays from the standard punk rock formula, as they were more experimental punk/rock and sounded heavily influenced by the Butthole Surfers.

Das Kapital was a little more melodic, drawing influence from earlier punk bands like Naked Raygun and The Replacements.

The Dopamines are notorious for their rowdy (in a camaraderie sort of way) shows, where it's not uncommon to see beer cans flying at them or being dumped on any of the four members at any given time, or people crowd surfing and most definitely singing along.

They share a similar sound to The Copyrights and aren't out of arm's reach of The Ramones, at least as far as influence goes. They know their power chords and use them tactfully. The dudes played songs mostly off "Expect the Worst," but threw a few old ones in there, like "Molly," another song with a memorable and viral chorus. Most of the new stuff follows suit in that infectious vein. Songs like "You'd Make a Good Horse Cop" and "Cincinnati Harmony" echoed around in my head long after hearing them for the first time, and hearing them live (and with another guitar to fill out the sound) was great. I left Mad Maggie's with a copy of "Expect the Worst" on both CD and LP Monday night.

I almost forgot: Not playing on the recordings, but touring with The Dopamines on second guitar is Mike Yannich, best known as the singer/drummer for The Ergs! (NOTE: The exclamation point is an essential part of their name). After a few more Midwest shows, The Dopamines will play Canada and then continue touring the U.S. until the end of August.

Elgin band movin' up? Signed on indie label

NOTE: Freelance writer Jason Duarte books shows in Elgin and Chicago, is part of a band and blogs about the local music scene Wednesdays exclusively on Between the Bylines.

Gruff and throaty, yet melodic punk rock band The Brokedowns made a name for themselves around Elgin and Chicago late last century and have maintained a loyal fan base throughout.

In 1998, the Elgin four-piece released a demo tape followed by a few demo CD-Rs before the band saw its debut full-length release, "Let the Disappointment Begin," on Big Action Records in 2002. Since then, the band's released two more full-lengths and a handful of split 7-inches with other punk rock bands, like The Copyrights, The Arrivals, Turkish Techno and Sass Dragons.

The Brokedowns haven't had a full-length release since 2007's "New Brain For Everyone," but in June, an indie label with a successful catalog based out of Chicago called Red Scare Records decided it would put out the new Brokedowns album and added them to its roster of Teenage Bottlerocket, The Menzingers, The Lillingtons and others.

"There's so much going on right now with the label, and as we all know, these are bleak times for small indies like Red Scare," said label owner Tobias Jeg in a punknews.org article.

"But when I heard these songs, I just knew I had to make this happen. It reminds me of
Dillinger Four meets Black Flag meets (Naked) Raygun meets F***ed Up. It's thunderous punk rock but with great, stinging melodies and a little bit of fruitiness to make things fun."

Jeg will release the band's fourth full-length, "Species Bender," on Sept. 14.

A sneak peek at the album, upcoming shows, after the jump

On Tuesday, The Brokedowns posted two new songs to its MySpace page from the upcoming album. The songs, "Celebrity Death Panel" and "I'm a Ritual" accumulated over 200 plays in 12 hours. The new Brokedowns tunes are some of the most melodically infectious ones the band's churned out to date.

I am personally very excited for them. Signing to Red Scare is sure to bring them more fans in more places and only open more doors for the group, and after 12 years, I think they're deserving of it.

The "Species Bender" release show is set for 8 p.m. Saturday, Sept. 25, at Ronny's (2101 N. California Ave., Chicago) with fellow Elgin-ers, Bust! and The House That Gloria Vanderbilt and Minneapolis' Double Bird. The show is 21+.


-- Jason Duarte, Freelance Writer

Link to story: http://blogs.suburbanchicagonews.com/cn_bylines/2010/08/elgin_band_movin_up_in_the_world.html

Squid Pro Quo's Top 10 of 2009:

In the fashion of David Letterman, or as Butthead would say, "that uhhh...Letter dude," I have compiled a list of 2009's Top Ten Albums.

Honorable Mentions:
15. Deep Sleep - Three Things At Once (Grave Mistake)
14. NOFX - Frisbee/Coaster (Fat Wreck)
13. Mike Hale - Lives Like Mine (Suburban Home)
12. Gateway District - Some Days You Get the Thunder (It's Alive)
11. The Riverdales - Invasion USA (Asian Man)

Albums:
10. THE BOMB - SPEED IS EVERYTHING (No Idea)

The Bomb, comprised of Jeff Pezzati from Naked Raygun, Pete Mittler and Mike Soucy from The Methadones and Jeff Dean from Noise By Numbers, Four Star Alarm, etc..., put out its third full-length this year. It's a great follow-up to "Indecision." It also proves that a punk rock band CAN pull of an A Flock of Seagulls cover.
TOP TRACK: "A Song For The Helenas"

9. PSYCHED TO DIE - YEAR ONE (Dirtnap)

New Jersey's Psyched To Die revives classic hardcore and blends it with pop-punk and thrash, making for some catchy, harder-edged material. The lyrics are pretty nihilistic and bleak but damn, this stuff is good.
TOP TRACK: "Permanent Solution"

8. CHUCK RAGAN - GOLD COUNTRY (Side One Dummy)

Hot Water Music's Chuck Ragan keeps doing it; making good, honest music from his heart. It's modest and carries the torch of old-time folk songs that narrate the lives of hard-working-class men.
TOP TRACK: "Rotterdam"

7. DEAR LANDLORD - DREAM HOMES (No Idea)

Dear Landlord is the melding of The Copyrights, Off With Their Heads and Rivethead. It's gritty, dirty and raw - stripping down the walls of your standard pop-punk song structure. It's a great debut album for Dear Landlord. Hopefully there's a 7'' or a follow up album by them soon.
TOP TRACK: "Rosa"

6. THE LEFTOVERS - EAGER TO PLEASE (Oglio)

A heavily-fueled power pop band from Maine - The Leftovers - followed up its last album, "On The Move," with this one. It definitely tops it. It definitely draws more influence from musicians like Elvis Costello and Joe Jackson. The songs are about girls, girls and girls. You won't be able to get this one out of your head. It's as infectious as it is catchy and is a virus worth keeping around.
TOP TRACK: "The Only One"

5. CHRIS WOLLARD AND THE SHIP THIEVES - CHRIS WOLLARD AND THE SHIP THIEVES (No Idea)

Chris Wollard built the anticipation for this debut full-length with his split 7'' with Mike Hale in 2007. Hearing Chris Wollard and Chuck Ragan sing together all these years created something of a duality in my head, and I love their music both equally and separately in their own respects. If that makes any sense. This album is an introspective one and kind of a lonely one at that. It's riddled with insecurity and desperation but also with love and optimism. I'm gonna use the word duality again. It's a perfect balance and quite poetic.
TOP TRACK: "All The Things You Know"

4. HOUSE BOAT - THE DELAWARE OCTOPUS (It's Alive)

These guys again!? Yes, yes. I did review this album not too long ago. I wasn't kidding when I said it was fucking awesome and so on. It's funny. It's catchy. It's fast and poppy and upbeat and just cool. It's a cool fucking album by a bunch of cool fucking dudes. Especially Ace.
TOP TRACK: "My Guts Have Shit For Brains." Just kidding, it's their cover of "Traffic School."

3. Noise By Numbers - Yeah, Whatever... (Asian Man)

This new band emerged in 2009 called Noise By Numbers made up of Dan Schafer (Screeching Weasel, Riverdales, Methadones, Sludgeworth, etc...), Jeff Dean (The Bomb, Four Star Alarm, etc...), Neil Hennessy (of the Lawrence Arms - though he just played on the album) and Rick Uncapher (from Textbook). Rather than Schafer's more power pop/punk rock take on songs, these ones are a little different. They're influenced by more complex bands and ideas than say, The Ramones. I'd compare the music to something The Replacements inspired. It's closest to Dan's other band, Sludgeworth, I'd say. Just listen to it, words can't do everything (anything) justice.
TOP TRACK: "Waiting For The Train"

2. Banner Pilot - Collapser (Fat Wreck)

Holy shit, I thought. This sounds like their first album, "Resignation Day." I listened to it a few more times and realized I was completely wrong and now I know why they got signed to Fat. This album is pure gold. Plus it sounds incredible. As it should for spending $11,000 in recording costs. These guys have definitely earned the right to be on Fat and I can't wait to hear more.
TOP TRACK: "Starting At The Ending"

1. TEENAGE BOTTLEROCKET - THEY CAME FROM THE SHADOWS (Fat Wreck)

Speaking of earning the right to be on Fat, it's about friggin' time! Teenage Bottlerocket has been putting out really solid albums for the last four years. They've been packing and selling out clubs across the country. Their last two albums have been very straightforward pop punk. This one explores thrash and skate punk a little more. "Bigger Than Kiss" is a straight-up Sack tune. I swear it! These guys are great dudes and they deserve to keep climbing the proverbial ladder. That and they simply rule. "They Came From The Shadows" landed them to a really great label and it's landing them to the top of the Squid Pro Quo Best of 2009 list.
TOP TRACK: "Fatso Goes Nutzoid"

"Merman Records Presents: Sea Creatures Vol. 1" 7'' review

Merman Records' second 7'' release, "Sea Creatures: Vol. 1" is a four-way split between Fear of Lipstick, the Neutron Bombs, Regal Beagle and The Roman Line.

The first track by Fear of Lipstick, "Did Ya Know?," is your standard three-chord pop punk song a little too reminiscent of Screeching Weasel's "Racist Society." It seems to adopt the same authoritative, informative attitude that Ben Weasel was so good at conveying in early Screeching Weasel. Fear of Lipstick isn't trying to be anything they're not here as "Did Ya Know?" is a more personal statement rather than a statement period, if that makes any sense. They play really well, the recording quality is a bit low but overall it's a good song and I'd check out more by this Canadian four-piece.

The second band on here is the Neutron Bombs from Chicago, IL. I've seen them play three times now, two of which were shows we played together and every time I see them, I like them more and more. My first impression was "Ken sounds British." The Neutron Bombs write some catchy songs with sweet bass and guitar riffs. Songs from the band's demo display this more than "Not Listening." Exactly two minutes in length, this is the best-sounding recording the band has and hopefully in time, we get to hear more by them. Oh, they also feature Pete from The Methadones, The Bomb and Explode and Make Up on bass. I'm going to say this song is good, reminiscent of British punk and power pop with a Midwest attitude obviously influenced by bands like Naked Raygun. Then The Dickies/Pointed Sticks/999/The Damned influence is also apparent. Check this trio out.

The third song, "Party Again" is by a band called Regal Beagle from Los Angeles. These guys sound awesome and I can't believe I haven't heard of them before. I hate to sound redundant but the beginning of the song sounds like "99" by Screeching Weasel. They also kinda remind me of The Leftovers with the "let's get drunk and party" attitude accompanied by a rockin' guitar solo. The song, less than a minute and a half in length, goes fast but rocks and is the best tune on the split. Oh, the band's MySpace profile also has a song that Joe Queer sings quite a bit on. Fucking rad.

The fourth and final band on the split, The Roman Line, strays furthest from the traditional pop punk sound, but still maintains that three-chord sound just with distortion, kind of like how Off With Their Heads does it. Their song is called "Squeaky Wheel Gets The Grease" and is about a girl that sounds as if she's an "attention whore." It's got more gruff-sounding vocals with bass and drum and then it'll go to a totally Fat Wreck-sounding verse, something like the Loved Ones or Smoke or Fire would come out with. There are backing vocals in there that reinforce that sound that I'm having trouble describing...

Anyways if you're sick of the stuff you've got and are open to new music by bands you may have never heard before, pick up this 7'' from Merman Records (www.mermanrecords.com). It's fun, diverse-sounding, and a great split put out by a great new label. I am looking forward to the next volume of "Sea Creatures" already.

Shot Baker 'Takes Control' on new album

In July of 1946, shot Baker was a shallow-water nuclear test conducted by the United States Navy to determine the effects of atomic detonations on ships. The test sunk eight ships. And because shot Baker kicked so much ass, the deep water test was canceled. Little did anyone know, the Baker blast would be reincarnated in the 21st century and its energy distributed among four musicians hailing from Chicago, who would keep the name and the effect alive.
Shot Baker was born from the ashes of lead singer, Tony Kovacs’s former band, The Poonanies and drummer, Chris Gach’s former band, The Dorks.
“Chris was the main promotion guy in his band and I was the main promotion guy in my band,” Kovacs said. “When our respective bands broke up, Chris and I decided to get together and start a band and the goal was to be a real working band, not to completely half-ass it and try to take the music thing as far as we could.”
Since then, Shot Baker has released an EP titled “Time To Panic” and two full-lengths. The most recent of which, “Take Control,” was just released on Tuesday, June 24.
“It’s a lot like everything else we’ve put out in a sense that it’s a lot of harder-type punk rock with kind of a mix between faster songs and mid-tempo type songs,” Kovacs said. “I’m pretty happy as far as lyrics, because that’s what I do. And not to sound totally boring, but it’s a lot of the same stuff, I mean it’s a similar style. We don’t experiment that much. We know what we like and go with it.”
Gach thinks the lyrics in the album are a lot more personal than in “Awake” and “Time To Panic.”
While the new music has stayed true to its roots, “Take Control” shows growth for the individual musicians as well as their interaction with each other.
We went to the studio to record “Awake” and Tony didn’t have final lyrics for some of the songs and so we were doing backups and not even knowing the lyrics for the songs, Gach said.
But for “Take Control,” Shot Baker has a few years worth of shows under its tough, worn belt and the band members have gotten to know each other a lot better.
They figured out the hard way that they can be stuck in a van for 32 hours together and not want to kill each other. They drove from Phoenix to Chicago in one drive, taking shifts. Right outside of St. Louis, their van broke down, a mere six hours from Chicago.
“We were on the road for 24 hours straight and then the van breaks down. With all the touring so far, we’ve all gotten along really well, which is a really good thing,” Gach said.
Just as they fit nicely together outside and on the road, they work well with each other inside the studio.
“We’ve really become a lot more comfortable with each other as far as writing goes and we have a better idea of what works and what doesn’t. We bounce off of each other better than in the past and I think it shows in the music,” Kovacs said. “Well, hopefully it does.”
But when making “Take Control,” the band focused on quality and not just getting the record out. When they had enough material and were ready, they went in and recorded it.
The themes in the songs off "Awake" and "Time To Panic" range from confusion, anger and frustration to sincerely introspective lyrics concerning life and even love.
“The album title is kind of the general undertone of the whole album,” Gach said. “That’s my take. If you listen to every song, it’s more about live in the now. Take control. Do what you want to do and don’t just settle and let shit fly by (because) when you look back, shit’s gone.”
“Awake” was a bit more scattered and some of the songs weren’t so personal, he said.
“Take Control” features 11 songs, short and sweet.
Shot Baker has a philosophy based on that “short and sweet” feel. It applies to their albums and live shows.
It’s definitely better to see to a band for about 30 minutes or less and find yourself wanting more than to sit through them for longer than you’d like and never want to see or hear them again, Gach explained.
“We figure that less is more in a sense,” he said.
Shot Baker is signed to Riot Fest Records, an up and coming Chicago label. “Take Control” will be the label’s second release. “What Poor Gods We Do Make: The Story and Music Behind Naked Raygun” was its first.
They like the fact that their band is the only one signed thus far because Riot Fest puts all its effort into them and what they want to do.
“Us and Riot Fest, we’ve actually grown to have a really strong personal work relationship with them,” Gach said. “It’s not just business. They really believe in what we’re doing. They believe in us and we believe in their label as well, so it’s on a really cool level like that.”
The “Take Control” record release show will be held at 9 p.m. on Saturday, July 26 at the Beat Kitchen (2100 W. Belmont) in Chicago. Admission will be $8 and the show is 17+. This will be the last show on a string of tour dates and will act as a sort of “homecoming” for the band.
“Normally at the end of a tour, you’re like a machine, so we wanted to be as good as we possibly can,” Kovacs said.
Shot Baker will kick off its tour Monday.
Check them out at here and be sure to catch them live if they pull through your neck of the woods.

Interview with Danny Vapid of Screeching Weasel/The Methadones/The Mopes/Sludgeworth/The Queers

By Chris Carlton

Squid Pro Quo: Thanks for taking the time to speak with Squid Pro Quo, Dan. I know you have a lot going on, so we'll get right to it. You've got a new band, Dan Vapid & The Cheats, and your first show is May 27th at Cobra Lounge. Who's playing with you, and how did you get the band started?

Danny Vapid: "The band is me on lead vocals and guitar, Simon Lamb (The Riverdales redux) on bass, Mike Byrne (The Methadones) on lead guitar and Mike Soucy (The Methadones) on drums. The idea behind performing as a solo act has been a suggested idea of sorts for a few years now. It started a few years back with a promoter in Genova, Italy who asked if I would be interested in touring over there playing my back catalog of songs from various bands I played in: Riverdales, Methadones, Mopes, Sludgeworth, Screeching Weasel etc... I thought it was a cool idea and a great chance to see Italy again, but never came into fruition because of other musical obligations. But since the unfortunate events with Screeching Weasel at SXSW, I would soon be left without a job. I got a call from Mike Byrne the following week and picked up some temp work through the company he works for. While working, he got a text message from the people at Cobra Lounge asking if I would be interested in doing a solo show on the same weekend that the Weasel anniversary fest was scheduled. At first, I wasn't very interested. I was still feeling very out of sorts and emotionally wrought from SXSW. Mike really liked the idea when we started talking about it and he offered to play guitar. Within a week, I began gravitating towards the idea of doing this show. I was getting lots of support after the SXSW fiasco from friends, bands and fans and that meant a lot to me. Not to mention all the people that booked airfare, hotels, etc... to see Weasel Fest, which is now canceled. It's a bad situation and not what most people made plans to come to Chicago to hear. But If there's a silver lining in this shit cloud, people can still stick around and get a chance to hear my back catalog of songs and get to see Kurt Baker and The Jetty Boys. So far, the response to this has been positive. As long as there are people who want to hear these songs, I'm more than happy to play them."

SPQ: In the past you've played "Make Way" and "Back To You" by The Riverdales and "Someday" by Sludgeworth during Methadones sets. Can we expect those songs this time around? Or is the set list being kept hush for the moment?

DV: "There are no secrets. We'll be playing all the songs you've mentioned and more. A whole set full of them."

SPQ: What can we expect from The Cheats this year? More shows or maybe some new recorded material?

DV: "I'm working on doing some more shows. I've already have had a few offers and will be playing Insubordination Fest in August. I have plenty of songs written for a new record so hopefully they will have a home with this project and we can generate some interest with some record labels on that front as well."

SPQ: You're a legend in the Chicago punk scene and you have been an influence on many, not just in Chicago, but around the world. Who influenced you as a musician and a songwriter?

DV: "Lots. Here are some songwriters. They range in genre, but here they are: Dee Dee Ramone, Joey Ramone, John Lennon, Paul McCartney, Brian Wilson, Elvis Costello, Kim Schattuck, Pete Shelly, Buddy Holly, Leslie Gore, Hank Williams Sr., Jeff Pezzati, Pierre Kedzy, Ben Weasel, Paul Collins, Cliff Johnson, Rick Nielson, Blake Schwarzenbach, Matt Skiba, Josh Caterer, John Samson, Ben Gibbard, Elliott Smith, Rhett Miller, Paul Westerberg, Bob Mould and many more. Also, autobiographies from musicians, books or documentaries on bands, producers or studios like Sun Records, novelists like Charles Bukowski and John Fante, comedians like George Carlin or composers of film scores like Bill Conti and Ennio Morricone; they all play a role, even if it's very subtle. I try to take what I like about something and give it my own twist or sensibility."

SPQ: You were recently involved in the Black Sheep sessions, and recorded a single. How did you get involved in the band and what was is like playing with such legends as Eric Spicer and Jake Burns?

DV: "Mike Byrne had told me about the project and how it was associated with a new restaurant opening and I thought it was cool. Many years ago, I went to culinary school and cooking has remained and interest with me ever since. I never had the opportunity to mix music and cooking; two things that I have so much interest in. So, I e-mailed James Toland (Black Sheep Restaurant) and asked if I could write a song for the project and it was done. I was really excited about the project and to work with musicians who have had such a big influence on me. Years ago, if somebody would have told me that I would write a song and Jake Burns from Stiff Little Fingers and Eric Spicer of Naked Raygun would play on it, I wouldn't have believed it. It was a bit surreal. As soon as Jake started playing guitar, I got goosebumps. Although not a S.L.F. song, it had all the nuances of his playing and I was totally eating it up."

SPQ: I heard some of the proceeds from sales of the Black Sheep single will go to charity. Is that correct?

DV: "Correct; the Children's Memorial Hospital."

SPQ: Are there any plans for another Black Sheep recording session in the near future?

DV: "It's hard to say. There are lots of people involved, all whom have projects of their own. But if everybody was down for doing it again, I'd love to.

SPQ: With all the bands you've played with, what do you feel is your greatest musical achievement thus far?

DV: "This question is always difficult for me to answer. But some of the Sludgeworth songs and my contributions to Screeching Weasel's "My Brain Hurts" were big achievements for me. They were breakthroughs as a musician. But, ultimately, I'm just happy to make a connection with the listener no matter what the song is. Being able to make music, travel the world and having people appreciate what I do is what means the most to me."

SPQ: You've been recording music for more than 20 years now. How do you feel the scene has changed from the early '90s to now?

DV: "The mid-'90s was the merging of 'punk rock' into the mainstream. There was the success of bands like Green Day and the influx of bands that followed. Some of it made for positive change and some of it was really stupid. Since about 1999-2000 and on, there have been so many sub-genres of punk rock not only in Chicago but around the world. In a populated city like Chicago, these sub-genres have grown into many scenes, some tightly knit, and spread out over the city and suburbs. It can be hard to keep track of them. I've read some of your other interviews with guys like John Haggerty, for example, who say when they started, it was much smaller and everyone knew each other. I totally agree. In my experience, it was also less fragmented. The guy who listened to Flipper and Husker Du was friends with the guy who liked Minor Threat and The Misfits. It was all kind of part of the same thing. It's not like that as much anymore. You have pop punk kids, emo kids, hardcore kids, etc... with scenes that have little or nothing to do with each other. Then, of course, technology and the Internet played a big role of changing the punk scene. There wasn't MySpace or Facebook, etc...

SPQ: When The Methadones decided to call it a day, people seemed to take a step back, kind of shocked. I know I was blown away by the news. Was it hard to say goodbye? And do you see the four of you playing together or recording ever again?

DV: "We were a band for 10 years, had internal problems for about 5 years and we still kept going. We tried to work through it, hoping there was some spark left. Even though I was a little sad about it, we were all ready to move on. We got to the point where we were going through the motions and it was getting very stale. We all went through periods of giving a shit and not giving a shit, all at different times. We're all still good friends and I'm sure we'll work together in some capacity, but likely not as the Methadones."

SPQ: Before I let you go, is there a website that you would like to plug for any of your former bands? And where can we go to find out about upcoming shows, releases or merch?

DV: "Since I'm not playing in those bands anymore, I'd rather plug who I am currently playing with. Look out for Noise By Numbers, which will have a new record on Jump Start Records titled, "Over Leavitt" out in July. Also keep an eye out for Dan Vapid & The Cheats- we'll be playing at Cobra Lounge on May 27th. Hope to see you there!"

SPQ: I would like to thank you again for taking time out to talk with us, Dan. I am excited to see the new group live, and want to wish you and the band all the best in the coming months! Thanks again, Dan.

DV: "Thanks for the interview, Chris!"

Interview with Denis Buckley of 88 Fingers Louie

Photo by Jordan Lee Photography
By Chris Carlton

Squid Pro Quo: Thanks for taking the time to speak with Squid Pro Quo, Denis. A lot of people remember you as the frontman for 88 Fingers Louie. How did the band get started?

Denis Buckley: "Dan, Joe and our first drummer Dom had been playing under one or two different names with another singer. When he got the axe, they asked my friend Eric to try out and I tagged along since they practiced just a few minutes from me. Eric bombed (nerves), so I was asked to give it a shot. I guess this would have been at the end of 1992/early 1993? At any rate, the band officially started writing and playing in April of 1993."

SPQ: 88 released some now-classic albums. What were some of the high points and low points of being in the band?

DB: "Getting out of the Midwest was definitely a high point! Canada (especially central and eastern) always treated us well, and getting to Europe was amazing. On the low side, the factors that led to the breakups of the band certainly stand out. I'd never been the best communicator and I'd let shit fester and then blow up at the guys. Plus I'm Irish all around so there's the whole temper thing. Basically, I didn't handle being on the road very well-too much drinking and various other vices-and after being away for maybe a week, I'd start to go crazy without my family and would begin to harbor resentments."

SPQ: After the band split up Dan Precision and Joe Principe went on to join Rise Against and Glenn Porter joined Alkaline Trio. What were you up to for those first few years after the bands initial break?

DB: "Upon Jeff Dean's invitation, I joined what became The Story So Far in 1999 and had some of my greatest experiences musically. My time with them ended in 2001 and I didn't do anything until 2003 or so and then started singing with Undercast. That band went nowhere fast...just a weird dynamic. Explode and Make Up began in early 2005 and Zero To Sixty was around from 2007 until Fall 2008."

SPQ: A few years ago, you and Dan formed Zero To Sixty and played around a little bit. Did you guys ever record any material?

DB: "Nothing more than a four-song demo, which is too bad. We had some great tunes that we never recorded, but in the end, those guys wanted to do more than I was comfortable with at the time."

SPQ: When 88 regrouped with John Contreras on bass and John Carroll on drums, did you feel the band got a warm welcome back after so long apart?

DB: "Oh man, that first show back in August of 2009 was mind-blowing! There are so many memories from that show that I'll keep forever, most especially introducing my son before we played "Joyboy" and seeing him stagedive during "Blink" (apparently the song I wrote for him 'wasn't fast enough')."

SPQ: It kinda felt like in the blink of an eye, we had 88 back and just as quick, you broke up again! What forced the second break up? And will we ever see the band back together again?

DB: "In an effort to clear this up, let me first say that the band was only supposed to play one show. ONE. The buzz surrounding the reunion was pretty high and we got a few other offers (Riot Fest, Groezrock) that were too good to pass up, so we went with it. I maintained throughout these shows that we were taking things one show at a time and not looking too far into the future. My time with 88 has always ended messy and I wanted to make sure that didn't happen again. The band for me came to a stop after plans for a European tour fell through (who's going to say no to Europe?). Out of that came a few great shows in Canada, but once that finished, I wanted to walk away, and for the first time do so without malice. I hesitate to say 88 "broke up," but there are no plans to do anything anytime soon. Give it another 10 years maybe."

SPQ: You're currently in the band Explode And Make Up with members of The Bomb, The Methadones and Tomorrow's Gone. How did you four get together?

DB: "Jeff (Dean) had demoed some hardcore jams and just asked me if I'd want to work on them. I've known Pete (Mittler) for a good 20 years or so (he's MUCH OLDER) and we'd never played in a band together, so I knew EAMU would be fun based on that alone. EAMU's had a few drummers over the years and it's nice to be able to play with Ech (Mike Echemendia) again."

SPQ: EAMU released a split and an EP. Are there any plans for a full-length album?

DB: "Good question. We probably have at least another EP in us, but as far as a full length goes, it wouldn't happen very soon. We have other bands we're involved with; Jeff has All Eyes West and Noise By Numbers, Pete has The Neutron Bombs and I recently started playing with some friends and family in Eventuals. I kind of like sporadically recording and releasing EPs, so we'll see."

SPQ: Being from Chicago, you must have a lot of influential bands that have played a major part in your songwriting. Who are some of you favorite local talents?

DB: "Coming up, it was our peers: Bollweevils, Apocalypse Hoboken, Oblivion and The Fighters. Going back further, I loved Gear, Sludgeworth, Life Sentence and of course, Naked Raygun and Pegboy. As far as newer bands, I'm quite fond of Damp Hay and Textbook."

SPQ: Nice! Well, before I let you go, where can people find more info about what Explode And Make Up are up to? Is there a website where we can find info on releases, shows and merch?

DB: EAMU does have a Facebook page (as do all of the aforementioned bands) and you can usually keep current on our happenings through our label: http://undercomm.org/blog/

SPQ: I want to thank you again for talking with us at Squid Pro Quo. I can't wait to hear new music from Explode And Make Up! And look forward to seeing you guys live again in the near future! Thanks again for your time, Denis.

DB: "Thanks for asking, Chris! Now go listen to some (old) Soul Asylum, you nutty bastard."

Fest 10 announces more confirmed bands, gives away free compilation

THE FEST 10 recently announced more confirmations on their website for its big 10-year anniversary of their annual multiple-day, multiple-venue party down in Gainesville, Florida.

Added to the massive roster of bands will be onikers, Kyle Kinane, The Emotron, The Forthrights, Scum of the Earth, Worlds, Rivernecks, Alligator, Mouthbreather, John-Micheal Bond, Billy Wallace, Greys (Canada), Pujol, Kite Party, Teenage Softies, Wet Witch, The Fucking Wrath, Arms Aloft, Despite Everything (Greece), the Ex-Boogeymen, Over Stars and Gutters, Unfun (Canada), Liquid Limbs, Nato Cole and the Blue Diamond Band, Sister Kisser, Dig It Up (Canada), Luke Fields, Chicken Little, Charles the Ospery, Nightmares For A Week, Hold Tight, Vena Cava, Timeshares, Rose Cross, Post Teens, Nightlights, Douglas Shields and the X-Factors, Saint Alvia, Die Hoffnung, Chotto Ghetto, Sister Kisser, Evan Rocha, Luther, Party Drag, International Dipshit, Young///Savage, Kevin Seconds, Mauser, Wavelets and Creepiod.

You can read below for a complete list of bands performing including Hot Water Music, Against Me, Less Than Jake, Bouncing Souls, Lifetime, Dillinger Four, Samiam, Youth Brigade and more.

The festival will take place Oct 28,29 and 30 of 2011. Weekend passes are currently SOLD OUT but organizers are trying to find more venues willing to participate so they can open more weekend passes up for sale

FEST 10 also launched a Bandcamp page where anyone can grab a free downloadable comp featuring some of the artists performing. This will be the first of a six-comp series being released over the weeks leading up to the festival. You can go here to download (or just click on the album art):

Even though the FEST is SOLD OUT, organizers have been working with bands and local venues to help organize two PRE-FEST shows to happen on Thursday Oct 27^th.

Bands performing include Cobra Skulls, Nothington, Banner Pilot, Worn in Red, Bridge & Tunnel, Moutherbreather, Spanish Gamble, O Pioneers!!!, Shores, Caves, Pure Graft, Landmines and Fellowship Project. There are also two TBA special guests to be added at a later date.

Head to the FEST 10 website for venue and ticket information.

Bands confirmed so far:

Hot Water Music, Against Me!, Less Than Jake, Upright Citizens Brigade Comedy Touring Company, Samiam, Ted Leo + The Pharmacists, Defiance Ohio, Franz Nicolay, Lifetime, Bouncing Souls, Youth Brigade, Dillinger Four, Smoke or Fire, None More Black, Paint it Black, Small Brown Bike, Dead to Me, Teenage Bottlerocket, Toys That Kill, Lemuria, Tim Barry, A Wilhelm Scream, Polar Bear Club, Circle Takes The Square, Off With Their Heads, The Holy Mountain, Cobra Skulls, Magrudergrind, Bomb The Music Industry, No Trigger, P.S. Elliot, Trap Them, Dear Landlord, Underground Railroad to Candyland, The Menzingers, The Copyrights, Broadway Calls, La Dispute, Fake Problems, The Soviettes, Cheap Girls, Ninja Gun, Nothington, Good Luck, Shook Ones, Paul Baribeau , The Arrivals, Banner Pilot, RVIVR, Static Radio, Rehasher, Armalite, Screaming Females, Coliseum, The Swellers, Chris Wollard and the Ship Thieves, We Are The Union, Grabass Charlestons, Iron Chic, Mikey Erg, Ampere, Worn in Red, The Measure (sa) [FINAL SHOW], Burning Love (Canada), Tiltwheel, Bridge and Tunnel, Dan Padilla, Blacklist Royals, The Snips (Canada), The Brokedowns, The Bomb, The Catalyst, Algernon Cadwallader, Red City Radio, New Bruises, Shores, Future Virgnis, The Riot Before, Make Do and Mend, We Were Skeletons, Pianos Become Teeth, The Flatliners (Canada), Young Turks, Campaign, OK Pilot (UK), Look Mexico, Dirty Tactics, The Dopamines, The Arteries (UK), Bent Left, SSSSNAKES(UK), How Dare You, Comadre, Grown Ups, Such Gold, Tigers Jaw, Touché Amoré, The Great Explainer, PJ Bond, Carpenter (Canada), Annabel, One Win Choice, Amateur Party, Cynics (UK), Sexy Crimes, Greenland is Melting, Spanish Gamble, Captain We’re Sinking, Senders, O Pioneers!!!, Pure Graft (UK), Caves (UK), Mixtapes, Vultures United, Living With Lions (Canada), Mose Giganticus Mockingbird Wish Me Luck, Whiskey & Co., Protagonist, Dukes of Hillsborough, Max Levine Ensemble, Big Eyes, No Friends, Failure’s Union, 1994!, Landmines, Heartsounds, After the Fall, Cletus, Coffee Project, Savage Brewtality, King Friday, Fellow Project, Gateway District, Worthwhile Way (Japan), Calvinball (UK), Leagues Apart (UK), Glocca Morra (Canada), The Slow Death, The Anchor, Punch, Goddamn Doo Wop Band, Banquets, Old Man Markley, Red Collar, Weak Teeth, Deep Sleep, No More, Reverse the Curse, Assassinate the Scientist, Army of Ponch, Naïve, Capsule, Jeff Rowe, Koji, Go Rydell, Pine Hill Haints, A Great Big Pile of Leaves, Former Thieves, Elway, The Wild, Pygmy Lush, Too Many Daves, Joey Briggs. City of Ships, INxSANE (Slovenia), Spraynard and Vacation Bible School.

THE FEST 10 will host 250+ bands over three days at 11 venues all within walking distance in downtown Gainesville, Fl.

Last year, The FEST 9 had over 5,000 folks in attendance with visitors from 46 states and 14 countries such as Canada, UK, Australia, Austria, Belgium, France, Germany, Ireland, Italy, Japan, Puerto Rico, Spain, Sweden and Switzerland.

In past years, The FEST has hosted numerous bands such as:

7 Seconds, Able Baker Fox, Against All Authority, Against Me!, Alexisonfire, American Steel, Ampere, Ann Beretta, Armalite, The Arrivals, As Friends Rust, ASG, Assholeparade, Atom and His Package, A Wilhelm Scream, Banner Pilot, Baroness, Bear vs. Shark, Ben Davis, The Blood Brothers, The Bomb, Bomb the Music Industry, Bouncing Souls, The Briefs, Bridge & Tunnel, Broadway Calls, Burning Love, Cheap Girls, Chuck Ragan, Cinemechanica, Circle Takes the Square, Cloak/Dagger, Coalesce, Coliseum, Communique, Das Oath, Dave Dondero, Dead to Me, Dear Landlord, Defiance, Ohio, Dillinger Four, The Draft, Drag The River, Engine Down, The Epoxies, The Ergs, The Eyeliners, Fake Problems, The Falcon, Fifth Hour Hero, The Figs, Finfangfoom, Fleshies, Floor, Frank Turner, The Gaslight Anthem, Ghost Mice, Good Luck, Gospel, Government Warning, Grabass Charlestons, Gunmoll, Hard Skin, Har Mar Superstar, The Holy Mountain, Hot Cross, Hot Water Music, J Church, Joey Cape, Kylesa, Latterman, The Lawrence Arms, Leatherface, Lemuria, Less Than Jake, Look Mexico, The Loved Ones, Lucero, Marked Men, Mastodon, Mates of State, Matt & Kim, Mercury Program, Me First and the Gimme Gimmes, The Methadones, Minus the Bear, Municipal Waste, Naked Raygun, None More Black, Off With Their Heads, One-line Drawing, Paint It Black, The Pietasters, Pink Razors, Planes Mistaken For Stars, P.O.S., Polar Bear Club, Pretty Girls Make Graves, Radon, Rehasher, Riverboat Gamblers, Russian Circles, The Sainte Catherines, Savage Brewtality, Seaweed, Sinaloa, Small Brown Bike, Smoke or Fire, SNUFF, The Soviettes, Strike Anywhere, Suicide Machines, The Swellers, Ted Leo and the Pharmacists, This Bike is a Pipe Bomb, Thunderbirds Are Now, Tiltwheel, Tim Barry, Tiny Hawks, Torche, Toys That Kill, Transistor Transistor, Twelve Hour Turn, Valient Thorr, VCR, The Velvet Teen, Whiskey & Co., Wow, Owls!, Young Livers and Youth Brigade.

The FEST is put together by the folks who run No Idea Records and Southern Lovin’ PR.