Salt N’ Pepa, Lukas Prata, Jungle Bizkit Bop City Project, Maritime Hall, SF, Sun., April 11, 1999
Frankly, I was equally as surprised as I was ecstatic when I learned that the legendary team of Salt N’ Pepa was going to play the Hall. Along with other New York City acts like MC Lyte and Queen Latifah, they would be pioneers not only as the first successful female hip hop acts, but pioneers in the genre entirely, easily as influential as such NYC contemporaries as Run DMC, Public Enemy, and L.L. Cool J. They and Queen Latifah were also the first female hip hop acts to win Grammies, which they both did in 1995. These women were there at the birth of this musical revolution. Everybody in the world knows that Salt N’ Pepa have been putting out absolutely infectious jams since 1985 and I felt quite honored that I would get to record them that night, not to mention relieved that Pete had left it for me to do. Sure, Pete didn’t give a fig about hip hop, but I thought even he wouldn’t resist the opportunity of doing an act of this stature.
Part of the surprise of this show was due to Salt N’ Pepa not touring for four years. Both Cheryl “Salt” James and Sandi “Pepa” Denton were in a bit of a transitional period around this time. Salt was very, VERY pregnant at this show with her second child, son Chapele. She eventually married his father Gavin Wry on Christmas the following year after dating for ten years, but then soon suffered a bruising four year long divorce from him. Pepa, also married her on again off again boyfriend, Treach from Naughty By Nature, only nine days before this show in a Kansas City tattoo parlor, strangely enough. They had a more formal ceremony later that July, but like Salt, she divorced shortly afterwards in 2001. It does make me wonder what is the overall success rate of tattoo parlor marriages, but I digress. Shortly before this show, the duo would also have the bad fortune of signing to Red Ant Records who quickly went bankrupt afterwards, going under even before the release of their fifth and final studio album, “Brand New”. The album still did well enough, quickly going gold, but they would ultimately disband in 2002. Thankfully they eventually got back together and even starred in “The Salt N’ Pepa Show”, a reality series on VH1 about them in 2008.
Opening that night was the Jungle Bizkit Bop City Project, a latter extension of instrumental hip hop band, Jungle Bizkit, who I’d seen a couple times before, including once at the Hall in ’96. I loved those guys and were glad to have them back. They had a couple singers this time including Caitlan Cornwell who had sang alongside fellow bay area bands Alphabet Soup and The Mo’Fessionals. Their set that night has the unique distinction of being what I believe is the only time the first of more than three bands played the longest set of the night. Clocking in at about an hour, they easily beat Lucas Prata, who did a measly 20 minutes, and Salt N’ Pepa who played only 45 minutes. Though he was wearing a San Francisco Giants jersey that night, Prata was from NYC, brand new with his single “Fly Away”. He used to be a backup dancer for Downtown Julie Brown on “Club MTV”.
Salt N’ Pepa ran a little late, but they eventually took the stage dressed in various bright yellow and black outfits, accompanied by their DJ, Deidra “Dee Dee” Roper otherwise known as Spinderella. Salt looked adorable beyond words strutting around in her yellow overalls. Opening with their smash hit, “Push It”, followed by “Tramp” and “I’ll Take Your Man”, they would also be joined from time to time by four female backup dancers. I don’t know the setlist, sadly not having the recording of this one either, but I do know they also played “Shoop”, “Gitty Up”, “RU Ready”, “Hold On”, “Do You Want Me”, “Let’s Talk About Sex”, “Whatta Man”, and “None Of Your Business”. Considering how short their set was, those were probably most if not all the songs they played.
A couple funny things happened during “Whatta Man”. Before the song, they asked for “three good men” to join them on stage and they had no shortage of volunteers. Pepa asked one to take his shirt off and he obliged on the condition that “you gotta promise to respect me.” To his credit, he had impressive abs. They dedicated the song “to all the men out there who have jobs.” Also, Salt, who I had mentioned was super preggers at the time, turned sideways and caressed her belly when she did the line, “You so crazy, I think I wanna have your baby”. That got a big laugh from me and I’ve never forgot it. I wouldn’t learn until years later that the song was a reinterpretation of the 1968 soul song “What A Man” by Linda Lyndell. As wonderful and a privilege as this show was, I can never forget how it was mysteriously empty. Hip hop shows at the Maritime had always sold well, at least filling the dance floor and I assumed that this one would be absolutely packed, but there was only around 300 people there! Maybe it was just a fluke, or bad promotion, but I was stunned, ashamed even. Such hip hop royalty deserved better for sure.
One mildly humorous thing I will never forget from this show was when one of the young, Red Coat security guards stopped me by the stage door for a moment when I went to give the band the tapes at the end of the night, asking me if I could say hello to Spinderella for him. I smiled and shined him on a bit, saying I would if I ran into her. Can’t blame the guy for having a bit of a crush. Spinderella is fine as may wine. If anything, I would have said hello to her from me, being single at the time. On a side note, researching this show, I learned that daytime TV personality Wendy Williams auditioned for Salt N’ Pepa’s DJ before Spinderella did. Sadly, Spinderella sued the duo over unpaid royalties a couple years ago after she was ousted from the band and recently settled out of court for an undisclosed amount. It’s a pity that they fell out so hard. They even left Spinderella almost completely out of the recent Salt N’ Pepa biopic that was on the Lifetime Channel.
Zero, Sky Cries Mary, Maritime Hall, SF, Sat., April 10, 1999
SETLIST : (Set 1) Forever Is Nowhere, La Fiesta, Catalina, Eight Below Zero, On Your Way Down, Baby Baby, (Set 2) Nefertiti, Cole’s Law, Gregg’s Eggs, Papa Was A Rolling Stone, Gregg’s Eggs (reprise), Anorexia, Hey Hey My My (Out OF The Blue), Can’t Keep A Good Man Down, (encore), Golden Road, Whiter Shade Of Pale, Use Me Up
We’d all but given up recording Zero at the Hall for reasons I’ve long since explained in previous entries, but for those reading for the first time, I’ll be brief. Zero had already released a couple live albums that we taped there and frankly, we were getting bored with them. It had been a while since we done any of their shows there and we weren’t going to do this one either. But word got out that the second of the two day stint they had lined up that weekend was going to be their last show ever and naturally I thought it would be significant. Pete just shrugged and said for me to have at it, leaving me to record on my lonesome.
I’d already taped the opener, Sky Cries Mary, just two months before this show as well, but I consoled myself in the knowledge that I would have at least one Zero show under my belt that Pete didn’t do himself. As you might have guessed, it wasn’t their last show ever and I felt a little burned for having done it. Even at the encore, mustachioed singer Judge Murphy said “God only knows if this is the last gig, probably not.” I hear they even joked about it when they would do later gigs saying stuff like it was their “3rd annual last show” and such. This would be the last one for me though. Fool me once, shame on you and so forth. In fact, I’m pretty certain that this was the last time I saw Zero perform again. Sax player Martin Fierro died in 2008 and Judge did too in 2013. The others are still kickin’. I would see guitarist Steve Kimock a few times in the years to come collaborating with various Grateful Dead offshoots and I caught drummer Greg Anton playing at Terrapin Station in San Rafael a few years ago with Melvin Seals and Stu Allen.
I am happy to report that the recording of that night still exists and is available online at archive.org and as Zero shows go, this one was pretty good. Zero did a few covers in the second set including soul standard “Papa Was A Rolling Stone”, a bit of “Hey Hey My My (Out Of The Blue) by Neil Young before going into “Can’t Keep A Good Man Down”, Procal Harum’s “Whiter Shade Of Pale”, and “Use Me Up” by Bill Withers. They had a young woman named Lauren Miller singing along with them that night and for most of the second set, they were joined by none other than Boots, the Maritime’s boss. Yes, he dusted off his alto sax and let loose. Boots seemed happy, really in his element up there on stage and for the encore, he called them “Maritime’s favorite” and got a round of applause to get them back on stage. I’ve always been hard on Boots for his quick temper, questionable business practices, and tyrannical leadership skills, but I have always admired him anyway. He genuinely loves music and his family, had occasional moments of kindness, and obviously the whole Maritime experiment would have never happened without him in the first place.
Napalm Death, Neurosis, The Melvins, Skinlab, Will Haven, Maritime Hall, SF, Wed., April 7, 1999
SETLIST : (NEUROSIS) : The Doorway, End Of The Harvest, An Offering, Belief, Under The Surface, Times Of Grace
It was one of the most impressive line ups I’d ever have the pleasure to record that night of any genre of music though it most certainly was the antidote to the earful of hippie tunes that I heard the night before with Medeski, Martin, & Wood at The Warfield. Seriously, it doesn’t get much heavier than any one of these guys and we had five of them in row. And for only $14, the show was surprisingly affordable. First and foremost, it would be my introduction to the one and only Napalm Death. Though I wasn’t familiar with their music, their reputation preceded them as heavy metal pioneers. Hailing originally from Meriden in jolly old England near Coventry, but since relocated to Birmingham, they had been making ears bleed since 1981. By this time they had released their 8th studio album, “Words From The Exit Wound” the previous October, their last work before their acrimonious split from Earache Records.
I’m always frustrated trying to describe any band’s sound, but that goes double for describing metal, especially since there are so many perceived sub-genres ranging from such terms as thrash, black, crust-punk, sludge, doom, post, to drone metal. But Napalm Death has the distinction of having its own classification being “grindcore”, a term coined by their guitarist Jesse Pintado, calling it a mix of “noise & chaos”. I would say that it’s a fair description, especially for the songs they do which are conspicuously brief. In fact, they hold the Guinness Book Of World Records’ record for the shortest song ever recorded, “You Suffer”, clocking in at just 1.316 seconds, just enough time to scream “You suffer, but why!?!”. The band made an appearance on the UK talk show “Chris Evans’ TFI Friday” that year and did three songs which lasted in total only 59 seconds. But Napalm Death played a full and satisfying hour at the end of the night which I will get into later.
The first act of the evening was Will Haven who I had seen once before opening for fellow Sacramento band The Deftones at The Fillmore in 1997. They were still fairly new and wouldn’t release their second album, “WHVN” for another five months. They were followed by Skinlab, who I was infinitely familiar with by then. I’d recorded them at the Hall four times before this, twice in ’97 opening for Machinehead and D.R.I., once in ’98 opening for Deicide, and just that January opening for Fear Factory. Like The Earthlings, who I was subjected to record opening at hip hop shows repeatedly, I was at first unimpressed with at first, but grew to enjoy them as they also improved as time passed. Likewise, I was almost as familiar with The Melvins, who I’d see perform at Slim’s twice in ’94 and ’97, as well as the side stage of Lollapalooza in ’96, but I was absolutely ecstatic to have this opportunity to record them for the first time at the Hall. I ran into King Buzzo, their frontman upstairs after their soundcheck and spoke with him briefly. He’s a easy one to spot with unmistakable giant frizzy hairdo. I quickly spilled my guts about how happy I was and he politely humored me. When I mentioned that I used to be an intern for Dave Leftkowitz, managing the bands merchandise for the “Melvins Army”. Buzzo chortled, “Oh, I’m sorry”. I guess by that time, the band had parted ways with Dave as their manager.
Indeed, they were going through a transitional period then, having recently joined Mike Patton’s new record label, Ipecac Records. An Ipecac, incidentally, is an emetic, a syrup that is used to induce vomiting. The label’s slogan was “Ipecac Records : Making People Sick Since 1999”. Along with The Melvins, they had an impressive roster of artists including Mike’s many side projects such as the Fantomas which King Buzzo was a member, Tomahawk, and Mondo Cane. Coincidentally, Mike had founded the new label with Greg Werckman who I had worked for with my other internship with Alternative Tentacles which I was doing simultaneously alongside my internship with Lefkowitz. On this label, The Melvins quickly released a trilogy of albums that year with material they’d been stockpiling with the titles “The Maggot”, “The Bootlicker”, and “The Crybaby”. There was even a lost album of songs that wasn’t released until recently called “Three Men And A Baby”. Suffice to say, The Melvins have always been prolific. Along with these new projects, they were touring with a new bass player Kevin Rutmanis who had just replaced Joe Preston. One would have hoped with all their different releases that The Melvins put out some of the stuff I recorded, but alas to no avail.
What made this show particularly special was that this would be the one time I’d get to record, or even to this date, see Oakland’s own Neurosis. I had however seen their alter ego band, Tribes Of Neurot, open for Pigface at The Fillmore the year before, but didn’t like them much. But I did enjoy Neurosis’ brand of percussion heavy, avant-garde metal very much. They were just a few weeks shy of releasing their “Times Of Grace” album produced by the legendary Steve Albini. It was actually supposed to be played simultaneously alongside the Tribes Of Neurot album, “Grace”, but I imagine few people actually did that. On it’s own, Neurosis’ new album did get a good deal of positive reviews. Four of the six songs they played in their set that night were new ones.
Their performance also had the unique distinction of having their own projections done by their touring video engineer calling himself Pete Inc. They had draped a large white sheet on stage behind the band and projected videos onto it from their own projector in the balcony while the videos were also projected on the Maritime’s screens on the side, mixed in with our video feed. While they hammered out their tunes, we were subjected to a variety of layered images such as diagrams of brains, lightning, twitching naked bodies, marching soldiers, war torn city ruins, and fields of static. One of their guitarists pounded a small stand up drum kit for the song “An Offering” and the other guitarist played a small Moog keyboard for “Belief” and also a set of electronic tom drums for “Under The Surface”. I loved their music and definitely saw how bands like Tool and Mastodon took a page from them.
And then there was Napalm Death. Honestly, coming in sight unseen, I was unprepared for what I was to witness. As they took the stage, they appeared rather unassuming, dressed casually in T-shirts, shorts, and such. Their singer, Mark “Barney” Greenway introduced them in his proper English accent and then his voice quickly morphed into a barking, Cookie Monster-like roar. I was transfixed by the sound of it and the way he would do little baby steps around the stage like a dizzy, hyperactive toddler. Apparently, Barney got his nickname as a derivative of Barney Rubble from “The Flintstones”, a joke about the way he’d stumble around when he was drunk. But the thing I remembered the most about him was the way he would repeatedly try to blow air up from his bottom lip to try to clear away his long hair from his face, emphasis on “try”. The hair would just come back down again and he’d do this sisyphean task throughout the entire set. All and all, it was a unforgettable cavalcade of metal and though it took 17 years, I got to see Napalm Death play again with The Melvins at Slim’s and it was well worth the wait, especially since they had Melt Banana on that bill. On a quick side note, this night was the first show of the month and I was impressed by the new monthly poster the Hall put out for it, especially since Boots didn’t misspell anything on it for once.
Medeski, Martin, & Wood, DJ Logic, War., SF, Tues., April 6, 1999
SETLIST : (Set 1) Seven Deadlies, Untitled Blues, Thaw, Brigas Nunca Mais, Rise Up, Swamp Road, (Set 2) Partido Alto, Hey Hee Hi Ho, Toy Dancing, Start / Stop, Combustication, Sugarcraft, Psychedelic Sally, Hey Joe, (encore), Spy Kiss
With the death of Jerry Garcia, a new wave of jam band acts rushed in to fill the void including Medeski, Martin, & Wood, one of a few who were strictly instrumental. It was these bands that I appreciated the most frankly, because it allowed me to focus entirely on their prowess as musicians more than lyricists which was the genres’ strength in my humble opinion. This trio along with other instrumental groups of the era such as Sound Tribe Sector Nine and the Disco Biscuits helped expand jam bands’ audience as they incorporated different styles into the genre itself like funk, hip hop, and even electronica. Such was the case with these guys as they were touring and playing alongside DJ Logic who was one of the only DJ’s to see the creative and commercial potential in collaborating with such groups. He has added his turntable stylings for other such hippies as John Mayer, Jack Johnson, John Popper from Blues Traveler, moe., and Robert Randolph, that last one I’d see open for him with his new band Project Logic at The Fillmore two years later.
Medeski, Martin, & Wood had just signed to Blue Note Records in New York where DJ Logic hailed from and I assume they had met there. He had been mentored by Vernon Reid, the guitarist of Living Colour, who I had coincidentally just recorded at Maritime Hall only a month before this show. In another strange bit of timing, I’d just seen fellow fresh Blue Note signee Charlie Hunter eleven days before this gig and Charlie had toured and played alongside Medeski, Martin, & Wood as well. I’d seen the trio twice before at The Fillmore both in ’95 and ’96, but now they were big enough to play The Warfield. Unfortunately, the show was so quiet, I could barely hear anything in my tapes apart from Medeski’s keyboards. I liked the bit he did during the show where he played a little of “I Heard It Through The Grapevine” by Marvin Gaye though. I also caught a bit of myself at the bar asking the bartender if I could get five ones so I could tip her for my beer. Their first set was acoustic, but I do remember enjoying how DJ Logic melded with the band when he joined them for their second electric set. It made me wish more jam bands employed DJs.
The Ventures, The Mermen, The Ziggens, Maritime Hall, SF, Sat., March 27, 1999
(THE ZIGGENS) : Junipero Serra, Molly’s Lips, Goin Richtor, Surfin Buena Park, Tim The Dinosaur, Burpin USA, Joseph, Surfungus, Breakin The Law
(THE MERMEN) : (Set 1) Latina, Le Jiz Hot, Sponge Cookie, Burn, Splashin’ With The Mermaid, Curve, Lonely Playboy, Astroboy, Emmylou Rides Clarence West Then South, Merry Go Round, (Set 2) Song From Dead Man, Unto The Resplendent, Here Kitty Kitty, Sway
Though I hadn’t seen The Ventures before this night, one would have to have been living under rock to have not heard at least one of their famous instrumental surf anthems, especially in California. If it wasn’t the unforgettable theme song to “Hawaii 5-O”, one could never forget the haunting ending of “Pulp Fiction” where John Travolta and Samuel L. Jackson casually strolled out of the diner to their tune “Walk, Don’t Run”. Indeed, the venerable group from Tacoma, Washington were billing this show as “Hawaii 4-O” being their 40th anniversary and they were touring with (mostly) their original line up. Their drummer Mel Taylor had passed away in 1996 and was replaced admirably by his son Leon. The big news was that they were once again touring with original guitarist Nokie Edwards who had only played with the band on rare occasions since he left the band in 1984.
Pete was in the house that night, but he let me record the opening acts as usual. The Ziggens were there as the first opener and I’d had the pleasure of taping them only two months before when they were touring with their buddies, the Long Beach Dub All Stars. They once again warmed up the crowd with their fun, surf punk stylings, even doing cheerful covers of The Vaseline’s “Molly’s Lips”, a song made famous by Nirvana, and “Breaking The Law” by Judas Priest. Enjoyable as they were, one couldn’t come up with a more appropriate opening act for The Ventures than The Mermen. I have said on multiple occasions that they were already an ideal warm up for any headliner, but surf rock was definitely the band’s wheelhouse.
Unlike The Ventures though, The Mermen were not for once in their original line up for this show. Frontman Jim Thomas introduced the band saying that their original drummer Martyn Jones was “out in Africa traveling somewhere”. Furthermore their bass player, Alan Whitman, had “some serious back problems” and had been “in bed for two weeks” and “almost had an operation”, but was “getting better” and they were planning to get “back together in about a month”. Until then he had “assembled this thing with these really amazing guys” he thought we’d really like what they were going to do there. Jim had brought in Mike Silverman on bass and “Magic Pipe” (which I will go into in a bit), Randy Clark on guitar (the 1st and only time I’d see The Mermen with two guitarists), and Vince Littleton on drums. Randy had worked with a number of artists in town as a session player and would go on to teach music at the renowned Blue Bear School Of Music at Fort Mason. I’d actually recorded a couple times Vince recently when he played the Hall backing both Merl Saunders and the JGB Band. But his main gig was playing with Super Diamond, the Neil Diamond cover band which remains hugely successful doing corporate parties and regularly playing at Bimbo’s 365 Club.
Mike was a horse of a different color though, being the one man band known as That 1 Guy and also a member of The Fabulous Hedgehogs, a brilliant and underrated band. Though he played bass for most of The Mermen’s set, he did bust out the aforementioned “Magic Pipe” for a while. This homemade contraption was what he called a “broken Bowflex”, an electronically rigged pair of metal pipes, connected by adjustable, phosphorus bronze joints, each pipe hoisting bass strings. At 7 feet tall with 13 points triggering sound effects and samples, Mike would slap, pick, hit with a drumstick, and take a bow to the instruments strings making all manner of sound. It was sort of a Diddley Bo from the future and in a strange coincidence, I had just seen Bo Diddley open for Tom Petty & The Heartbreakers at The Fillmore twelve days before this show. And as I had written before, Bo derived his stage name from that rudimentary instrument. Before Vince did his “Magic Pipe” solo, Jim joked, “Watch this guy! He’s my plumber!”
It was a unique show that the Hall allowed The Mermen to do two sets as an opening act, something I don’t think I’d ever seen before of since. Though I personally didn’t keep copies of any of the sets that night, I was able to find The Mermen’s sets on archive.org including bits of six songs from their soundcheck, including “Casbah” and “Testing The Pipe” which they didn’t perform later that night. One of their first songs they did play was “Sponge Cookie” a song they had contributed to the Sony Playstation for a motorcycle racing game called “Road Rash 3D”. Jim dedicated the song “Burn” to a woman named Jennifer Burns who was in the audience who he described as having “too much energy” to burn. Jim also introduced the song “Lonely Playboy” a cover from a band called The Playboys, which Vince’s dad and uncle had played in years before. That band had actually opened for The Ventures in 1961 and when the song ended, Jim added that Vince had “good blood running in that family” and joked that Vince was the “greatest unknown drummer” who had played at “every one of your weddings.”
Afterwards, Jim pointed out a fellow in the crowd named Shigemi Koniyama who was part of the band Shig & Buzz as well as drumming occasionally for Hot Tuna. Though Shig had been shunned by his family in Japan for becoming a musician, Jim praised him and then played Shig’s tune “Astroboy”. Jim laughed that he would beg Shig to call him, but he wouldn’t return his calls. For the next song, Jim explained that “Emmylou Rides Clarence West Then South” was an homage to singer Emmylou Harris and also Clarence White, who he claimed was his “favorite guitarist”. After their set break, they started with a song from the 1995 Jim Jarmusch film “Dead Man” with Johnny Depp. Randy had played guitar with Neil Young for that movie’s score. The Mermen wrapped things up with the song “Sway” which Jim said was meant to give the listener the swaying sensation of a hula dance or palm tree.
One thing that also made this night memorable and unique was this was one of the only, if not the only, show at the Maritime where the Brotherhood Of Light guys were operating three oil plate projectors upstairs instead of the usual two. Having one of the projectors fill out the center of the ceiling gave those in the house basically a complete oil plate light show from one side of one’s peripheral vision to the other. Quite a sight indeed. The endless undulating would be appropriate for surf music I suppose, what with the waves and all, and even the venue itself with it’s ship-like construction and history amplified the “maritime” theme of the show. The Ventures played flawlessly covering the hits I mentioned earlier as well as covers of “House Of The Rising Sun”, “Wipeout” by The Safaris, and “Pipeline” by the Chantays. Coincidentally, they did a cover of the epic guitar instrumental “Telstar” which Tom Petty & The Heartbreakers also covered at that The Fillmore show I mentioned earlier. It would have been nice if The Ventures put out an album from this show, but unfortunately for us, they released a live album called “V-Gold Live!” that year from a show they did in Japan. Sadly, this would be the last time I’d see The Ventures. Nokie died in 2018, leaving Don Wilson as the only surviving original member today.
Charlie Hunter & Adam Cruz, Yoshi’s, Oakland, Fri., March 26, 1999
To my best recollection, this was the first time I had ever attended a show at Yoshi’s. The premiere jazz club, nestled in the center of Jack London’s Square in Oakland, had been putting on classy gigs for years, but I knew little to nothing about most of the acts that frequented there. However, I knew Charlie Hunter intimately from all the times he’d grace the Elbo Room with his Trio every tuesday when I lived next to it in the early 90’s and from my experience working as an intern for his manager. But Charlie had long since moved on and up in the world, relocating to New York City and signing to Blue Note, the apex of jazz labels. Still, Charlie keeps a soft spot in his heart for the bay area and returns often to play to old friends and relatives out here, often at Yoshi’s and over the holidays. This show it was in the spring though and he was playing for the first time with just a drummer accompanying him. He had just put out his aptly titled “Duo” album that year with New York City session drummer Leon Parker, his third release on Blue Note. Filling in for Leon was Adam Cruz, an equally talented master of the skins.
I believe my friend Matt Thayer joined me on this adventure and likely drove me there. It was the later of two shows he did that night, doors not even opening to us until 9:45. Long gone were the days of seeing Charlie do two full sets and an encore for only $5. He played just a touch over an hour and it set me back $20 this time. We were seated amongst the others in the crowd at one of the small round tables and I was impressed by the cleanliness and formality of the place. The acoustics were perfect and though it was pretty quiet, the crowd, unlike the folks at the Elbo Room, shut the hell up and listened. Seeing the show there that night made me feel like a bit of grown up. A word of advise, Yoshi’s is an ideal place to take someone out on a classy date.
It was interesting to hear Charlie’s sound stripped down to just him and drums. One could really concentrate on him and his baffling ability to play both guitar and bass lines simultaneously on his custom 8-string guitar. I didn’t know any of the new material and wasn’t able to pick up a setlist, but I do know that he played “Belief”, “Do That Then”, “The Spin Seekers”, and “Mean Streak” from his new album the night before. He also did a cover of Chet Baker’s “You Don’t Know What Love Is” and a song called “Dersu” and another called “Dakar”. Considering Adam Cruz was new to playing with Charlie, it’s likely they played the same stuff. Adam busted out some steel drums and percussion during a song halfway during the set which earned him a well deserved round of applause and praise from Charlie at the end of it. I could hear my recording of the night grow louder and clearer near the end of the set, so I think Matt and I moved to a table closer to the front of the stage. I would ultimately visit Yoshi’s from time to time in the future when they wisely expanded their roster of artists to include hip hop people that would come in and play with a live band backing them up, a marriage made in heaven.
Mystik Journeymen, The Coup, Mix Master Mike, The Earthlings, Maritime Hall, SF, Thurs., March 25, 1999
It was a stellar line up of bay area hip hop at the Maritime that night, one that I never forgot, one of the best to be sure. The Mystik Journeymen had long since been bringing houses down with their DIY brand of hip hop. It had been five long years since I first saw them open for Onyx at the DNA Lounge, but I had recorded them once at the Hall by then when they opened for Busta Rhymes the year before this show. Though they probably still weren’t big enough to fill the Maritime on their own, having The Coup and Mix Master Mike there insured that it was wall to wall heads upstairs. I had just seen Mix Master Mike alongside his crew of master turntablists, the Insvisibl Scratch Pickles, opening for the Beastie Boys, also performing double duty as their DJ, at the Oakland Arena the previous September. So I was well aware of his mind boggling skills on the 1’s and 2’s, but this would be the first time I’d see him perform just on his own. I loved the way he’d splice in bits from movies into his tunes, like snippets of the score from “The Omen” and samples of Bruce Lee and “Enter The Dragon”. Almost too routine to mention, The Earthlings once again were able to finagle their way onto this historic bill since Little Boots, the owner’s son and the Hall’s stage manager, was in the band handling the sampling. This would be the… (sigh)… fifth occasion I’d tape these guys, but they clearly were having a good time and as I’ve said before, as the years went by, they got better. Still, this would be the final time I’d record this band, but I was lucky enough to tape Mix Master Mike one more time at the Hall when he headlined there a year later.
The one band that I’d never seen before this night however was The Coup led by the incomparable Boots Riley. Not to be confused with the Maritime’s tyrannical boss, Riley remains the only person on planet Earth I’ve ever heard of other than Boots Hughston and his son with that rare first name, though they couldn’t be more different. Not a paunchy, middle aged, pasty white, stingy, capitalist dictator with a mullet, Boots Riley was a young (at least then he was), diminutive, black, Commie activist with a prodigious afro. He had actually been making music since 1991 with this band, formed after he quit working for UPS with his friend E-roc. The Coup had just put out their seminal third album, “Steal This Album”, (an homage to Abbie Hoffman’s legendary “Steal This Book”), four months before this show and they were quickly gaining notoriety. Left wing leaning lyrics aside, the band was tight, their talent undeniable. Though this would be the only time I’d get to record them at the Hall, I’ve seen them perform five times since then and they always put on a great set.
On a side note, the weekend of this show saw the premiere of the sci-fi epic “The Matrix” in theaters. I remember talking to my partner Pete who had also seen it that weekend and curiously surprised how much he enjoyed it. Pete, a steadfast hippie well into his 50’s, wasn’t exactly one to follow popular culture, but he knew a good thing when he saw it. Impressive as it was, I was nonetheless miffed that it beat “Star Wars Episode I : The Phantom Menace” for Best Visual Effects at the Oscars the following year. I guess everybody was gaga over that “bullet time” scene. On another side note, the Journeymen would go on to put out a live DVD from their “Broke Ass Jam” tour the performed at the Hall the following year, though I didn’t record that one. Still, one review of the DVD claimed that their set came from a show at the Hall in 1999, which makes me wonder if ol’ Boss Boots took the set I did and screwed me out of the credits. It’s doubtful and the review was probably mistaken, but I wouldn’t put it past him for a second. The Journeymen would return to headline at the Maritime once again only four months later, but we didn’t tape them that night which I will go into when I get to the shows in July.
Roni Size, Krust, Dynamite MC, DJ Die, DJ Rinse & Flow, Maritime Hall, SF, Sun., March 21, 1999
The whole drum and bass scene was still in its infancy around this time and Mr. Ryan Owen Granville Williams, AKA Roni Size, was one of the artists leading the genre’s vanguard. His breakthrough album “New Forms” had only been out about a year and half, but it had already went platinum a whopping five times over. From his humble beginnings as a 16 year old school dropout in Bristol, he along with such Bristol sound pioneers Massive Attack, Tricky, and Portishead introduced the world to a new sound of jungle beats with live drums and double bass. Apart from those acts I listed, I was mostly ignorant to this new scene, but the show that night was a satisfying taste of it. I would later come to call this sound “Ali G Music”, a reference to the character Sasha Baron Cohen created who typically listened to this kind of stuff and used it for his background score.
He had assembled a crew of talented musicians that ultimately made his band Roni Size & Reprazent or Roni Size / Reprazent. Each of these members, Krust, DJ Die, and rapper Dynamite MC had a chance to showcase their talents that gig before coming together at the end of the night with Roni for the main event. Roni and DJ Die had also collaborated recently with their “Breakbeat Era” project which had just released the “Ultra-Obscene” album, but they wouldn’t put out the second Roni Size album, “In The Mode”, for another year and a half. The air upstairs in the auditorium was thick with dank ganja smoke and beats went well on until the wee hours of the morning. Suffice to say, Roni’s sound was a severe stylistic departure from the death metal we heard the night before at the Hall with Morbid Angel.
It was a strange evening already having heard that the film “Shakespeare In Love” upset “Saving Private Ryan” at the Oscars for the Best Picture award earlier that night, not to mention the little matter of NATO beginning its bombing campaign to force the Serbians out of Kosovo at the same time. Pete had left this show for me to record once again and Liz Farrow was there to assist me. I remember their singer Onallee had the voice of an angel and though I didn’t save the recording or get a set list, I know they at least played “Bullitproof”, “Our Disease”, and “Control Freak”. That voice of hers was haunting and unforgettable. I would go on to see Roni Size & Reprazent do an in store gig at Virgin Megastore in March of 2001, but I didn’t see them perform at the Hall later that night, having stopped working there by then and haven’t seen them perform again since, though they are all still around and making music.
Morbid Angel, Nile, Vile, Maladiction, Maritime Hall, SF, Sat., March 20, 1999
It had only been eight months since Tampa, Florida’s own Morbid Angel had headlined the Hall and they had once again brought fellow southerners, Nile, along with them to open again. I thought it an interesting coincidence that the last show I saw before this a few days before was fellow Floridian Tom Petty who was from Gainesville. Very divergent musical styles though. Strangely enough, my partner Pete was there that night to record which was unexpected since he had little to no interest in metal, especially death metal like this, but I was glad he was there nonetheless. It did sting a bit to hear that Morbid Angel, or most likely frontman Trey Azagthoth, complained that the bass was too loud in the previous recording I had done for them, but I bet their bass player at the time, Steve Tucker, had no problem with it. Certainly Pete’s mix was perfect as it could be and the band still didn’t release any of the material he did for them that night. There’s no pleasing some folks. By this show, Morbid Angel hadn’t released any new material for a while, but would eventually put out their “Gateways To Annihilation” album a year and a half later.
The real news about this show would come from the opening act, Vile, who had played the Hall the previous November opening for Deicide. They were a local death metal band from Concord, not far from where I grew up in Alamo and like the other acts on the bill that night, brutally heavy and loud as fuck. Pete as usual had left recording the opening acts to me and I did their set like the others and hadn’t thought much about it. But in doing my research into the Deicide show, I discovered that Vile had used three songs I taped from the Morbid Angel gig on a compilation album called “Rare Tracks 1996-2004” which they released in 2007, eight years after this show.
They put out the songs “Terminal Existence”, “Cradle Of Deceit”, and “Path To Incineration”, all very metal titles indeed. They introduced that last one during their set as a “brand new one” which they had “just finished this week”. I had recently contacted the band after downloading the album and was able to exchange messages to one of their members who had recently moved to Texas during the pandemic. I tried to finagle a copy of CD from him, but he sort of shined me on, saying that they had a bunch still in boxes from the move and he’d try to send me one in the future. Still waiting for that one, but whatever. That’s show biz. I’m not bitter though. It would be highly doubtful that I would get one thin dime from it even if the album made any money and as usual I wasn’t listed in the liner notes. I’m just glad that it came out at all, really the only official release of any of the metal we recorded at the Maritime and it was only three songs.
Tom Petty & The Heartbreakers, Bo Diddley, Fill., SF, Mon., March 15, 1999
SETLIST : Rip It Up, Jammin’ Me, Runnin’ Down A Dream, I’d Like To Love You Baby, Swingin’, Call Me The Breeze, Breakdown, Listen To Her Heart, I Won’t Back Down, You Don’t Know How It Feels, Mary Jane’s Last Dance, It’s Good To Be King, Telstar, Mona, Little Girl, I’ve Got A Woman, Little Maggie, Lay Down That Old Guitar, Lucille, The Letter, Walls (Circus), Angel Dream (No. 2), Even The Losers, Guitar Boogie Shuffle, Room At The Top, Another Man Done Gone, You Wreck Me, (encore), I Don’t Wanna Fight, Free Fallin’, Free Girl Now, Gloria
Mr. Petty once again returned to the hallowed halls of The Fillmore for another residency. Though this time around he was only doing seven shows compared to the whopping twenty-two he did two years before this, we were nonetheless spoiled to have him and The Heartbreakers for as long as we did. As previously, these shows were in unbelievably high demand amongst the ushers not to mention his fans. So I was able to only get away with seeing one of them, but I made damn sure that the show I saw had the one and only Bo Diddley opening that night. I couldn’t make two of the nights because I was taping Robin Trower and The Abyssinians at the Maritime anyway. What I didn’t know was that they were filming the night I saw at The Fillmore as well as the night after to make a DVD that would be released later that year called “High Grass Dogs : Live At The Fillmore”, their first new live DVD in over seven years. I only learned about the existence of this official release days ago when I started researching this show again and to this date, I haven’t seen any of it, apart from a song or two I was able to view on YouTube.
I’m not disappointed though. By this time, I’d seen Tom so often, three times during that last residency at The Fillmore alone, that I really didn’t search it out. But though I have recently purged my man cave of most of my DVDs and CDs, part of me feels that I should have this DVD, entitled to it really, for no other reason than a sense of closure. This is especially true since Tom is no longer with us. I am happy to say that this wasn’t the final time I’d see him perform. He played as he so often did at the Bridge School Benefit the following year and I caught most of his set on the main stage of Outside Lands when I worked at it in 2014. I even got to see him again reunited with his first band Mudcrutch and played the Fillmore in 2016, just one year shy of his unexpected death. Had to shell out $100 for that one, but obviously I’m now glad I did it. Yes, I like so many of his admirers had naively assumed that he’d just keep playing forever, especially since guys like me were spoiled rotten getting to see him play so often.
He and the band were on the cusp of releasing the “Echo” album which came out a little over a month after these shows. This would be the final album they’d do with venerable producer Rick Rubin and this would be the last tour they would do with Howie Epstein on bass and background vocals. Poor Howie got deep into heroin addiction that caused him to leave the band and ultimately led to his death four years later at the all too young age of 47, an ominous precursor to Tom’s own untimely demise. Howie didn’t end up on the cover of the new album since he didn’t even show up to the photo shoot for it, an obvious red flag right there. But the band carried on fine without him and they even were awarded a star on the Hollywood Walk Of Fame a month after these gigs. We were fortunate to hear a number of the new songs that night including “I Don’t Wanna Fight”, which is still the only Heartbreakers song to feature Mike Campbell on main vocals, also “Room At The Top”, “Free Girl Now”, and “Swingin’”.
Before Bo Diddley came on stage that night, a DJ from KFOG warmed up the crowd asking how many fans out there were at The Fillmore for the first time. He encouraged everyone to check out the poster room, the merchandise table, and to grab a free apple from the lobby. Tom came out afterwards to much applause and introduced Bo as a “living legend” and with a big smile on his face, Bo emerged, declaring that “this feels like 1955 all over again”, the year he started performing music professionally by the way. He was a sight to behold, there with his trademark hat, shades, and box shaped guitar. Bo went through a number of raw, bluesy numbers including a funny song about being a jealous guy and pleading with his lover to “put your suitcase down” and stay. He went on to say they got “drunk as hell” and “sent the kids over to the neighbors”, then lamenting that he had spent the rent money on those “shoes you wanted from Payless”. I loved the line in that song about how he could make her “body shake like a California earthquake”. He would come out later with Tom to play Bo songs “Mona” and “Little Girl” as well. Sadly, this would be the only time I’d see Bo perform before he passed away in 2008.
I’ll never forget that just after he died, my pub trivia team at the Edinburgh Castle called ourselves “No Diddley” in his honor. But one of the questions that night was asking “Who was Ellas McDaniel and why was he in the news today?” We didn’t know that was his real name and when we got it wrong, Karl the Quizmaster chastised us to the bar saying, “To the team who thought they knew Diddley… You don’t know Diddley!” Shame on me. I should have known that and haven’t forgotten since. But I did learn that his name is actually derived from a homemade rudimentary kid’s string instrument called a “Diddley Bow”. It is a single string nailed to something, even the side of a house, played like a bottleneck guitar with various objects used as a slider, similar to the monochord zithers of central Africa. He had played his early self titled hit single “Bo Diddley” on one string like he was using the children’s instrument. But he had also recently found some new commercial and critical success releasing his “A Man Amongst Men” album in 1996 which garnered him a Grammy nomination for for Best Contemporary Blues Album.
Like he had done in the shows I saw in 1997, Tom played for well over two hours and covered a wide array of his hit material as well as several interesting cover tunes. He opened his set with Little Richard’s “Rip It Up”, later doing his song “Lucille” as he did two years before. They also played “Telstar”, the famous guitar instrumental from the 50’s, “Call Me The Breeze” by J.J. Cale, “I’ve Got A Woman” by Ray Charles, “The Letter” by The Box Tops, and “Another Man Done Gone” by Vera Hall. Van Morrison and Them had made that last song famous and Tom ended the night covering Van’s hit “Gloria” which he had played two years before as well. Indeed, with Bo in the house and their playing of so many old standards, it was beginning to feel like the halcyon days of rock & roll at The Fillmore again. Bill Graham was often fond of pairing new psychedelic rock artists with blues legends on the same bill like pairing the Grateful Dead with guys like James Cotton, so this all felt right. Like Tom’s last residency in 1997, I got the feeling that Bill’s ghost was probably floating around there that week.
Love & Rockets, Orgy, Maritime Hall, SF, Sun., March 14, 1999
Love & Rockets was one of those bands I was always aware of growing up in the 80’s, but didn’t get a chance to see. I remember by dear brother Alex going through a period in his teenage years where he sported a conspicuously tall coif of dyed black hair which bared a striking resemblance to guitarist Daniel Ash’s rooster-like mullet. And though I wasn’t a fan of their music per se, I knew of both their hit songs “No New Tale To Tell” and “Kundalini Express”, which they naturally performed that night. Their music was pretty basic as far as their tune structures and lyrics, Ash making no effort to hide his distain for guitar solos, but one couldn’t deny their ability to make a good hook, especially for those two tunes. Hear them and they’re in your head for life. I still wonder if Kundalini was a reference to the biker in “Mad Max” who had his hand ripped off and wanted it back, but I can’t really say. Being a big fan of Love & Rockets and bit of a goth herself, my friend Liz Farrow was there assisting me in the recording room with a big smile on her face all night.
What I didn’t know, or at least until recently then was that the members, Daniel, David J. on bass, and his brother Kevin on drums, were essentially Bauhaus without Peter Murphy singing. I had seen Bauhaus’ reunion tour, playing two days at the Warfield the previous August and was floored by the experience. That tour was a smashing success, but Love & Rockets had a new album of their own that year called “Lift” which they released just two months after I saw those Warfield shows on the Red Ant label. They hadn’t toured or recorded new material in two years after the “Sweet F.A.” album, which they’d made with American Recordings, but things went really south with them when they made that record. A fire had broken out in a house which American owned where the band was living and recording at the time, torching their gear and months of work. A lengthy legal battle ultimately exonerated the band from any wrongdoing, but left them with some hefty legal bills and hurt feelings. This new tour, as enjoyable as it was would be their last for a while, performing their final show in Toronto only a few weeks after this one. Bauhaus would reunite in 2005 and play two more shows at The Warfield which I would be once again lucky to attend both. Love & Rockets would also reunite for a one off show at the Coachella Festival that year but would get back together for good two years later, though this gig at the Maritime would be the only time to date that I’ve seen them perform live.
The good news is that this show would be a redemption of sorts with the opening act, Orgy. They had been the first act on the bill on the Family Values Tour that I saw at the Cow Palace the year before with Korn, Rammstein, Ice Cube, and Limp Bizkit. But unfortunately, I made it into that show late, catching only the last couple songs of Limp Bizkit and missing Orgy entirely. They had quickly made a name for themselves with their debut album “Candyass” which had only come out the previous August and their hit single, a nu-metal cover of New Order’s “Blue Monday”. Their set was short and sweet, but I’ll never forget what happened when I gave the band the tapes. They’d only been off stage a matter of minutes but had already retreated to their tour bus parked outside on 1st Street. I took it upon myself to try to track them down with what limited time I had between sets anyway and went outside to give the tapes to them. There on the sidewalk, I was accosted by their tour manager who was oblivious to the fact we were recording and blurted something about how the band was all freaked out about it. I did my best to console him, but I had to bail back inside to get to work. I never heard anything more about it, so I figure the band really could care less and the manager was just busting my balls. That was the only time I ever had to leave the building to give a band their tapes.
It was a fairly packed house for Love & Rockets and like the crowd that I saw at Bauhaus, the fans loved them and were dressed in full goth regalia. There were even some fire dancers in the house that night. At one point, Daniel even threw out glow stick bracelets that said “Love & Rockets I Am Godhead” into the audience, taken from a lyric of their song “R.I.P. 20 C”. Yes, the night had a little bit of a Burning Man feel to it. I didn’t get a setlist, but I do know that they played those two hits I mentioned before and also a cover of T. Rex’s “20th Century Boy”. It was a pity, as it is always, that they didn’t use any of the recordings we made that night, but they did put out a live double album of their own four years later called “So aLive”, a reference to their 1989 song of the same name. They had used stuff from a gig they did in Irvine in 1987 and another at The Palace in L.A. in 1996 for that album, but I thought Tory did an excellent job filming them that night and our work would have made a great DVD.
The Abyssinians, The Congos, George & The Wonders, Maritime Hall, SF, Sat., March 13, 1999
This would be the third time The Abyssinians played the Hall, the first in September of 1997 also with The Congos opening for them, the second just five months before this show. But I believe this was the one that was used for the live album. The liner notes say it was done in ’99 and this was the only time they played the Hall that year. Seriously, I would have had a hard time telling the difference between the shows since Pete mixed all three and they played with The Congos twice who already released a live album of their own from stuff we recorded from them. At least Boots did a decent job mixing the Abyssinians’ album, but after a half dozen records under his belt by this time, his skills were bound to improve eventually.
What I can tell you from that night was at least is that it was a good show, emceed by the ever-present Rocky Allen Bailey. He did his usual “What a show! The reggae music! The music with the message” routine and the evening was rounded by the customary, relentless onslaught of joints passed to me by Pete. It was a reggae show after all and also helps explain why I have a hard time differentiating between their gigs. I did notice one of the singers making some statement about how the 999 in 1999 is just 666 upside-down before they sang “19.95 Plus Tax”, an observation made by most people who lived through that year. It was nice to get a day off, having done both Robin Trower and the Supersuckers there just before that and I had two more to go on this five day stretch with Love & Rockets at the Hall and Tom Petty finishing the run at The Fillmore. It was quite a variety of musical styles that week.
Supersuckers, Zeke, Murder City Devils, Hai Karate, Maritime Hall, SF, Thurs., March 11, 1999
I had seen the Suckers a few times by then, but always as an opening band, first with Bad Religion at the Warfield in 1994, then again with Reverend Horton Heat at the Fillmore in the following year, and once more at the Greek in Berkeley opening for the Butthole Surfers. The poster from that second show still graces the wall of my bedroom in a frame to this day. But this would be the first time I’d see them headlining their own show and I got to record this one. It was a small, but enthusiastic crowd that night and the bill was all bands from Seattle. The Suckers were originally from Tucson, but they had since relocated there and had signed to Sub Pop. They would release a compilation of songs on that label that year in August called “How The Supersuckers Became The Greatest Rock & Roll Band In The World” and an album of new stuff later that October called “The Evil Powers Of Rock & Roll”.
But their relationship with that label would soon sour and they would move on to the big leagues and sign with Interscope shortly afterward. That pairing would collapse almost immediately as they would drop the band about as quickly as they picked them up during a flurry of corporate restructuring and the new album wouldn’t be released until later. The Suckers went on to form their own record label called Mid-Fi Recordings and they’ve been doing their own stuff ever since. Frontman Eddie Spaghetti made a subtle jab about the situation that night saying between songs, “We’re gonna have a new album soon, I promise. It’s been too long and we’ve been trying, but the record companies have a way of making us feel like this next song”. Then they went into “Beat To Shit” which the he coaxed the crowd into chanting along with him.
Like I said the openers were all Seattle people starting with Hai Karate named after the budget aftershave from the 60’s and 70’s. That had the tagline that it helps “fend off women” and it probably did, but for the wrong reasons naturally. Of course Boots had to misspell at least one thing on the monthly poster and he listed them as “High Karate”. They would return to open for the Suckers again when they came back and played the Maritime seven months later. The third band, Zeke, had already played the Hall once opening for DOA the previous May. Sadly, they had released a live album of their own that year called “True Crime” from recordings they had done between 1993 and 1996, so they weren’t interested in our stuff. I remember some of the more rowdy members of the crowd tossing the occasional plastic beer cup at them.
But the real shining memory of that show was the Murder City Devils who played second that night. They had been in town also playing the Noise Pop Festival that year and from the opening line of “I Want A Lot Now (So Come On)” howled by their singer, Spencer Moody, I was hooked. Spencer looked like a pudgy nerd from an 80’s screwball comedy, but he had all the energy and sheer theatrical commitment of Iggy Pop. I was transfixed by his absolute manic persona, slurring the lines at full volume into his mic, flanked by the others playing their proto-punk mayhem. I really liked Leslie Hardy on the organ. Leslie had briefly been a member of Hole, playing bass for them in 1992, but her organ added a unique sound to the Devils. Unfortunately, she would ultimately suffer from carpal tunnel syndrome and have to leave the band a couple years later, replaced briefly by Nick Dewitt for the band’s last few gigs. Yes, the Devils would break up shortly afterwards in 2001. In the interim period, guitarist Dan Galluci would go on to play in Modest Mouse and their other guitarist, Derek Dudesco, would form Pretty Girls Make Graves and The Cave Singers, but the Devils would reform five years later and they’re still playing today.
But when they left the stage, I only wanted more. I never forgot their brief set, but the only songs I knew for sure that they played were that first one, “18 Wheels”, and “Dancing Shoes”, which was about half their set anyway. I made sure to show the video of their performance immediately to Liz Farrow when she came into help me record Love & Rockets three days later and she was likewise impressed. Ultimately, they would a release a live album from their last show two years later performed in their hometown of Seattle, crushing any hope that they’d put out anything from their set I recorded that night. I only regret that I didn’t save a copy of them from that evening, though I found footage of them playing a gig five days before this show on YouTube. It took me nearly 20 years to see them again, but I did when they played Slim’s in 2017.
The Suckers came on stage to the tune of AC/DC’s “For Those About To Rock (We Salute You)” playing over the speakers and they quickly got the pit into a frenzy covering a number of their songs in their short set, just under an hour’s worth. I didn’t get the list, but I do know that they played “Bad Bad Bad”, “Ron’s Got The Cocaine”, “She’s My Bitch”, and “Creepy Jackalope Eye” which they always performed. I remember their guitarist, Dan “Thunder” Bolton would compulsively comb his feathered hair between songs that gig. It was a whirlwind of punk tunes that night and the Suckers would soon be onto their next gig heading down through the state on their way to Austin to play South By Southwest. But as I mentioned before, it wouldn’t be long until I would get a chance to tape them again at the Hall when they returned to play there that October.
Robin Trower, Puddle Junction, Stonesthrow, Maritime Hall, SF, Wed., March 10, 1999
SETLIST (PUDDLE JUNCTION) : Never Enough, Fruits Of Your Labor, Separation Of Union
Though I was unfamiliar with Robin Trower before this show, afterwards when I knew of his history, I was actually a little surprised Pete gave this one for me to record. Robin was of his hippie generation, a respected guitar master. I had seen Procal Harum at The Fillmore in 1995, but Robin had long since left that band after joining them in 1967, just after the release of their hit song, “A White Shade Of Pale”. From there, Robin formed his own band and cemented his legacy with the seminal album, “A Bridge Of Sighs”. I was actually taken a little aback when my friend Drew mentioned to me when this show was announced how impressed he was by Mr. Trower. Drew was more of a nu-metal fan and if a geezer like Robin could make that kind of impression on Drew, I knew he would be great. Not that he was a geezer, or at least not by then. Robin was only 54 years old at that show, but I do have to admit that he did look older. But then again, he was English, pale, and very skinny, though I’m happy to report that he is still alive and well as of today. I do remember from his set that he was extremely loud and as a consequence of the decades of playing at such volume, was wearing some sort of dual ear hearing device which I assumed was some sort of hearing aid or maybe ear plugs. Either way, it was excruciating for the crowd upstairs, but I have to admit that he shredded, definitely from the school of guys like Hendrix and Clapton. Robin had put out a live double album that year called “This Was Now ’74-’98”, half recorded from a show in Pittsburgh in 1974, the second from Seattle in 1998, so there was little hope that he’d release anything that I taped from him that night.
Still, it’s a pity I didn’t save the recording from his set, but I was able to find the video of the set of the opening act, Puddle Junction, on YouTube. They were a jam band from Chico and had played the Hall once before in March of 1997 opening for the JGB Band. They definitely took a page, perhaps a “Jimmy Page” (ba-dum-boom!), from Led Zeppelin, but I was impressed by both their keyboard player and guitarist. Strangely enough, their set was only 23 minutes long, giving them time for only three songs. The opening song, “Never Enough” was a boogie woogie number, “Fruits Of Your Labor”, the second, was a blues number, and the final one “Separation Of Union”, was a rather curiously structured jam band tune which the singer said was based off the works of the Sufi poet Rumi. I never forgot that line from the chorus, “Drown in the water and you know you’ll never get wet.” Makes you think.
Luciano, Mikey General, Dean Fraser, Firehouse Crew, Dennis The Menace, Maritime Hall, SF, Sat., March 6, 1999
Reggae had returned once again and Pete was there on what was becoming a rarer and rarer appearance from him. Pete had become frustrated and fed up with Boots and his shady business practices, not to mention his downright psychotic temper tantrums. By this time until Boots fired him in November, the number of shows I was doing there to Pete’s was easily at least ten to one. The shows had become so frequent, especially it being March, and it was a relief to have him there, especially since it was reggae and he was infinitely more skilled and experienced to mix the music. Having him there also ensured that there would be copious amounts of joints passed between the two us as well. It was my sister Erica’s 25th birthday and I though I don’t believe she was at that show, my thoughts were of her as they always are on that day of the year.
This would be the first time I’d see Mr. Jepther McClamont, AKA Luciano, and I believe that went the same for Mikey General. Luciano had recently joined forces with the UK born singer along with the Firehouse Crew who were also there performing alongside them that night. He had formed Jah Messenjah Productions in his home country of Jamaica and started their own record label called Qabalah First Music. As the name suggests, they were determined in their words “to provide people with spiritual uplifting music in there times of degradation”. Maybe they were pissed at Clinton over the Lewinsky thing too, but they were steadfast against other Rastas who were exhibiting what they called “slackness”, promoting profanity and gun culture. Yes, this was some old time religion reggae with plenty of bible quotes and chants of “Jah Rastafari”. It was also a treat to have reggae saxophonist virtuoso Dean Fraser on the bill that night and he came out to play with Luciano as well.
Common & The Roots, 75 Degrees, Dangerzone, Maritime Hall, SF, Fri., March 5, 1999
I had drastically underestimated how huge The Roots were to become back then, but this show was indisputable proof that they were moving on to bigger things. I had already recorded them three times at the Hall, in December of ’96, August of ’97, and again in May of ’98, not to mention seeing them open for The Fugees at one of those rare double early and late shows at The Fillmore in ‘96 and the side stage at Lollapalooza in twice in ‘95. I had taken for granted that they’d tour reliably and I’d be able to see them in small venues and on side stages of festivals, but with the release of their new album, “Things Fall Apart” less than two weeks before this show, the writing was on the wall. The Roots moved triumphantly into the mainstream with that album, garnering Grammy nominations for their hit single “You Got Me” for Best Rap Performance By A Dup Or Group to the album itself for Best Rap Album, losing to the unstoppable juggernaut of “The Slim Shady LP” by Eminem. Jill Scott had co-wrote that single and was to be the female vocal on the album, but was replaced by Erykah Badu at the label MCA’s insistence, though I believe Jill was touring with them and sang that haunting tune with them that night. Despite the importance of this gig, Pete still left it to me to man the recording room, but I was ably assisted once again by my friend Liz Farrow.
The Roots’ new level of popularity was in fact a source of mild contention for me and this show. My partner Pete and I were both allowed one person each to let be on the guest list for every show and also one half price ticket each in addition. Since Pete rarely used his, he allowed me to use both guests and half price tickets for my friends, which I used often. But this show was so big, that it was hopelessly oversold. Now, I tried to get my friend Hefe on the list along with the extra guest for him, but he wanted the two other half price tickets for two more friends as well. But when I tried to request them in the office, I was given some pushback because of the show’s popularity and I had to kvetch about it a bit, before they finally relented and at least gave me the guests, but not the half price tickets. Hefe was understandably pissed when I had to break the news, though when I questioned him recently on his memories of that show, he claimed he wasn’t there, saying that he had never seen Common before, but my memory remains stubbornly solid on this one. Maybe it was a different Roots show where this stressful pickle developed, but I know it happened at a Roots gig for sure.
Regardless, like I said it was balls to the wall full at that show and the line to get in stretched around the block and took forever to process. I’m sure all the new money folks increasingly populating the area weren’t happy with all the commotion and litter from that night. And coming back to Common, he was the other reason that this show was such a must see. He had steadily grown more popular as the years went on, but he was at the cusp of joining The Roots on high in the mainstream when he’d release his first major label album, “Like Water For Chocolate” a year after this show on MCA. Questlove, the mastermind drummer of The Roots, produced that hit album. Around that time, they, along with an assorted collection of musicians and artists such as Bilal, and J Dilla from Slum Village, had been collaborating together, calling themselves the “Soulquarians”. This collective would congregate at Electric Lady Studios in New York City to create stuff, much like the Dungeon Family did down south in Atlanta, and likewise what they put together was brilliant. This would be the last tour with Malik B. rapping in the band, though he’d return in the future from time to time to be featured in songs on their albums. I was sad to learn researching this that Malik B. died last year at the all too young age of 47, the cause of death still a mystery.
The show upstairs that night, like I said, was packed, so packed that I didn’t even try to negotiate the crowd when I went to give the artists the tapes at the end of their sets. Usually, I’d go upstairs, exit the stage right backstage door, and just walk around the periphery of the crowd, circling to the other side door leading to the backstage area on stage left. This would allow me to check out the upstairs and avoid having to futz around with my keys to negotiate the locked doors in the level below where the recording room was. But I went around downstairs this time after one look at that crowd. It was hot and muggy as hell up there too. But it goes without saying that it was a stellar show. As always, I’d hoped that The Roots would use some of our stuff for a live recording, especially since this was their fourth time performing there. In fact, they’d come back to play the Hall that November, which would be the final show I’d do at the Maritime before Boots fired Pete. But alas, they went on to do a live album of their own that year called “The Roots Come Alive” which used recordings from that tour made in New York City and Zurich, Switzerland. They also played at the Phoenix Theater in Petaluma the following night and I’d of liked to go, but had to work at the Hall helping Pete record Luciano. The Roots would however make the unfortunate decision to play on the disastrous Woodstock ’99 Festival only four months later, but it didn’t hinder their career ultimately.
The Alkaholiks, Kottonmouth Kings, Dial 7, The Blowpops, Marginal Prophets, Maritime Hall, SF, Sat., February 27, 1999
SETLIST (MARGINAL PROPHETS) : Hip Hop Hypocrisy, Talkin’ Out The Side Of Your Neck, Girlfriend Is The Best, Spotlight, Best Lover (The Masturbation Song), Phat In The Whole
I was no stranger to both The Alkaholiks and The Kings, the first I had recorded twice there in June and October of ’97, the latter three times the previous year alone in April, June, and November. It was a ironic pairing between bands, one being black and rapped about drinking, the other white and rapped about weed. Together they had their bases covered and the few people who attended that show were drunk, stoned, or both by nights end. Neither band had produced anything new by then, so it was basically the same stuff as before. The show was added too late to be listed on the monthly poster. I don’t remember much about Dial 7 or The Blowpops, but I definitely liked the Marginal Prophets. I was looking forward to recording them since I was a fan of co-rapper Keith Knight, the cartoonist that did “The K Chronicles”, a brilliant and hilarious strip. Luckily, I was able to find their set on a website called patreon.com and enjoyed revisiting it. Keith praised the recording saying it was clearest version of them live that he ever heard and that “Best Lover (The Masturbation Song)”, which they played second to last in their set, was the best version that was ever recorded. I am touched and honored to receive such praise. Guess this is no longer a thankless job after all.
Anyway, they were a fun band and were even more entertaining that they had added perennial musical jester Stark Raving Brad to the band playing percussion. He strolled out on stage with the band, clad as usual in his black & white striped referee shirt and introduced the band saying, “Good evening, ladies and gentlemen, It is my supreme executive pleasure to kick off the evening introducing the first of five juggernaut bands hailing from San Fran freak show California. The four time Milton prize winners, six time national MVPs, perennial contenders for MUNI operators of the month. They’re weighing in collectively at 17,420 pounds and they’re close personal friends with… that dude right over there!”. Brad pointed out to someone in the crowd and continued, “Their long run in the freak show circuit for their bodies constant overproduction of industrial strength, stud farm calibre testosterone, they are reportedly so perpetually horny that they’d fuck a big of worms if you’d hold it. I’m sure at the wrong place and the wrong time. This is the Marginal Prophets.”
It was practically empty by the time they started and I doubt there were more than a couple hundred folks there all night, but they all carried on and performed admirably nonetheless. Keith was wearing a red plaid kilt on stage that gig, along with a T-shirt with Elvis’ face on it with the words “I’M DEAD” underneath it in big block letters. When they did “Girlfriend Is The Best”, he laid down in front of the bass player for a bit while he riffed followed by Brad laying on his back to him, then popping up onto to his feet without using his hands. They cracked jokes between songs saying they were selling “sex and merchandise” in the back later, including “$10 blowjobs”, though admitting they were only actually worth $6. One of them said he thought he smelt something burning and another said it was the Maritime and “something’s always smoking”. For the last song, Keith was introduced as “K. Knight, K. Squared, Artist Extraordinaire” and Keith joked, “Read my comic strip, you scumbags.” At the every end, Keith went to introduce the band members and I’ll never forget the other rapper saying, “They don’t care, man!”, his words echoing in the cavernous, empty hall. Well, I cared. Those guys were good and once again, I’m glad that they liked my stuff. I don’t think the Prophets play anymore, but thankfully, I still see “The K Chronicles” in papers to this day.
Vernon Reid & Co., Giant Robot II, Maritime Hall, SF, Fri., February 26, 1999
It had been six long years since I’d seen Mr. Vernon Reid perform with his band Living Colour. You might recall the story I’d mentioned at the beginning of this whole endeavor when I had witnessed promoter Michael Bailey take the tape from a bootlegger on that fateful night at The Warfield in 1993 while that band was on stage and that act was the catalyst that started my own turbulent love affair with bootlegging. So, in a roundabout way, I do owe this a bit to Vernon. Living Colour broke up a couple years after that show, but he stayed busy putting out his first solo album, “Mistaken Identity”, in 1996 and producing “Papa” by Salif Keita and the “Memphis Blood : The Sun Sessions” album by James Blood Ulmer, both which earned Grammy nominations. I like that the first song on his album was called “CP Time”, the name Roy Wood Jr. uses for his recurring skit on “The Daily Show”. One can’t help but wonder if that was where he got the name.
All that aside, this wasn’t a Living Colour show, being something quite different altogether. This was the sort of line-up one would see at Yoshi’s or some other posh jazz club. Vernon was part of a sort of prog-funk super group including Trevor Gunn from King Crimson, playing that weird Chapman Stick of his, Percy Howard on bass, and Charles Hayward from This Heat and Camberwell Now, a renowned session drummer from England who also dabbled in drumming for dance and theater. Trevor was taking a break from his duties from King Crimson then, which had just been downsized to a four piece, along with Robert Fripp, Adrian Belew, and Pat Mastelotto. Between Vernon and his buddies, not to mention Buckethead and his band Giant Robot II, there was an overflowing cup of musical noodling that night. Seriously, this was the kind of show that boggled the mind trying to keep up with these master musicians, the kind of show music students went to. I was a little surprised Pete gave a show of this stature to me to record, so I felt honored, really.
As usual, Boots had to flub one thing on the monthly poster and when he listed Vernon Reid’s name, he had in parenthesis after it (X Living Colour). I suppose that typo is a bit in the grey area, but whatever. Speaking of Vernon’s name, I do remember some confusion on what to call the band and label the tapes accordingly. Since his name was first on the list, I simply called the band “Vernon Reid & Co.” When I presented the tapes to him at the end of the set, he did seemed a little confused that that they were to go to him. He wasn’t upset or anything, in fact, acted quite humble and friendly about it. Vernon took the tapes anyway and that was that. At the end of the year, he played with John Forgerty, doing his song “Fortunate One” in front of the Lincoln Memorial for the “America’s Millennium Gala” on New Year’s Eve. But it would be another four years until I’d see him again when Living Colour finally reformed and played the Great American Music Hall and then another six years later in 2009, when they played The Regency. Needless to say, he shredded at those shows as usual. Yes, Mr. Reid in my opinion is one of the best rock guitarists that has ever lived and frankly is underrated.
GBH, 98 Mute, Against All Authority, Billy Club, Maritime Hall, SF, Wed., February 24, 1999
I admit that I hadn’t heard of GBH before that night, but soon learned that they were punk rock pioneers. They had formed in 1978 in the UK almost immediately after the punk scene had taken off there with such contemporaries as the Sex Pistols, The Damned, and The Clash. Though their name had been thought to be derived from the legal acronym for “Grievous Bodily Harm”, the band had since denied that claiming that it actually stood for, “Girls, Booze, & Hash”. Hell, it’s what it means to you that matters, I suppose. Though they hadn’t released a new album since “Punk Junkies” in 1996, they had recently put out a split album called “Punk As Fuck”, with Billyclub who were opening that night with them, each doing three songs on that album.
Billyclub were from Dallas and had Karl Morris from The Exploited on guitar and Matt McCoy from UK Subs on drums, both respected veteran punk bands in their own right. Following them were Against All Authority from Florida and 98 Mute from Hermosa Beach. I remember it wasn’t that well sold, but there was plenty of rowdy behavior in the mosh pit filled with punks dressed in their typical regalia, spikes, and mohawks abound. Goldenvoice was also co-promoting the show that night as they had done with Fugazi two nights before this. I always liked mixing punk bands because they were always pretty basic, guitar, drums, bass, maybe two or three folks singing at the most.
Though I can’t remember much more about that evening, I’ll never forget a story Bones, one of the stage guys, told me about GBH. Sometime during that night, Bones approached their singer, Colin Abrahall, and asked him, “Hey, remember that time a few years back when you and the band got chased down the street by a gang of skinheads after your show at Gilman Street?” Naturally, Colin remembered and said yes of which Bones offered him his hand to shake and said, “Sorry about that, dude.” Yes, though Bones had since grown his stringy, dark hair out long, one could still see the telltale tattoos he has on his scalp if you look closely. I’m glad to know that Bones had since reformed his wayward ways and I always enjoyed working with him at the Hall. Hope he’s doing well. Sadly, I never saw GBH again though they did return to play at the Maritime when Wade was doing the recordings there two years later, performing alongside US Bombs, Youth Brigade, and the Cockney Rejects. Sorry I didn’t see that show even if I couldn’t tape it.
Fugazi, The Ex, The Thrones, Maritime Hall, SF, Mon., February 22, 1999
SETLIST : Birthday Pony, Place Position, Facet Squared, Latin Roots, Styrofoam, Recap Modotti, Margin Walker, Furniture, Two Beats Off, Break, F/D, Closed Captioned, Arpeggiator, Public Witness Program, Bed For The Scraping, Floating Boy, (encore), Long Division, Blueprint, Waiting Room, Break-In, Reclamation, No Surprise, Number 5, (encore), Smallpox Champion, Five Corporations, Version
Even though I knew little of Fugazi’s music apart from maybe “Waiting Room”, I was certain that this was an important one. Their name preceded them, especially amongst other musicians. They were respected. Since Ian MacKaye formed the band after Minor Threat dissolved in the mid-80’s, Fugazi earned the reputation for their unique blend of rock, punk, jazz, and God knows what. To call it alternative feels like a cop out. Seriously, I have always hated trying to describe what bands sound like, but to pigeonhole this one is an exercise in utter futility. Suffice to say, they were one of a kind and ahead of their time. They had also garnered the respect of their fans by insisting that their shows be affordable, often around $5 which was ridiculously low, even in 1990’s dollars. This policy of theirs had prevented them from playing many venues, especially large ones. Rumor had it that they had been offered a slot in the Lollapalooza festival more than once and turned it down because the ticket prices were too high. But Boots at the Hall had the wisdom in seeing the value of booking this show and put it on, collaborating with Goldenvoice, and folks packed the venue easily from top to bottom with the low price of $6 to get in.
Fugazi had released their fifth album, “End Hits” the previous April and were touring with The Thrones and The Ex. The Thrones was actually a one man band, a solo project of a bass player named Joe Preston. He even introduced himself on stage as “The Thrones”, perhaps a parody of the “royal we”. The Ex were from The Netherlands, and though I had been there several times visiting my father, who lived there most of his life, I’m ashamed to say that I had never heard of them, or practically any other Dutch band really, except for maybe Urban Dance Squad or Bobby Farrell, the singer from Boney M. Bobby lived pretty close to where my pop was living at the time in the Bijlmermeer, though I didn’t get into Boney M until years later. The Ex had been around since 1979 and had just put out their 10th studio album, “Starters Alternators”, the previous October, produced by grunge wizard Steve Albini. Interesting as they both were, the crowd saved their energy and attention mostly for Fugazi.
Pete, knowing nothing about the band had left the show for me to do, but my friend Liz Farrow was in the house that night assisting me in the recording room. Anthony Kiedis, the lead singer from the Red Hot Chili Peppers, was hanging out backstage and I’ll never forget the look on his face when Ace, one of the office guys at the Hall pointed his video camera at him and asked him if he was “having fun”. Ace had been shooting footage on the side for his cable access music program, “Reality Check”, and one couldn’t blame him for seizing the opportunity to have such Rock & Roll royalty in his show. But Anthony was having none of it and just sat there silently, looking at him with an expression of utter contempt. After a few seconds of that, Ace got the message and moved on. I don’t blame Anthony for being reclusive. The Chilis were hitting a rough patch back then.
When Fugazi took the stage, there were at least a dozen people hanging out on stage all night with them including member of Bratmobile, who had just gotten back together after a five year break and were touring with Sleater-Kinney that year. Ian dedicated the song “Break-In” to them that night, one of only a few times they played that song on the tour. The song “Latin Roots”, the fourth song played in their set, was one of only three times they performed it on that tour as well. Ian immediately insisted that the lighting guy up in the balcony turn the lights all the way up and after a while, he obliged him. It was a loud one for sure, so loud that the noise was causing the robot cameras to vibrate a little. During their set, someone actually threw a rubber ducky with the words “Thanks For The Show” written on it with a black marker at guitarist Guy Picciotto. He commented between songs, “You know, in the history of the band, I’ve been hit with a lot of things. I’ve been hit with wine bottles, hit with Coke bottles, hit with books, hit with stones. It’s the first time I’ve ever got hit in the neck with a duck”. He kept that ducky on top of his guitar amp for the rest of the show.
About halfway through the set, a second drummer came on stage, whose name escaped me, and he joined the band on a smaller drum kit, consisting of only a kick, snare, and hat. Their main drummer, Brendan Canty, had an interesting bell hanging on a stand to his right, something I hadn’t seen any other have before to my recollection. The second drummer played on a couple songs during the encores as well. Ian dedicated “Long Division”, the first song of the first encore to a friend of his who he had stayed with when he was in town at least eight times over the years, but now can’t stay with him anymore. He didn’t say why, but I got the impression that it was because he had passed away. For the end of the second encore, Guy busted out a clarinet for the eerie and haunting song, “Five Corporations”, joined by their second drummer who played along with him on a trumpet. Though they had done two encores with seven songs in the first and three songs in the second, the crowd still cheered for more, but that was it.
I will always remember how friendly and polite Ian was to me when I gave him the tapes of the show at the end of the night. He was a real gentleman, polite to the point of being Canadian. It made me recall a bit that fellow punk D.C. native Henry Rollins did at one of his spoken word shows when he said he and Ian tried to outdo each other on how boring they were backstage. Henry said he would say, “Oh yeah, well when I’m backstage, I play chess!” and then Ian would counter, “Oh yeah, when I’m backstage, I read!” And so on. As always, I had hoped that Fugazi would have used the stuff I taped that night, but sadly they didn’t. Recently, I discovered that they were avid in sharing their live recordings and one can find most of them on dischord.com, including the one I did from that night. The list of shows they had to choose from was impressive, over a 1000 spanning their illustrious career, so releasing a live album would be rather redundant anyway. The website did complain in its notes about the show about the fact that I had split up Ian and Guy’s vocals, putting Ian on the left, Guy on the right, but I felt compelled to since Guy sang almost as much as Ian did throughout their set. They also bellyached that the guitars were too low and granted, they were in the beginning, but I got it balanced after a few songs. Picky picky.
Though I couldn’t find any of the video footage on Youtube, one can find a video of Fugazi’s set at The Edge in Palo Alto which they did the day before and they played mostly the same stuff. Of course, our stuff sounded and looked better. I also discovered that a poster was made especially for this show, but I didn’t see it on sale with their merchandise guys that night. In fact, I saw it for the first time in a frame at Escape From New York Pizza on Upper Haight years later, a hilarious day-glow pink and green graphic of Jerry Springer’s smiling face on it. Some day, I’ll have to find one and get it for myself. Years later, I became friends with a fellow named Jason Schwartz and I was delighted to learn that he had attended this show too. It’s always nice to meet someone later on down the road that you’d share such an experience with, especially since this would be the only time I’d get to see Fugazi. They went on “infinite hiatus” three years after this gig and haven’t toured since. On a side note, every time I think on this band, I can’t help but think of Al Pacino in “Donnie Brasco” saying the line, “I don’t know how you knew that was a Foo-Gay-Zee”. The band had always gone with “Foo-Gah-Zee”, but I can’t say which is the proper Italian way to say it. I’ve got some friends in Sardinia that I should ask sometime.
Bob Marley Days 1999
Eek-A Mouse, Joe Higgs & The Fully Fullwood Band, Pato Banton, Azibo Tribe, Maritime Hall, SF, Fri.., February 19, 1999
Gregory Isaacs, Twinkle Brothers, Sister Carol, Cornerstone, Maritime Hall, SF, Sat., February 20, 1999
Israel Vibration, Don Carlos, Ras Shiloh, Prince Rastan, Maritime Hall, SF, Sun., February 21, 1999
SETLIST (PATO BANTON) : Revelation, Exodus, Situation Crazy, Stay Positive, Jamming, One World (Not Three), Legalize It (A Capella), Don’t Sniff Coke, My Opinion – What The World Needs Now Is Love
Suffice to say, I got my fill of live reggae that weekend, more than most people in the world experience their entire lifetimes. As you can see, I decided to do these three gigs in one fell swoop and I’ve done this for several reasons. One, is that it was being billed as a three day festival, put on by Moss Jacobs and Ragga Muffins whoever they are, so it felt right keeping these shows together. Also, as you might have guessed from previous entries about reggae shows at the Hall, I was subject to a relentless barrage of joints from my partner, Pete, clouding my brain to the point of being catatonic, so trying to differentiate between these days would already be tricky. The Hall was basically hot-boxed with a thick fog of the dank all weekend. Finally, we had recorded practically all of these artists at least one time or more, even releasing a Gregory Isaacs CD/DVD already the year before, so that too made my memories of that weekend additionally unreliable.
That being said, I do remember quite vividly Pato Banton’s set on the first night. Thankfully, he would be one of the first acts that weekend, making my mental state clearer than shall we say by the time we got to Israel Vibration. This whole weekend was being billed as the “Bob Marley Days” festival and naturally, many of the artists paid homage to the legendary reggae pioneer by playing some of his songs. But none of others could match the sheer perfection Pato had achieved with his cover of “Jamming” that night. Before he did that song, Pato pointed out that one could go to the far corners the world and mention Bob Marley and people know his good work, even if it’s the only artist of that genre they know. Yes, it was one of the most ripping renditions of that seminal reggae standard, but it was also one of those rare songs when after it finished, the crowd started cheering loudly, then the cheering grew steadily louder. I can still see the look of exhalation in Pato’s face as he took it all in. He challenged the crowd then to “take it to the next level” and greet the person next to you in the crowd if you didn’t know them. Pato had no trouble as always getting the audience to sing along to “Don’t Sniff Coke” and at the end of his set, did a surprisingly heartfelt and respectful rendition of Burt Bacharach’s “What The World Needs Now Is Love”. His set was a natural choice to make an album from and that one came out a year later. It is still one of my favorites, probably the best of the reggae albums the Hall would ever release.
One disappointing thing about that weekend was the conspicuous absence of Alpha Blondy who was supposed to headline on the first night. He played the Hall the previous August, though we were frustrated that we weren’t allowed to record him then. I don’t think he had a bad experience, since he came back to play the Hall in 2000, so who knows? They were able to get Eek-A Mouse at the last minute to fill in for him, an act who played the Hall so often, that Pete let me take over for that one and was gracious enough to let me take the helm for Sister Carol and the Twinkle Brothers as well. We didn’t record Israel Vibration on the last night either, since we were still haggling with them for their use of a few live tracks on their recent live album that they hadn’t paid us for, much less gave either Pete or I credit for recording. Boots would ultimately released DVDs of later performances by Eek-A Mouse and Don Carlos that had been taped by Wade, the engineer who replaced us, though in my obviously unbiased and modest opinion, Pete’s recordings were superior. But in the end, the marijuana addled smiles of all those who witnessed these three days were what really mattered. Seriously, after that weekend, I had to take a few days off the weed to get my marbles back.
Sepultura, Biohazard, Spineshank, One Minute Silence, Maritime Hall, SF, Wed., February 16, 1999
SETLIST : (BIOHAZARD) : Urban Discipline, Shades Of Grey, Resist, What Makes You Tick, Wrong Side Of The Track, Breakdown, Tales From The Hard Side, These Eyes (Have Seen), Salvation, Punishment, Hold My Own
This show is a bit contentious for me, since Biohazard ultimately put out a live DVD from the Hall, but it most likely was recorded by Wade, who replaced Pete and me. I say most likely because I can’t find any record on line of them playing the Hall again after Pete and I were so unceremoniously given the axe by Boots. I checked all the posters and couldn’t find any listings or mentions. But the DVD does indeed exist and many shows at the Hall were never listed on the posters and any records of them have all but disappeared by now. Truth is I’m just jealous. I liked Biohazard and wanted this one for myself. I’m just glad something of theirs came out from the Hall. It means they liked our stuff at least enough to publish it. I did think it was strange that all the songs on the DVD had splices of singer and bassist Evan Seinfeld, reminiscing about the band years later in 2007 while sitting on a couch at some unspecified bar or nightclub. Still, I could have sworn one of them mentioned during their set on the DVD that their fifth album, “New World Disorder”, was coming out soon, which would put it squarely in this time period, since it was release that June. It would be their first and only album on a major label, Mercury, but their relationship with them soon soured. Anyway, some day, I’ll have to look Wade up and put my mind at rest on who’s really the daddy of this baby.
However, I will never forget giving the tapes to Evan after their set was over. For anyone who’d seen them before, they know that Evan is a rather striking figure, burly and covered in tattoos. Though he was friendly to me, when I presented him with the release form, he looked at me with a little skepticism. I reassured him that nothing would be done with the tapes on our end without consulting and making a mutually beneficial agreement with his band and he joked that if not, I’d be receiving the “Brooklyn Beatdown”. I know he was just kidding, but it was duly noted. Evan’s gruff exterior had actually come in handy the year before when he was cast as Jaz Hoyt on HBO’s prison drama series, “Oz”, a role he’d play for several years. Incidentally, he is also second cousin to another obscure television figure, Jerry Seinfeld. I had seen Biohazard once before opening for the House Of Pain at The Fillmore in 1994, one of the first shows I’d see there when it reopened that year. I also knew their song, “Tales From The Hardside” when it was hilariously critiqued by Beavis & Butthead in one of their episodes.
What I didn’t know about Evan until I started looking into them for this, was his history in the adult video world. After he started acting in “Oz”, he caught the attention of porn star Tera Patrick and they started dating, ultimately getting married after a couple of years. I guess she was impressed by his scene in the series where he went “The Full Monty”. Evan and Tera, let’s just say… collaborated on a couple of projects, he under the stage name “Spyder Jonez”, until they split up in 2009. Evan then married another fine actor in the industry, Lupe Fuentes, in 2011 and then amicably left Biohazard to pursue other projects. But this was Sepultura’s show in the end and they did a fantastic job as they had done when they played the Hall the previous October. For some reason, though I speculate it was just first time jitters breaking in their new singer, Derrick Green, they didn’t allow us to record their set then, but they did on this occasion. I suppose Derrick had gotten his sea legs after a few months on the road and they’d thoroughly worked out how they wanted the new songs off the “Against” album, which had also just been released that previous October. Also opening were Spineshank, who were no strangers to the Maritime, having played there twice before, opening once for Fear Factory, then again opening for Machinehead. Anthrax had been listed on the monthly poster as one of the openers, but sadly they weren’t there that night. Pity, I always wanted to record them at the Hall, but never got the chance.
Cake, Dieselhed, Adam Elk, War., SF, Wed., February 16, 1999
SETLIST : Is This Love?, Friend Is A Four Letter Word, Hem Of Your Garment, Stickshifts & Safetybelts, Frank Sinatra, Mexico, Sheep Go To Heaven, Rock N’ Roll Lifestyle, Ruby Sees All, Comanche, Satan Is My Motor, Perhaps Perhaps Perhaps, You Turn The Screws, Let Me Go, You Part The Waters, Shut The Fuck Up, Going The Distance, Italian Leather Sofa, Never There, (encore), I Will Survive
This was the third time I’d seen Cake in three years and I watched as they steadily grew more popular, headlining larger and larger venues. Their third studio album, the aptly titled “Prolonging The Magic”, released just five months before this show, not only prolonged their success, but surpassed it in some ways. Though they might always be known for their hit song, “The Distance”, which landed #4 on the Billboard charts, their new single “Never There”, would grab the #1 spot and hold onto it for three weeks. It didn’t take long for that album to go platinum and the song “Hem Of Your Garment”, which was their third song played that night, would be included in the soundtrack for the Farrelly Brothers comedy “Me, Myself, & Irene” the following year.
Opening that night was local boy Adam Elk, who was friendly and upbeat. He joked that the keyboardist Josh would “soothe your hearts, pull on your heartstrings with this one”, for their song “Great Mistake”. Following them were country/punk Arcata transplants Dieselhed. I’d seen their members in a couple of other bands, their drummer Danny Heifetz in Mr. Bungle and their bassist Atom Ellis in the long defunct thrash/funk band Psychefunkapus. They had just put out their 4th album “Elephant Rest Home”, a collection of previously unreleased songs, that year on Bong Load Records. Dieselhed had also recently been touring with venerable guitar legend Link Wray, a couple members serving double duty playing in his band as well. Like Cake, they had a trumpet player in their band and they all had a lot of talent. The singer opened their set describing San Francisco as “one of my favorite cities in the world”. Pity that they broke up the year after and this would be the only time I’d see them perform. Guitarist Zak Holtzman would go on to form Dengue Fever two years later with his brother Ethan, a band which is still together and I adore.
Cake was introduced on stage by a DJ named Chris Kay who said they were “coming from the heart of California’s fertile central valley”. I was roped into working all night as an usher, but it wasn’t that hard to manage. Singer John McCrae did his usual egging on of the crowd, getting them to sing along to the choruses of “Frank Sinatra”, “Sheep Go To Heaven”, and “Satan Is My Motor”. For that last one, while the crowd sang the title over and over, he said, “everybody has a part of themselves that they don’t particularly like or want to talk about in public. Right now, publicly acknowledging yourself, singing loudly and bodily and uncompromisingly. You can’t control it unless you know it’s there.” After, he said he woke up with a lump in his throat that morning and thought of canceling the show, but carried on anyway and then played a cover of “Perhaps, Perhaps, Perhaps”, a whimsical ditty made famous originally by Doris Day. I would hear that song again as the theme for the British TV comedy series, “Coupling”, clearly a knockoff of “Friends”. Incidentally, John would break his hand moving furniture a month later, which would postpone their European tour that year. Tough luck for him, I guess. At least, he would be consoled by the fine poster that was made for this show, an amusing four panel cartoon of various dogs. He ended the set with “Never There” thanking the crowd, saying that “in a big city like San Francisco, you have your choice of bands”, and thanked us for choosing them. They returned to do their cover of Gloria Gaynor’s “I Will Survive” for their encore, but my tape ran out before I could get it. Rumor has it, Gloria didn’t like their version of it because of the profanity they used. Personally, I thought Tony Clifton did it best. It would be over two years until I would see Cake again, also playing the Warfield, just six days before 9/11.
Indigo Swing, B-Side Players, Maritime Hall, SF, Sun., February 14, 1999
Riding the wave of swing music popularity that had then recently gripped the country, this would be the first of two shows that Indigo Swing would do at the Hall that year, returning to headline again there less than five months later. I liked these guys. Like most swing bands they had class, dressing in vintage suits on stage and played tight as drums. Up till then, they had been playing every Wednesday at 330 Ritch Street and had only just released their debut album, “All Aboard!” the previous July. But Indigo Swing were just about to drop their first major label album, “Red Light”, on Capitol Records that year. Though they weren’t big enough to fill the Hall, much less the dance floor, Indigo Swing played skillfully and all those swing enthusiasts who frequented the gigs of that genre were there also in vintage wear and hairstyles, doing their acrobatic dance moves for all to enjoy. It was a pleasant departure from the uncouth, stoner knuckleheads who were at the Long Beach Dub All Stars show the night before there and it being Valentine’s Day, made it a romantic show to boot. Granted, there were a couple slow numbers for the lovers to dance The Clench.
Opening that night were the B-Side Players from San Diego and I believe this was the first time I’d see them, or the first time I’d record them at least. I’d see them play two more times that year, returning to the Hall to open for the Wailing Souls and Toots & The Maytals in July, then a month later, being the first band to play at The One Festival at Pier 30/32 alongside KVHW, Maceo Parker, Burning Spear, and Jimmy Cliff. It’s actually a little tricky trying to describe their music, almost a heavier version of War, but incorporating various musical styles from the Caribbean such as Cumbia, Samba, San Montino, and Jarocho. Having a little something for everybody made them an ideal opening act, a real crowd pleaser. I would go on to see them open for several more acts in the years to come and they never disappointed, though they would rotate several members in and out of their ranks, mostly the horn players.
Long Beach Dub All Stars, The Ziggens, Maritime Hall, SF, Sat., February 13, 1999
SETLIST : April 29 1992, Garden Grove, 54-46 That”s My Number, Trailer Ras, Have A Little Faith, Scarlet Begonias, (unknown), Work That We Do, Insight, (unknown), Ball & Chain, Right Back, Little District, One More Cup Of Coffee, People Funny Boy, Soldiers, 40 Oz. To Freedom, Kick Down, Live At E’s, Pay To Cum, Get Ready, Fugazi, Pawn Shop, My Own Life, Take Warning, Badfish, Let’s Go Get Stoned
It had been almost two years since the tragic lethal overdose of Sublime singer, Bradley Nowell, who had been slated to perform with his band that fateful night at the Maritime. Since then, I had become quite familiar with the band formed in that death’s aftermath, the Long Beach Dub All Stars. With all the original members and a new singer, they had already played the Hall once in 1997, headlining its first 420 Hemp Festival and being one of the acts on The One Festival line up in 1998 down on Pier 30/32. This would also be the second show we’d be using the robot camera system and my friend Tory was starting to get better at it as I could tell from what little video I found of of that night. For some reason, I had a single song from their set recorded in my DVDs, the song, “Kick Back”. Why I only had that song or what I didn’t have the entirety of their set is still a mystery to me, but I take what I can get.
It was good to hear and see that tidbit. They were tight and I thought it was funny that their bass player had cigarette dangling out of his mouth through the whole song. The singer did a little bit of the chorus from “Nothing From Nothing” by soul singer Billy Preston during that tune as well. The band would go on to release the album “Right Back” that September, but they would lose three of their original members shortly afterwards. They did a few respectable covers that night including “54-46 That’s My Number” by Toots & The Maytals, who they opened for at The One Festival the year before and had just played the Hall for New Year’s Eve. They also covered “Scarlet Begonias” by the Grateful Dead, “One More Cup Of Coffee” by Bob Marley, and “Pay To Cum” by Bad Brains, a song that coincidentally had just been played on that stage a few nights before by The Sick, who were opening for Vanilla Ice. Speaking of openers, the band The Ziggens warmed up the crowd before the All Stars that gig. They too were from Orange County and friends of theirs, signed to their Skunk Records label, describing their music as “cowpunksurfabilly”. They were recorded and produced by their guitarist, Michael Happolt, who actually adopted Bradley Nowell’s dalmatian, Lou Dog, after Bradley’s death and cared for that dog until it passed away and rejoined his original master in 2001.
I believe this was the occasion where I tussled with the All Star’s sound engineer a little over giving his effects two separate tracks on the ADAT recording that night. I had only 24 tracks to work with and 16 not them were dedicated to single instruments and couldn’t be grouped and the All Stars were larger than the average punk/ska band. I tried to reassure the engineer that his effects could always be added later, but he insisted that they were part of the live show experience. Boots naturally sided with the engineer, but he was strangely conciliatory towards me and was uncharacteristically very friendly and diplomatic throughout the exchange. I eventually relented and made room, grouping the drums’ toms and overhead cymbals together. I like to think that my little protest was at least evidence that I was growing more confident in my skills as an engineer. The All Stars would return to the Hall in October, one of the last shows I’d record there alongside my partner Pete, but that would end up being the last time I’d see them perform live.
Vanilla Ice, The Sick, Papa Roach, 40 Grit, Maritime Hall, SF, Tues., February 9, 1999
Oh boy… OK, before you start cracking jokes, let me first just start off that despite any opinions one might have about the one Mr. Robert Matthew Van Winkle, otherwise known as Vanilla Ice, we all know who he is. Indeed, no one who lived through the late 80’s/early 90’s escaped the visage of him dancing to his hit song, “Ice Ice Baby”, clad in parachute pants with that bulletproof pompadour on his head. Like it or not, that one’s in our skulls for life. The success of that song and his persona would become the source of endless resentment to downright derision of from the hip hop community. Vanilla Ice would be the target of many a vented spleen ranging from Eminem who claimed to have “ripped out his blond dreads” in his song “Role Model” to Kevin Bacon’s merciless impersonation of him on “Saturday Night Live”.
Now, that being said, Mr. Van Winkle was painfully aware of this and took it hard when his star quickly faded from the mainstream. People often overlook just how young he was when he catapulted to fame, releasing his hit album, “To The Extreme” in 1990, just shy of his 23rd birthday, less than six years older than me. But just a years later, his movie “Cool As Ice” was a critical and commercial disaster and even Mike Myers lampooned him in his first “Austin Powers” movie, showing him frozen in a hyperbaric chamber next to Gary Coleman. Ice fell so low that by 1994, he attempted suicide one night by ingesting heroin, cocaine, and ecstasy. Thankfully, he’s since recovered and got married in 1997, having his first daughter the following year and another in 2000. Knowing his brand was tainted around this time, for better or for worse, he chose to reinvent himself and explore the genre of nu metal which was at the height of its popularity at the time. Ice had been dabbling with new music on the side, playing in a grunge band called Pickin’ Scabs around then as well. He had recently met producer Ross Robinson, who produced for such acts as the Deftones, Korn, Limp Bizkit, and Sepultura, as well as shared Ice’s love of motocross racing. From there, they put together his new album, “Hard To Swallow”, recruiting a respectable stable of musicians to record it, including Sonny Mayo, the guitarist from Snot, who’d recently disbanded due to the untimely death of their singer, Lynn Strait.
The critics were predictably cruel towards Ice’s new found direction and one would think that even if the album was any good, which it wasn’t, they still would have been equally enthusiastic to stomp on it. I mean, the songs weren’t particularly horrible, it was just he was a little late to the party for the whole nu metal thing, and it all felt just a bit old hat. The good news is that they assembled a good line up of opening acts that night, including 40 Grit, Papa Roach in one of their last appearances at the Hall as an opening act, and The Sick. I really enjoyed The Sick, an underrated punk metal outfit originally from Concord near where I grew up, and was surprised that no one had taken that name for a band sooner. Though I didn’t find any other footage of that show on line, I was glad to see that The Sick’s set was not only on YouTube, but they had it also on their own webpage. They prefaced the video claiming they “think this was when we opened for Bad Brains” which they actually did at the Hall the following year. Whether or not they plum forgot they opened for Vanilla Ice, which is highly doubtful in my opinion, and innocently wrote that in is up to you to decide.
The Sick clearly had one of their buddies up in the balcony set up with a static wide shot of the stage on a consumer grade camera, the sound being atrocious, but marginally better than my cassette bootlegs. In the video, you can hear the sound of Born Naked being played as they got set up, the band my roommate Patrick used to manage, covering the songs “Minus One” and “Innocent”. I’m glad that band at least got some props being played between acts frequently at the Hall. After their first song, the singer took off his shirt and yelled at the crowd to “wake the fuck up!” He had a lot of energy, jumping around a great deal all through the set. Near the end, he dedicated a song to all the skateboarders in the house, calling them “people who have problems with cars” and followed it with a cover of Bad Brains’ “Pay To Cum”. As luck would have it, the Long Beach Dub All Stars would also play that song at the Hall a few days later. Afterwards, they thanked the other opening acts and dedicated their last song to the “Ice Man”. I have to admit, I could have swore I heard the singer saying, “I can’t believe we’re opening for fucking Vanilla Ice!”, but I probably imagined it. But, it’s understandable since practically everybody was thinking it.
It wasn’t a very well sold show, in fact by the end of it, I doubt there were more than a 100 people left, but his fans were enthusiastic nonetheless. I would guess at least half those there that night were friends and family of the opening acts, they all being local. Ice came to the stage wearing a Chicago Bulls jersey and a backwards baseball hat and we all watched him do his thing. He dedicated his song, “S.N.A.F.U.” to Bill Clinton who had just been acquitted by the Senate for the whole Lewinski thing that very day. He of course did “Ice Ice Baby”, but afterwards did his nu metal version which he called “Too Cold”. Hearing him scream the chorus “ICE ICE BABY!!!” will be forever seared into my ears. Ice also did covers of “Stop That Train” and “Play That Funky Music”, but he didn’t do an encore.
This show has the unique distinction of being the very first show the Maritime put on with its new robot camera system. They say necessity is the mother of invention and since Boots had systematically alienated every cameraperson and video director that ever set foot in the place, this was certainly a long time coming. For over a year, I had unsuccessfully tried to bring in new recruits, so he rigged up three cameras just below the railing of the balcony, one right, one center, one left, and ran their cables into the video room. I’ll never forget the sight of Boots monkeying with one of the cameras, standing on a tall ladder, his bloated, pasty face just an inch or two in front of the camera’s lens. From the recording room, I watched his sour puss on my monitor in mild disgust as he futzed with it until it worked properly. But once it was up and running, down in the video control room, on you left hand, one could control all three camera’s movements, left, right, up, down, zoom in, and zoom out, and with your right hand you can switch between them, all the while staring at their corresponding monitors throughout the show. The system worked well and as Morgan, the drummer from the band 008 so accurately described it, our work looked like “German television”. I think of it as a complement.
Suffice to say, to pull it off operating this new video plate spinning trick with any degree of skill was a tall order, but I knew just the man for the job. My friend Tory was looking for some work where he could expand his video and directing skills, so this opening came at an opportune moment. There was a big part of me that was absolutely hesitant about bringing him in since he was a lifelong friend and I knew full well the toxic work environment that Boots had festered there for years. I warned Tory repeatedly about Boots, but I was confident with him hidden away from sight in the video control room most of the time that he’d at least be separated partially from it. I was very protective of Tory back then, overprotective even, but he proved not only a master director, but took Boots’ boorish behavior with dignity and professionalism. Tory would do most of the shows at the Hall from then on until Boots fired Pete in November and we covered a lot of great acts. All those shows with Tory made me very proud. I enjoyed having him on board and I thought we made a good team. After almost every show, we would celebrate by having what I liked to call “the victory lap”, with a feat at OSHA Thai just down the street from where I lived in the Tenderloin.
On one final note, I just want to say one thing about Vanilla Ice. Of all the celebrities I’ve had an encounter with over the years, I have to admit that my short moment with him was one of the most pleasant. I approached him as I did all artists who performed there after his set with the VHS and DAT tapes of his set and had him sign the release. Ice was nothing but smiles and thanked me warmly and genuinely. Naturally, I had mixed feelings as most people did about him and was uncertain what I was in for when I did this, but he put me instantly at ease. Being face to face with him, I could immediately sense what people saw in him, his natural charisma. So, you can say what you want about his music and stage persona, I stand by my story that Vanilla Ice is a nice guy.
Sky Cries Mary, Ali Khan Band (Not Recorded), Maritime Hall, SF, Fri., February 5, 1999
This was kind of a weird one, though most are weird in their own special way. For starters, it is unusual for the opening act to not have us record instead of the main act. I can’t really say why the Ali Khan Band didn’t want us to do it. After all, they had just performed at the Hall only a month ago at the Psychedelic Ball on New Year’s Eve there with Toots & The Maytals. We recorded them that night and we didn’t hear a peep out of them or any other band for that matter. Maybe they didn’t like our mix, but I doubt that since Pete was on the boards that night and his was flawless as always.
The second thing was the very identity of the band to begin with. I have some blurry memory of them being some hippie jam band as we were accustomed to hosting at the Hall, but I found their profile online as a rock/trance band from Seattle, though the timeline checks out. The Seattle band had been around since the late 80’s, but would break up that year after releasing their 4 song EP “Seeds” that October. That Sky Cries Mary would reform five years later, break up again, and reform once more. Like I said, I can’t be sure. Sorry. But if they had made an impression on me, I’d probably would have remembered more.
SnoCore ’99: Everclear, Soul Coughing, Redman, DJ Spooky, War., SF, Tues., February 2, 1999
SETLIST : El Distorto De Melodica, Amphetamine, Electra Made Me Blind, You Make Me Feel Like A Whore, Sick & Tires, Fire Maple Song, Strawberry, One Hit Wonder, The Twistinside, Like A California King, Everything To Everyone, I Will Buy You A New Life, Santa Monica, (encore), So Much For The Afterglow, Heroin Girl, Father Of Mine, Local God, Sin City
It was the dead of winter, though one would be hard put to find a single flake of snow on the ground in San Francisco. Yes, the so-called 4th annual “SnoCore” tour was back in town, sponsored by all sorts of snowboarding gear guys as well as Levi’s and Spin magazine. It was billed as “The Ultimate Winter Experience” and “A Gathering Of Tribes, Music, Culture, & Physical Stimulation”. They were supposed to play the Civic Center, but the show had been moved to The Warfield, presumably because of low ticket sales. Not that the line up wasn’t any good, it was. But Soul Coughing had just played The Warfield less than five months before this, DJ Spooky just four months before and Redman only 7 weeks before both at the Maritime, and Everclear had been touring non-stop since I saw them the first time opening for Primus on New Year’s Eve in Oakland in 1995. Speaking of Primus, they had headlined the SnoCore tour the previous year, but that show was all the way down at San Jose Event Center, so I skipped that one. Redman was on the first leg of this tour and would be replaced by the Black Eyed Peas for the tour’s second half.
Lack of snow aside, I did appreciate that this tour was at least trying to bring black and white acts together on the same bill. Eclectic festivals such as Lollapalooza were quickly fading out and never really returned sadly. DJ Spooky was an inspired choice to have on this bill, spinning tunes at the beginning and between acts. He would once again dust off some familiar and clever samples in his beats such as video game noises from “Robotron” and “Tempest”, bits of Neil Armstrong and the moon landing, and the sound of Cyrus from the movie “The Warriors” asking, “Caaaaan Yoooouuu Dig It!?!” He also played a bit of “Fly Like An Eagle” by Steve Miller and “Weapon World” by Kool Keith, followed by a long scratch solo, then scratching the line from the Beastie Boys’ “Shake Your Rump”, “It’s Tha’ Joint!”, before Redman took the stage. He introduced himself asking the crowd, “Are you ready to get high?” then got on stage accompanied strangely by the song “Relax” by Frankie Goes To Hollywood, then got the crowd to put their hands in the air and chant “Oh yeah!” Some folks were enthusiastic, but the crowd was still pretty sparse in the beginning and he struggled a little to get them to wake up. But he did get them a little rowdy by the time he got to play “Whateva Man” and ending his set with “How High”.
Between sets, DJ Spooky busted out some Jimi Hendrix stuff from “Voodoo Child (Slight Return)”. I didn’t know it at the time, but this would be the last time I’d see Soul Coughing. They were at the top of their game creatively and commercially, but Mike Doughty was knee deep in alcohol and drug addiction and had enough of the band. After dropping Soul Coughing like a hot stone, he immediately hit the road in a rental car, playing solo acoustic shows around the country. To this day, Mike is bitter about the whole experience and flat out refuses to play any of their songs which is a pity since those songs were so good. They did an epic version of “St. Louis Is Listening” that show. I’m just glad I got to see them as often as I did back then and this last set was fantastic as always. So I got to hear Mike get everybody to chant, “Candy Bar!” when they did “Super Bon Bon” at the end of their set for their final goodbye. Afterwards, there was a raffle contest before Everclear got on and some young lady in the crowd won a brand new PlayStation with her winning ticket. DJ Spooky spun records one more time starting with the beginning of Madness’ “One Step Beyond” then going right into Public Enemy’s “Welcome To The Terrordome”, cutting up the line, “Hear the drummer get wicked” a bunch of times. Further extending his eclectic tastes, Spooky even did a bit from “War Pigs” by Black Sabbath.
Like Soul Coughing, Everclear were also at the height of their popularity then and I’d see them one more time at The Warfield a year later. They were still touring playing songs from their hit album, “So Much For The Afterglow” which went double platinum and chalked up their first and only Grammy nomination to date for Best Rock Instrumental for their tune, “El Distorto De Melodica” which they opened their set with that night. Though as the years went on, they would not see the same level of success as they had then, they always put on a lively set. Frontman Art Alexakis had a ton of energy that night and their fans loved them. He egged them on to sing along to “Strawberry” claiming that even his five year old daughter knew the lyrics and to their credit, the audience were pretty loud, singing the chorus, “Don’t fall down now, you’ll never get up”. They also sang along pretty loud to “I Will Buy You A New Life” as well. Art mentioned between songs that he lived in San Francisco five years before and mused about how the rich people lived up in the hills and all us poor people lived down below them. As usual, they wrapped up their set with their hit song “Santa Monica”. I wasn’t surprised that there wasn’t a poster since it had been moved from the Civic Center, though naturally I hoped there would be one.
Maceo Parker (Not Recorded), Karl Denson’s Tiny Universe, Maritime Hall, SF, Fri., January 29, 1999
It was disappointing that we weren’t allowed to tape Maceo that night, he being the legendary soul saxophonist everybody adored and wanted to work with. We still got to do fellow master saxophonist Karl Denson, though we had already done him a couple times before with the Tiny Universe as well as the Greyboy Allstars. The Greyboys actually put out a live album that year called “GBA Live”, though I can’t say if any of the stuff on it is ours or where the songs came from. I hope it’s from us, but I doubt it. Maceo was just a couple weeks shy of his 57th birthday on Valentine’s Day and was already a living legend. He had been collaborating around that time with Prince & The New Power Generation and even got a song tribute from Jane’s Addiction called “May Cat’s Name Is Maceo” on their 1997 “Kettle Whistle” compilation album. Maceo had also recently released an album of his own called “Funk Overload” the previous August that featured his son Corey rapping on it. I’m pretty sure he was there performing along side him that night as well.
I can’t recall why Maceo didn’t want us to record, but I do remember appreciating that I had the night off to go upstairs and enjoy it. Pete let me do Karl Denson and he took off early. Seeing Maceo perform live is one of those shows that makes you feel more like a sophisticated as a person in general, not to mention very cool. His skill is beyond reproach and when you hear him belt out a classic like “Pass The Peas”, it gives you goosebumps. I imagine Maceo at least had an enjoyable experience since he would return the following August to play at The One Festival with Jimmy Cliff and Burning Spear amongst others that Boots put on once again at Pier 30/32, though we didn’t tape that one. It was a no brainer that Boots would want this show for the Hall, being a saxophonist himself, a former member of the Hoodoo Rhythm Devils. Maceo also played The Fillmore that October and I’m afraid I missed that one as well, especially since it got a cool poster. That night, I’d be at Type O Negative at the Maritime, but ironically they would let us tape that night either.
Violent Femmes, El Destroyo, Fill., SF, Thur., January 28, 1999
SETLIST : Rejoice & Be Happy, Look Like That, Country Death Song, Blister In The Sun, Prove My Love, Don’t Talk About My Music (Shut Your Mouth), Candlelight Song, Out The Window, I’m Nothing, Confessions, Faith, I Held Her In My Arms, Good Feeling, Dance Motherfucker Dance!, I’m Bad, Gimme The Car, (unknown), American Music, Black Girl, Gone Daddy Gone, Add It Up
It was great to have the Femmes back at The Fillmore after a couple long years of absence. Indeed, that venue seems like it was made for them. I was well versed in their music by then, having also seen them three different times at The Warfield and once at the first Live 105 B.F.D. at Shoreline. They were still touring with drummer Guy Hoffman of The BoDeans, who had replaced Victor De Lorenzo back in 1993, but this time, they had their famous “Horns Of Delimma” horn section with them to back them up for a few songs. That included the one and only Steve McCay from The Stooges on saxophone, making this not only the first time I’d see Steve play, but the first time I’d see the Femmes with horns. My future friend Kristie had been a member of that crew and would play trumpet with them on other occasions at The Fillmore, but she was there that night as a civilian, watching the show. I would actually not meet her until the following year.
Opening that gig was a local band called El Destroyo, fronted by a fellow named Jimmy Friedman. Their last album actually had bassist Brian Richie from the Femmes playing on it, but Brian didn’t perform with them on that occasion. They were a rather quiet acoustic act for most of their set, but the audience was polite and heard them out. Jimmy admitted that he was suffering from the flu and had to “drag myself out of bed” for the show and “might die mid-set”, though he assured the crowd if he did that they weren’t to blame. He joked that his drummer had just learned all his songs and added jokingly that guitarist had too. I didn’t know their music, but I do know near the end of their set, they played a song called “You’re The One” followed by another called “She Don’t Care”. El Destroyo would return to open for the Femmes again later that year also at The Fillmore, but I’d miss that one.
It was good set for the Femmes, including a couple of frontman Gordon Gano’s more religious tunes, opening for example with “Rejoice & Be Happy”, but he balanced them with darker numbers like “Country Death Song” and “I’m Nothing”. Watching the show, I was annoyed a couple times by a fellow who would whistle along loudly and I did my best to avoid him, but you can hear his high pitched whistle on a couple of the songs on my tapes. Brian would sing a few numbers that night including “Don’t Talk About My Music (Shut Your Mouth)” and “Dance, Motherfucker, Dance!”. Gordon would describe him before playing “Gimme The Car” as the “most underrated, most unexplained bass player in rock & roll today”. Sadly, there was no poster at the end of the night, though the show when the Femmes returned that September got one.
Bad Religion, No Use For A Name, Hate Fuck Trio, Maritime Hall, SF, Sat., January 16, 1999
(NO USE FOR A NAME) : (unknown), Don’t Miss The Train, (unknown), Justified Black Eye, Leave It Behind, Redemption Song, Soulmate, Fatal Flu, Straight From The Jacket, The Answer Is Still No, Invincible, On The Outside
(BAD RELIGION) : Against The Grain, Them & Us, The Biggest Killer In American History, American Jesus, Spirit Shine, Turn On The Light, Come Join Us, Dream Of Unity, 21st Century (Digital Boy), No Control, Heaven Is Falling, A Walk, Shades Of Truth, The Happy Killers, Do What You Want, Faith Alone, Sowing The Seeds Of Utopia, Atomic Garden, Along The Way, Change Of Ideas, News From The Front, Hear It, Tomorrow, Generator, Fuck Armageddon… This Is Hell, God Song, Infection, We’re Only Gonna Die
It was a high honor to record Bad Religion that night, particularly since they had no real official live recordings to speak of, at least none that I could find. This would be the fifth time I’d see them though, having caught them twice already at The Warfield in 1994 and 1996, opening for Pearl Jam at the notorious “Hurl Jam” show in Golden Gate Park in 1995, and once more at The Edge in Palo Alto in 1996. Brett Gurewitz had reunited with the band in the studio to record the song “Believe It”, but he wasn’t touring with them still and they didn’t play that song that night. The band was finishing the last show of the Californian leg of the “No Substance” tour that had been going on all the previous year. This would be the third time Bad Religion would play San Francisco in only nine months and they played four songs off that last album that night.
Opening for them were a clever band from Denver called the Hate Fuck Trio, made up of two brothers, Jon & Sam DeStefano. We had the balcony camera set up that night and I think my friend Dan was operating. After them, No Use For A Name was up next. I’d seen them a couple times before, once on the second stage at 105’s B.F.D in 1995 and then opening for my brother’s old band, the Dance Hall Crashers, later that year at The Fillmore. No Use For A Name had just recently lost their guitarist Chris Shiflett who left them abruptly before the beginning of this tour to join the Foo Fighters and was quickly replaced by Dave Nassie. That night, they did a funny, punk rock version of Bob Marley’s “Redemption Song”. I’ve always liked these guys and would be happy to see them once again open for the Crashers at The Fillmore later that year after they released their next album, “More Betterness!” that October.
Bad Religion had been around since 1979 when Greg Graffin was just a wee lad of 15 years old and by this time he and the band seemed like veterans even though they were only in their mid-30’s. They quickly got the crowd worked up and Greg was doing his usual wise cracking between songs. After “Them & Us”, he proclaimed that it was “great to be up here in the land of politics” and congratulated us on “your newly renovated City Hall. It looks magnificent. That is a symbol of California efficiency, isn’t it? Now just get that guy to do something with that fucked up airport and make this first best punk city scene in California”. The City Hall had just been refurbished, yes, sporting the black dome it has today. He later joked that though the band was only allowed to play 30 minutes when they were in town last for the Warped Tour, this night they would be playing 35 minutes.
At the end of the song “Spirit Shine”, one of the Hall’s crew walked across stage and the bassist Jay Bentley playfully scolded him, asking, “Are you with the band?” Greg said something about that their band was increasing in size over the years, leaving folks to wander around the stage aimlessly. Later, Greg introduced the tune “Dream Of Unity”, calling it “a song about the L.A. punk scene which we know is the best. San Francisco is the second best” There was a predictable amount of boos, but Greg immediately followed up, “It’s quickly changing. Things are definitely flowing north” and called that tune “a song of bewilderment and delusion”. Jay later wished Fat Mike from NOFX who was there that night a happy birthday, though Mike’s birthday wasn’t until the 31st, over two weeks later, and got the crowd to sing a truncated version of the birthday song to him. Greg joked, “Jay doesn’t know or care when my birthday is” and introduced the next song “No Control” as some of that “old time Bad Religion”.
He then described “Shades Of Truth” as one of the saddest songs he had ever written and he knows “because I was sad when I wrote it”, though it wasn’t the saddest song they did and promised to play that one later. In the middle of “The Hippie Killers”, he sang the title line from Iron Butterfly’s “Ina Gotta Devita”, an appropriate one to roast there, being the Maritime and in San Francisco. As luck would have it, Iron Butterfly was one of the opening acts for Greg Allman at the Maritime’s grand opening back in 1995. Continuing on the subject of hippies, Greg said “This is the city of love. Philadelphia is the city of brotherly love” and reminded us that this was the 30th anniversary of the Summer Of Love, though technically that happened 32 years before in 1967. He went on commenting on the projections on the side screens, “It’s the psychedelic drugs, oil lights, reminds me of what makes San Francisco so special, their innovation, rather integration into music. Put a flower in your hair and go to San Francisco, man! That was the platform against which the punk scene got started and revolted against. Thank you!” Yes, it was a bit of a jab at his hippie hosts, but it wasn’t entirely untrue.
Greg continued, “I got shit last week from a student of theology”, who “crossed the line and pointed his finger” asking him if he was aware he was “going to hell” and told him to get some “faith in my life”. But he responded, “I got a lot of faith, but faith alone won’t save us” and the band went into the song “Faith Alone”. He also gave a “shout out to the guy at the bar who gave me a coffee. Didn’t even ask questions” and added that the guy did some gesture hitting himself in the chest. Greg then joked, “do me a favor and make a pledge that you’d never do this” and he did that stupid hip hop dance when you pump your open hands in the air, as a comedian I once heard describe it as the “closing the overhead luggage compartment dance”. He added, “you don’t have to follow me, but the world would be a better place” if they didn’t.
After “Change Of Ideas”, he introduced Jay to the crowd calling him, “Jay Bentley – male prostitute”, a reference to the old “Fred Garvin” comedy sketch Dan Ackroyd did years ago on “Saturday Night Live”. Greg then bragged that he was “fluent in two languages, three if you count scientific nomenclature”. Near the end of the set, he kept his promise to do the saddest song they know, “Generator”, also in the “saddest key, sung by the saddest man, Greg Graffin”, but reassured the crowd it was ok to sing along with him. They finished up with “We’re Only Going To Die” a tune they had written “all the way back in 1982”. It was a great experience and I only wish that what I taped could have become a live album as always, but having them there was a privilege enough for me. Though this was the only time they ever played the Hall, I would see them three more times at The Warfield in 2000, 2002, and 2004.
Fear Factory, Skinlab, Spineshank, Static X, Maritime Hall, SF, Sat., January 9, 1999
SETLIST : Shock, Zero Signal, Self Bias Resistor, Edgecrusher, Smasher – Devourer, Big God, Scumgrief, Securitron (Police State 2000), Descent, Pisschrist, Resurrection, Demanufacture, Replica, Scapegoat
It had been four long years since I saw Fear Factory open for Megadeth at The Warfield, that fateful day when Jerry Garcia passed away. The memory of singer Burton C. Bell stunning the staff when he yelled, “Fuck Jerry Garcia! I’m glad he’s dead!”, will be seared into my brain till my dying day. But they were back as a headliner this time and let’s just say fate got a little revenge on that band shortly before this show. They had been touring back east when in Philadelphia when their truck got stolen along with all their gear, lights, and merchandise. Still, it was unfair to System Of A Down and Shineshank, who had their stuff with them. The truck would later be found empty and engulfed in flames near the Walt Whitman Bridge. At least Static X didn’t lose their shit. They were on this tour along with Spineshank, but local act Skinlab was there instead of System Of A Down.
Static X had been around since ’94, but their debut release “Wisconsin Death Trip”, (named after the 1973 Michael Lesy book), would not be out until two months later. Their frontman, Wayne Static, was from Chicago and had previously been in a band with Billy Corgan of The Smashing Pumpkins called Deep Blue Dream. Wayne’s look was quite striking, his dark, black hair shellacked to point straight up like he was falling down an elevator shaft and with a braided “chintail” beard. These guys were talented, wrote good songs, and were relatively successful for one of these nu-metal bands. Static X would return to open for Fear Factory again at the Hall in September, but then they would have their own monitor board and I could only get a stereo recording of that night. They would get big enough to headline The Warfield in 2002 with Soulfly opening for them, but that would be the last time I’d see them perform. Poor Wayne would die from a prescription drug overdose in 2014, whether it was accidental or not is still uncertain.
Spineshank had played the Hall opening for Machinehead four months before this show, having just released their “Strictly Diesel” album, and they’d be back just five weeks later there opening for Sepultura. Burton C. Bell would sing on their tune “Stain” for that album. And well Skinlab… They were practically the nu-metal house band, playing three times before at the Maritime, opening for both Machinehead and D.R.I. in ’97, then for Deicide just two months before this gig and would come back the following November opening for S.O.D. Knew those guys’ music well and I had said it before, but it bears repeating, that as the years went by, they got better. Being local, they had their usual allotment of hesher friends and relatives in the house. It was pretty well sold that night, enough to open the balcony.
Fear Factory had released the concept album, “Obsolete” the previous July which had a hit with their bonus track, a cover of “Cars” by Gary Numan, though they didn’t play it that night, sadly. Concept albums are always dodgy, running the risk of being pretentious or downright stupid, but I’m glad to say this one was alright. It told a tale of protagonist Edgecrusher and his dystopian future, encountering Smash – Devour, an egg shaped killer robot, and being captured by the Securitron, a worldwide law enforcement organization of their machine controlled society, and so forth. Furthermore, Fear Factory would go on to release a compilation album of their hits that year called “Messiah”, which would also serve as the soundtrack of the computer video game of the same name.
They had brought their own high tech light array, strobes, and set up (presumably) fake skulls with spinal columns attached to them on their microphone stands and one between the drummer’s tom drums. As expected, there was a fog machine too. We would install the robo-cam system at the Hall the following month, but for that show we still just had the trusty single balcony wide shot camera. There would be a friend of Fear Factory in the Hall that night recording a video bootleg of the show also from the balcony and he’d post it on YouTube years later. Not a great video, but there was a funny bit at the end when he went backstage and the camera had been left on, whether it was intentional or not, I can’t be sure. He didn’t seem to be pointing the camera at anybody deliberately and I doubt he was trying to tape them without their knowledge. There was one great bit for me personally watching it again when he went off exploring the upper decks above the band’s dressing room and found the narrow metal staircases leading to the rafters above the stage. He didn’t stay there long, that area being dark and treacherous.
Fear Factory played a lively set and there was a bit of a mosh pit for a couple songs and the occasional crowd floater. There was one guy on the bootleg video who wasn’t impressed and blurted into the camera’s mic with a pronounced souther accent, “Lamest mosh pit I’ve ever seen!” Just before they played “Self Bias Resistor”, they used the introduction of N.W.A.’s “Straight Outta Compton”, sampling the words, “You’re about to hear the strength of street knowledge”. Fear Factory would also use another hip hop sample after “Edgecrusher”, using Flava Flav’s voice from Public Enemy yelling, “Damn, that shit was dope!”. There was the sound of an alarm at the beginning of the “Securitron (Police State 2000)”, song which I swore was used from the alarm in the movie “Aliens” near the end when Ripley was escaping the exploding atmosphere processor and the recording, “You have (such and such time), to reach minimum safe distance”, was playing.
There was one memorable little snafu at the show about half way through. The folks who posted the setlist online thought the band had stopped because someone threw a shirt at guitarist Dino Cazares, during the song “Descend”, but they were wrong. Dino stopped the band because he was having a bit of a verbal tussle with one of the Hall’s security guards who was up in front of the stage in the barricade. Dino had sprayed the crowd with a water bottle during the song and the guard took offense to it getting wet in the process, even after Dino offered him a towel after to dry off. Dino chastised him, yelling, “Act like your working it, if you can’t handle sweat like the rest of us! I threw him a towel and he’s still crying! It’s just water!” then Burton chimed in saying, “I get spit on, pissed on, shit on every night and you cry over water!?!” The crowd then chanted, “Dino! Dino! Dino!” until they started playing again. At the end of the night, Burton thanked all the opening acts and Dino came up front and shook hands and high fives the fans up front. He tossed them a bunch of guitar pics before doing a quick crowd float, then waved goodbye and exited.
Cue’s Hip Hop Shop, Maritime Hall, SF, Fri., January 8, 1999
Here we go… Happy New Year! Yes, we begin the long celebration that was this year of our Lord… 1999. And what a year it was. Between the steady diet of shows recorded at Maritime Hall, there were more than enough other gigs ushering at The Fillmore and The Warfield, as well as other shows elsewhere, usually as a patron. In grand total, it came to 129 glorious musical adventures for that year, give or take a show. This year is a bit of an enigma as I did so many and I was at the height of my live recording intake, yet my record keeping seemed to have dropped off from my usual meticulousness. I found it challenging to piece together where I had put a lot of the art and clippings from the shows that year and even a couple gigs’ dates were left out completely. But with a little research and determination, I managed to piece it together the best I could and I’m satisfied in the most part with what remains. God knows it’s a lot. Maybe it’s for the best that it’s just slightly incomplete.
Anyway, this, the last year of the millennia would face nitpicking arguments about if that it was or the year 2000 or 2001 was, yadda, yadda, yadda, It was the last year with a 1 in front of the 3 other numbers, that we all could at least agree upon. Things were changing around the world and one could feel the future heading towards us all like a runaway freight train. Europe had just adopted the Euro as its official currency the week before and our beloved president, Bill Clinton, had his trial in the Senate over the whole Monica Lewinski thing begin the day before this show. I would turn 27 years young that July, the fabled and cursed “rock star year” causing me to be extra cautious not to die like so many had at that age. I was single and though I had a few random romantic encounters since my break up with my girlfriend Lisa the year before, I would mostly be up to my neck with all these shows and work. It was a miracle that I slept at all. Only a young person could have kept up with that pace.
The first show I’d have the pleasure of seeing would be this revue of hip hop DJs at the Hall, the first I’d record as well. The bill was being hailed as “Cue’s Hip Hop Shop”, the brainchild of DJ Cue AKA Frank Cuevas, a talented turntabilist in his own right and producer of such wax scratching masterpieces as the “Bullet Proof Scratch Hamsters”, “DMT (Drum Machine Technicians)”, and also as a member of The Space Travelers. He had put together an album of various local talent including Rasco, DJ Apollo, and Vin Roc, all who were there that night with him. Rasco, an abbreviation for Realistic, Ambitious, Serious, Cautious, & Organized, was also a member of the Cali Agents and Planet Asia, both of which would play the Hall in the future. DJ Apollo was a member of the Invisbl Scratch Pickles, a group of scratch artists that I’d seen the year before, wowing the crowd with their skills, opening for the Beastie Boys in Oakland the year before. Along with Vin Roc, they all took turns doing their cuts, transitions, and such for hours, each a master at the skill, mind bending stuff really. It should have been better sold a show, but it also was just after New Year’s and people fizzle out for a couple weeks. Still, it was a golden age for scratch masters like these guys, Mix Master Mike, and Kutmasta Kurt, and I’m bitter thinking about some of the EDM artists around today who make zillions, but have no skills on the ones and twos. But it seemed appropriate that Pete and my last year at the Hall would begin with this one, so casual and free spirited. By November, Pete would leave the Hall over various issues with the boss, Boots, and I would follow him, occasionally substituting for our replacement, Wade, until the Hall finally sank for good in 2001.
Psychedelic Ball : Toots & The Maytals, Merl Saunders & His Funky Friends with Bill Kruetzman, Nick Gravenites, Maritime Hall, SF. Thurs., December 31, 1998
It had been a long industrious year for me musically, between the shows at the Hall, ushering at The Warfield and The Fillmore, not to mention the occasional show at other venues around the bay area. I had done 17 concerts in December alone, quite a stretch for any month, but especially for a December. I was fortunate enough to catch the first of two Primus shows at the Warfield the night before, so I wouldn’t have to miss them completely that year, having already missed them when they played the SnoCore show down in San Jose that February. This show at the Hall was one of those there that was being sponsored by the Cannabis Action Network and there was no shortage of that fine plant being smoked in the Hall all night. I was quite familiar with all the acts there that gig, both Toots and Merl having played there the previous New Year’s Eve. This was Toots’ and Jai Uttal’s third time at the Hall, Nick Gravenites’ second time, and Merl’s SIXTH time.
Oh yes, I knew Merl quite well by this New Year’s, but at this show there would be one critical difference. Merl would have none other than THE Bill Kreutzman from the Grateful Dead playing drums for him in this “Funky Friends” band instead of his usual Rainforest Band. I saw Bill with his wife in the stairway during Toots’ set and I shook his hand saying what an honor it was to record him and have him there that night. He was polite, quiet, and gracious about it. Seemed like a nice guy for that brief moment we shared together. Bill had collaborated with Merl that year on his album, “Fiesta Amazonica”, which was a collection of unreleased tracks they recorded together at Fantasy Records. For that project, Merl employed a young singer from Bulgaria named Mariana and I believe she was there performing that night as well.
Jai Uttal was actually playing in the Hiring Hall on the ground level of the Maritime that gig, but like I said, we’d already taped him twice, including one show I had done myself only 19 days before this. Didn’t see his stuff being too busy upon the levels above him and his Pagan Love Orchestra, but the telltale scent of patchouli oil and burning sage wafted up the stairs and permeated the whole building. Being a show of such prestige, Pete was there to be at the helm at the recording room for the night, but I was happy to be his squire, fetching him jack & cokes from the bar along side many beers I imbibed that night. Likewise, the joints passed freely all over the place. Grant and Bobby were partying in Grant’s office next to the recording room all night and we were in good company with them and all their party people. Things ran smoothly and I gave Pete and everybody a hug after the countdown. There was a balloon drop upstairs and Toots kept them dancing late into the evening. Little did I or Pete know that this would be our last complete year working at the Hall. Pete would have his falling out with Boots the owner the following November, quit, and I would follow along with him, only filling in for Wade our replacement about a half dozen times in 2000 before the Hall tanked completely. But for this night, we were blissfully oblivious to this impending doom and enjoyed the regalia.
Primus, MIRV, Laundry, War., SF, Wed., December 30, 1998
SETLIST : Wynonna’s Big Brown Beaver, Fizzle Fry, Duchess & The Proverbial Mind Spread, Pudding Time, Those Damn Blue Collar Tweekers, Kalamazoo, Puddin’ Taine, Turkey In The Straw Intro – Jerry Was A Race Car Driver, Bob, My Name Is Mud, Bob’s Party Time Lounge, Feliz Navidad, Seas Of Cheese, The Air Is Getting Slippery, Tommy The Cat (with DJ Disk), (encore), Here Come The Bastards
It was a relief to see that Primus was doing two shows at The Warfield at the year’s end, so I’d be able to see the first one and then still be able to help record Toots & The Maytals at the Maritime for New Year’s. Still, it would mean that I wouldn’t get the New Year’s poster from Primus and miss seeing Spearhead, their opening act for that night, but these are the choices one must make when living in a city like San Francisco with such a wide variety of venues to choose from. I was however able to see both Laundry and MIRV open for this evening, each worthy acts in their own right. Laundry was drummer Herb Alexander’s band after he left Primus and their being there was further evidence that there was no hard feelings. I’d seen them once before opening for Tool in 1994 also at the Warfield. Herb isn’t the best singer in the world, but then again neither is Les Claypool, and singing while playing the drums in particularly tricky.
Herb was keeping busy with that band and would put out their second album, “Motivator”, the following year and I’d see them one final time opening for A Perfect Circle at that very venue before he would move onto other projects. Earlier in 1998, Herb also put out an album with a group called Attention Deficit with ex-Testament guitarist Alex Skolnick and renowned session bass player Michael Manring. Herb would even play drums briefly for A Perfect Circle as well as the Blue Man Group. With his already shaved head, Herb fit right in. MIRV was fun as always, a band that had long played with Les opening for Primus as well as his other solo projects. Bryan Kehoe would once again regale us with his passionate rendition of the Neopolitan standard, “O Solo Mio”. Kehoe would eventually team up with Les to do the Duo De Twang side project years later. This was actually the first time I’d seen Primus play the Warfield since 1992, before I was ushering, and before that I saw them there in ’91 with The Limbomaniacs opening, MIRV’s old band. During one of their songs, MIRV played a few licks of “Auld Lange Syne” on his guitar too, but other than that, the only other song I knew that they played that night was “Unabomber”, which had MIRV repeatedly chanting “Bow-wow-wow-yibbee-yo-yibbee-yay” from P-Funk’s “Atomic Dog” in a creepy guttural tone.
Primus had their new drummer Brain for a couple years by then, so all us old school fans had grown used to him and his style. We all still had a soft spot for Herb, but Brain was a smart choice to replace him. Still touring, playing stuff from their last endeavor, “The Brown Album”, they found time to release an EP of covers and a couple live golden oldies called “Rhinoplasty”, though we heard no songs from that EP on that night. Primus had also headlined the first ever SnoCore tour that year in February with Blink 182, the Long Beach Dub All Stars, and The Aquabats, but they played all the way down at San Jose Event Center and I guess I was too lazy and/or cheap to haul my ass down there to witness it. Les was sporting a bit of an afro that year, one of many hairstyles I’d see him don over the ages. It was a good look for him, but like most of his hairstyles or beards, didn’t last long. I had a sticker badge that night, so I think I actually worked all through the show as an usher, something I had never done for a Primus show before.
This would be the 7th annual New Year’s gig Primus would play in the bay area and up to this point and I had seen two of them, the first one at Bill Graham Civic in 1992-1993 with The Melvins and Mr. Bungle, and then at Oakland Coliseum for 1995-1996 with Tool and Everclear. Though I’d be at the Maritime the next night, one thing both shows had was an impressive oil plate projection light show. After playing “Fizzle Fry”, Les pointed it out, saying, “Now wasn’t that pretty?” and introduced his friend Will in the balcony and said he didn’t know what he was going to do and that Will probably didn’t either. He then admitted it might be good or it might be shit and that we’d all have to wait and see, but that he was “glad you’re all here for this experiment and God bless America!”
As usual, the band delivered covering a variety of tunes from all their albums and even doing a couple whimsical musical additions. Guitar genius/lunatic Buckethead came out to do a solo during “Those Damn Blue Collar Tweekers”. Les would interject a few funny musical tidbits here and there, singing a little “Turkey In The Straw”, though it was “Chicky In The Straw” in his version, at the beginning of “Jerry Was A Race Car Driver”. After the song, Les did a amusing banter after somebody threw a joint on stage up at him, saying, “one of the perks of being in a semi-famous rock & roll band is sometimes people throw marijuana on stage”. But he said since he was going to run for president some day, he’d have to decline and throw it in the garbage can which prompted a chorus of boos and chants of “Smoke it! Smoke it! Smoke it!” from the crowd. He offered it to Larry asking him if he would “stick it in your vagina?” and Larry took it saying he’d take care of it later.
To celebrate the holiday season, Les did a little a capella version of “Feliz Navidad” and we all sang along before they played “Seas Of Cheese” and as usual, Les busted out his his upright bass with bow for that one. From there, they surprised me a little going then into “The Air Is Getting Slippery”, a song I only think I had heard live before only once at Lollapalooza in 1993. Les usually followed “Seas Of Cheese” with “Pork Soda” or “Mr. Krinkle”. Les took a little pause in that song to introduced Larry and say he’d play us a bit of the “six string ban-gee”. Though I wasn’t there for the big fiesta the following night, I saw that they played appropriately enough a cover of Prince’s “1999” at the end of their set after the countdown and balloon drop. For the second to last song, Les announced, “We’re almost at the end… so close we can taste it” and brought out DJ Disk to do a little turntable scratching magic for “Tommy The Cat”, Les describing him as a “fine fellow and a wee wee man”. Les would do a few licks of “Dueling Banjos” during that song and also played the first verse and chorus of “Toys Go Winding Down” in the middle of “Bob’s Party Time Lounge” earlier. At the end of “Tommy The Cat”, Les sang a couple lines of “There’s No Business Like Show Business” before thanking everybody, taking the encore break, then coming back again and we were lucky to have Herb briefly rejoin the band, playing drums for the finale of “Here Come The Bastards”.
Motley Crue, Laidlaw, Soul Circle, War., SF, Wed., December 16, 1998
SETLIST : Dr. Feelgood, Girls Girls Girls, Enslaved, Live Wire, Shout At The Devil, Afraid, (Tommy speech), Wild Side, Home Sweet Home
The so-called hair metal bands of yore had been around long enough by this time to become nostalgia acts, but it was safe to say that Motley Crue was still not one you’d want to take your kids to see yet. They were emerging from a long turbulent period, the kind that make other bands rough patches look positively tame. Since their inception in 1981, Motley Crue had set a hilariously high bar for others to follow who wished to indulge in the pleasures of the flesh. Their relentless diet of sex, drugs, alcohol, and all around irresponsible behavior over the years had become the stuff of legend. But all this was finally catching up to them in a variety of ways. Singer Vince Neil had left the band in the early 90’s to pursue his solo career, releasing “Exposed” in ’93 which was a hit. He then put out “Carved In Stone” in ’95 which wasn’t so much, but that was nothing compared to the cruelest of fates that befell him that year. Vince would tragically lose his four year old daughter Skylar to cancer. Mired in grief, he established a Memorial Fund in her name to help fund cancer research and would hold an annual golf charity golf tournament for it as well.
Vince had been temporarily replaced by John Corabi, but the fans disapproved and they kicked him to the curb, enticing Vince to join them again. John would sue the band for royalties shortly afterwards. But the others were descending further into their various addictions and to make matters worse, were having multiple run ins with the law. Bassist Nikki Sixx would be arrested in ’97 after a show in Greensboro, North Carolina for instigating a riot, suggesting that the crowd attack a black security guard there which whom also allegedly poured beer on that guard’s head. Also, drummer Tommy Lee would further his infamy when a sex tape of he and his wife supermodel Pamela Anderson would surface. If that wasn’t enough, Tommy would be arrested for kicking Pamela while she was holding their infant son Dylan and serve four months in prison. They predictably divorced and Tommy would be released from incarceration and rejoin the band on this tour just two months before this show. Finally, Tommy would also get in trouble over an incredibly ill advised swastika tattoo he got on his arm which brought on yet another lawsuit and he wisely had it removed.
But all troubles aside, like I said, the band was digging themselves out of this mother of all abysses and I would have the honor of seeing them at a relatively small venue from the ones they had been accustomed to playing. They were originally supposed to play at the Cow Palace, but the show got moved to The Warfield because of low ticket sales. Being an arena show, they managed to somehow squeeze their impressive stage set onto that stage, lights, truss, fog machines, and all. Motley Crue had put out their 7th studio album, “Generation Swine”, the year before, but were touring this time promoting their “Greatest Hits” compilation which included the new songs, “Enslaved” and “Bitter Pill”, which they performed that night. Also, they had recently had the good news of finally being released from their contract with Elektra Records and now had ownership of their master recordings.
I chose to usher this show, missing the Deftones who were at the Maritime Hall that evening and since Pete didn’t show up for it, they weren’t recorded which is a pity, despite the fact we’d taped the Deftones there once before in 1996. Still, Quicksand was opening for them that night and it’s a shame we didn’t get it. We didn’t tape either of the Zero shows at the Hall that were there a couple days later, though we did that out of choice. We’d taped them enough, already having two live albums of theirs put out by then, and frankly as you might have read before, Pete and I were sick of them. On the lighter side of the news, our esteemed US military dropped a bunch of bombs on Iraq that night in retaliation for not allowing U.N. weapons inspectors to do their thing there, but more likely as a convenient distraction from Bill Clinton’s complicated romantic problems. Three days after this show, he’d be impeached by the House for the whole Monica Lewinski thing, though would ultimately be let off the hook by the Senate. In a strange coincidence, as I write this 23 years later, FX is in the middle of airing their “American Crime Story” miniseries on the subject.
But I digress, back to the show. There were a couple openers that night, the first being a local act called Soul Circle which were alright. Their singer sounded a bit like Scott Weiland from Stone Temple Pilots, but I never saw them again. A boy/girl duo out of Europe would also take that name in 2016, the boy Irish, the girl Hungarian, but I don’t imagine their music is at all similar to this one. The second act was Laidlaw from Orange County, who were introduced by a DJ from KSJO. They were a rock band with a down and dirty southern flair produced by Crue’s very own Nikki Sixx. They were rowdy and pretty talented actually and would also go on to open for such acts as Lynyrd Skynyrd, ZZ Top, and The Scorpions. I didn’t get either set lists from the openers, but I do know Laidlaw played one song called “Catfish Stew”.
When Crue finally took the stage, they played a little recording of Vivaldi’s “Four Seasons” followed by a rather square sounding male voice talking about “the multipurpose applications” to the word “Fuck”. The voice would list all manner of uses for the expletive such as “Difficulty : I don’t understand this fucking question!” and so forth, finishing the list with “Say it loudly and proudly… Fuck You!” Then everyone went bonkers when the band ripped into their hits, “Dr. Feelgood” and “Girls, Girls, Girls”. After they did “Enslaved”, Vince said to the audience, “That was a new one, but do you wanna go back in time a bit? Around 1980?” and then the band played “Live Wire”. After that, the entire house chanted, “Crue! Crue! Crue!”
Then something happened at that show which would become one of my most enduring rock & roll memories. I had been cut from ushering and was up front near the stage and after they played “Afraid”, Tommy came out from behind his drum kit wearing a headset mic and maniacally addressed the crowd. Shirtless and sweaty, he screamed, “Holy fuck! What’s up!?! You don’t know how happy it feels to be free! Ya’ll have any fucking idea how happy I am to be with y’all right now!?!” We all cheered and he continued, “When I was locked up in that motherfucking jail for four months, I gotta tell you, I felt each and every one of you motherfuckers sending me love!!!” Then he switched gears a bit yelling, “We’ve been in this motherfucking city many times and as I look around I can’t believe I ain’t seen no titties yet!!! Where’s the goddamn titties!?!” Instinctually, I pulled up my shirt, revealing my nipples to him along with a couple other ladies up front with me and to our surprise, Tommy produced a fire extinguisher and started spraying us all with it. I can tell you from that experience, that getting doused with that stuff up close in COLD!!! He laughed, “I’m going to make your nipples hard!!! That shit feel good!?!” But Tommy wasn’t satisfied, complaining “We’re going to Denver tomorrow! Don’t make me tell them we only got three tithes and that’s it!?! Boo!!!” Then more women obliged him and he praised one, saying, “Those are fresh! Fresh titties!!!”
And the rest is history… Yeah, that would be the only time I’d see Crue. For some reason, I didn’t bring enough tapes with me, getting only a little over the first half of their set. Shame on me. I was sort of dismissive of them and regret that. Tommy would quit the band the following year, going solo and playing in the Method Of Mayhem band, but they’d get together again on a couple reunion tours as most bands that had been together that long do. I am proud to say as an epilogue to this night that years later, I played “Dr. Feelgood” between lectures at an Anesthesiology conference at the Moscone Center. I think one or two doctors in attendance appreciated it.
Chris Isaak, Jude, War., SF, Mon., December 14, 1998
SETLIST : Wandering, I’m Not Sleepy, Please, Speak Of The Devil, Somebody’s Crying, Wicked Game, Go Walking Down There, Baby Did A Bad Bad Thing, Black Flowers, I Want Your Love, Diddley Daddy, drum solo-instrumental, Blue Hotel, Down Get So Down On Yourself, Only The Lonely, (unknown), San Francisco Days
It had been three long years since Chris had played the Warfield, also in December and somehow it felt right for him to play there around Christmas. Maybe it’s just all the fancy outfits he wears on stage that fills us with holiday cheer. He had just put out his seventh studio album, “Speak Of The Devil”, that September and we were lucky to hear six of the new songs that night as well as “Go Walking Down There”, which wouldn’t be released until ten years later on his “Forever Blue” album. There was a young man named Jude opening that night and I thought him quite a brave soul to take the stage at such a large venue solo, just him and his guitar. He did fine, serenading us with his high pitched voice, singing his songs, though one of his tunes had a smidgen of John Mellencamp’s “Jack & Diane” in it. In the holiday spirit, he also did a bit of the “Snow Miser Song” before doing one of his own at the end of his set.
In the years between I had seen Chris last, he had found time to further his acting career. Though shackled with a Razzie Award for Worst New Star for his role in the Bertolucci film, “Little Buddha” in 1995, he had recently bounced back, playing the role of astronaut Ed White in the miniseries, “For The Earth To The Moon”. Ed was the first American to do a spacewalk, but tragically died in the Apollo 1 fire in 1967. Chris also played himself and did a song on “Melrose Place” that year. Being a local rock star for well over a decade by then, he had a packed house, the first time he’d have two back to back shows at The Warfield and his fans adored him as always, especially the ladies. After they played “Please”, he thanked everybody for showing up, had the lights turned up in the balcony, and said, “God bless you people in the cheap seats!”
Mr. Isaak always had the gift of storytelling and he spun a fews yarns between tunes, including a long one before “Baby Did A Bad Bad Thing”. He dedicated it to all the couple in the house, the ones who were committed for years and years. Chris went on about how such a person in that kind of relationship would “wake up in the middle of the night and the only thing in the world you want is a 16 ounce Dixie cup filled with gasoline” that you’d throw into their mates face. And as the victim would be “running around and screaming in pain, you’d look all detached with a cigarette in your mouth”. He joked, “I’ve never had that feeling, but I had that feeling described to me in detail by my ex-girlfriend” and went on about even though it “could of written it off as she’s mean spirited”, he knew she was sweet deep down. Finally, he advised the men out there that “if you’re having a discussion, you’ve already lost” and to just “be a man and take the blame”, claiming that she’ll ultimately “let you off with a light chastisement”.
He did another one, first praising his drummer who he referred to as “Reverend Kenny Johnson”, for all he did for the community. Chris told a meandering story about he picked him up, honking the horn of his car loudly, which is “something you don’t hear in the Sunset”. He asked Kenny what kind of car it was and he replied that it was a “Ford Probe”, then asked what color, which he answered “flesh color”. That got a laugh and Chris asked him if that color was “standard or custom”, which he replied “custom”. Then, the tale went on about how they went down to 3rd street and got some chicken & waffles, met up with a couple of “dancing girls named Kiki and Amber, went back to a bus filled with scented candles, and from there I kind of got lost in the story.
Anyway, the band eventually got around to playing a rollicking cover of Bo Diddley’s “Diddley Daddy” that had a harmonica solo. Chris also did a respectful acoustic cover of Roy Orbison’s “Only The Lonely”, an artist he had often been compared to and obviously took a page from. Unfortunately, my batteries ran low near the end of the set, speeding up the recording, but still getting everything. They ended their set with their ode to their home town “San Francisco Days” and that was that. As usual, Chris was graciously signing autographs for everybody who wanted one at the merchandise booth and I waited patiently in line with his fans to get one. The only thing I had for him to sign though was the paper sleeve in my cassette tape I used that night, but he didn’t seem to mind or even notice. I was disappointed that there was no poster given out at the end of the night, especially since he was doing two shows there and as mentioned, was his home town. Still, it was a fun one to end this six show in a row marathon, but I’m afraid this would be the last time I’d see Mr. Isaak perform live. He’s still around and hasn’t left the area as far as I know, so I might get another chance some day. Hard to believe he turned 65 this year. Even back then, when he was in his early 40’s, Chris always appeared so boyish.
Redman & Method Man, Pirate Djs, Maritime Hall, SF, Sun., December 13, 1998
SETLIST : Big Dogs, 4-3-2-1, Slide & Rock, Bring The Pain, Whateva Man, Suspect Chin, Pick It Up, (Richie Rich – Freestyle), M.E.T.H.O.D. Man, What The Blood Clot, Well All Rite Cha, Dangerous Grounds, I’ll Bee Dat!, How High
My hip hop education continued that night with the perpetually baked, dynamic duo of Redman and Method Man. Redman had a brilliant show at the Hall before in June of 1997 with The Alkaholiks, but this was the first time Method Man was in house. His fellow Wu Tang Clan compatriot, Ol’ Dirty Bastard, had performed that July, making this the second of that legendary rap group that I would have the pleasure and honor of recording. GZA would also eventually play at the Hall in July of 1999 and later Ghostface Killa would too, but I wasn’t at that one. We had no video crew to speak of this gig, so I just set a wide shot up in the balcony and that was it. There were just DJs opening, so it was an easy mix and their set that night was just a hair under forty minutes, so I didn’t have to work too late. The show was announced too late to make it to the monthly poster.
These guys had been having a busy year, though they were just beginning their famous collaboration. Their first album together, “Blackout!”, wouldn’t even be put out until September the following year, which would be a big success debuting at number three on the Billboard 200 charts and going platinum. Method Man told the crowd at the end of the set to keep an eye out for it. They originally were going to call the album, “America’s Most Blunted”, which I thought was a clever name, but that’s how it goes. Method Man had just released his second solo album, “Tical 2000 : Judgement Day” less than a month before this and he had a role in the crime drama “Belly” that year as well. Redman too had a few projects under his belt that year, releasing his fourth studio album, “Doc’s Da Name 2000”, just five days before this show and performed its single “I Bee Dat!” for the first time in the bay area. He had also took part in the hip hop super group, the Def Squad, with Erick Sermon of EPMD who had discovered him years ago, as all as Keith Murray and Hurricane G. They put out the record “El Nino” and both that album and his new one also went platinum.
They had an enthusiastic and packed crowd that night, filling the Hall with clouds of weed smoke. Soon after they took the stage, one of them entreated the audience, “somebody pass the weed up in this bitch!”. Then later when they did “Pick It Up”, they had the audience“take a buddha break” and light it up. Women were storming the stage and one got to do a little bumping and grinding with Method Man before she was escorted off into the wings by security. Local rapper Richie Rich, the first from the bay area to be signed to Def Jam, was invited on stage to do some freestyle to boot. Between their collaborations, Method Man did his signature “M.E.T.H.O.D. Man” song and Redman did his jam, “Whateva Man”. They ended their set with “How High” which would be the title of their stoner cult comedy they starred in that would hit the theaters three years later. There were all sorts of random friends on stage holding up posters on sticks of album promos and they gave shout outs to lots of other local artists at the end, including Dru Down from Oakland. I would actually see Redman again only just a day shy of three weeks later, performing in the Snocore tour at The Warfield with Everclear, Soul Coughing, and DJ Spooky, quite a different show from this one indeed. The duo would return to the Maritime in 2000 and I would get to record them again, but it wouldn’t be until 2002 at The Fillmore that I’d see Method Man finally with the Wu Tang Clan for the first time.
Jai Uttal & The Pagan Love Orchestra, Lost At Last with Terrance McKenna, Maritime Hall, SF, Sat., December 12, 1998
Mr. Uttal had already played the Hall the year before, so this was one of the few hippie shows Pete let me alone to record. He and his Pagan Love Orchestra were still touring supporting his “Shiva Station” album and pretty much played the same stuff as last time. The opening act caught my attention though, Lost At Last. They were fairly new having just released their debut album the year before and dividing their time between the bay area and Hawaii. The band had in fact played at the Hall the previous October for the “Burning Man Decompression Party”, but for some reason, we didn’t record that night. They had an interesting sound, melding hippie jam band music with archaic instruments and computer driven tech sequences. Their music was pretty original actually and their singer, Jaya Lakshmi had the voice of an angel and frankly the body of one as well. Midriffs were all the rage back then. She and the band were meticulously done up with aboriginal glow in the dark face paint and scent of patchouli oil and burning sage permeated the air in the Hall all evening. The band and Jaya are still around making music, but I found that there are at least two bands with the same name, one a bar band from Bellingham, Washington and another a heavy metal band from Norway. I don’t think any of them are in danger of getting confused with the others.
Joining Lost At Last on stage was none other than psychedelic guru Terrance McKenna who opened their set with one of his… well, I’ll let you decide. He said, “I want to sing and speak tonight about the opalescent expressences of the abyss, the abyss of living language that pure from the psychedelic bonding. The psychedelic bonding is the Earth turning inside out, its rivers, the Ganges, (and a whole bunch of others I can’t pronounce), it’s mountains, Kilimanjaro, (once again, a bunch of others), its islands, (I did make out Manhattan which got some chuckles from the audience), its people, Celtic, black, white, yellow, gay, straight, gone, forgotten. I want to speak of the opalescent expressences of the abyss, shining lights of the mind so that language fills until it overflows the goblet of understanding.” Yeah… you get the idea. From there the band began jamming and he started to ramble and shout in what I imagine was some ancient language from Tibet or something. Even the crustiest of bay area hippies would have looked at the spectacle that night and thought, “OK, guys… Let’s take it down about 20% there…”
Yes, Terrence had a long history with psychedelic substances, being a ethnobotanist and mystic, a graduate from UC Berkeley, and author of several books. Like the band he was with, Terrance bounced between the bay area and Hawaii as well. He cultivated and preached the gospel of psilocybin, the active ingredient in magic mushrooms, as well as other psychoactive plants around the world, studied numerous schools of thought ranging from shamanism to the kabbala, and collected butterflies in Indonesia, while occasionally smuggling hashish. McKenna did have an interesting theory that ancient cavemen developed partially because of mushrooms which not only improved the visual acuity making them better hunters, but also made them hornier. Having the extra food around and the boosted sex drive allowed our species to multiply and become the dominant one over time. Though some critics panned it for its lack of empirical evidence, I still think it’s a compelling one. Sadly, Terrence would join the great beyond two years later, succumbing to brain cancer at the too young age of 53 in San Rafael.
Depeche Mode, Stabbing Westward, Oakland Coliseum, Oakland, Fri., December 11, 1998
(STABBING WESTWARD) : Drugstore, Nothing, Haunting Me, Waking Up Beside You, What Do I Have To Do?, Save Yourself, Sometimes It Hurts, Shame
(DEPECHE MODE) : Question Of Time, World In My Eyes, Policy Of Truth, It’s No Good, Never Let Me Down Again, Walking In My Shoes, Only When I Love Myself, Question Of Lust, Home, Condemnation, In Your Room, Useless, Enjoy The Silence, Personal Jesus, Barrel Of A Gun, (encore), Somebody, Behind The Wheel, I Feel You, (encore), Just Can’t Get Enough
This show was a long time coming. I grew up listening to Depeche Mode and had friends including my dearly departed friend Casey who absolutely worshipped them. If Casey hadn’t been struck down on his bike the year before, I can fucking promise you he would have been at this show with me. So, I was seeing them for the first time and seeing them for the both of us and I knew his spirit was along side me. I felt a tinge of shame since I really didn’t get into their music personally until a few years before this. They’d always been around in the periphery of my life, being distracted by the classic guys in my youth, The Beatles, Led Zeppelin, Bob Marley, and so on, but better late than never. Still, DM were always present in my musical upbringing and in fact, “People Are People” was one of the first music videos that really caught my attention when I was growing up, seeing it on “Music Box” when I was 12 visiting my dad in Amsterdam. Sadly, I haven’t seen Depeche Mode since, though I did see singer Dave Gahan do a solo show at The Warfield five years later. I remember specifically missing Depeche Mode in 2001 when they returned on the “Exciter” tour because I was the ring bearer at my sister’s wedding that day, a good excuse as any.
This was the “Singles” tour and a triumphant one it was. The band was emerging from a long rough patch in the 1990’s. First, Andy Fletcher had a complete nervous breakdown in ’94, then Alan Wilder left the band disillusioned and bitter a year later. Martin Gore also was suffering from stress induced seizures and then there was poor Dave. He descended into hopeless heroin addiction to the point of nearly dying from an overdose in ’96. Thankfully, he went into rehab, moved to New York, and bounced back. The band had just finished their new album, “Ultra” the year before and were on the road once again. As I mentioned in the previous entry, I was missing Incubus play at the Maritime that night, but I would go on to see that band several times in later years. Papa Roach was opening for them, but as I’ve written before, I’d already recorded that band enough to be sick of them, though this would be the first time they’d play the Hall not as the very first of a four band line up, moving up to the second band on stage.
Speaking of openers, Stabbing Westward was a welcome and appropriate one. All of the Chicago based industrial acts of the late 80’s-early 90’s owe a lot to DM and I’m sure that wasn’t lost on them one bit. They were assuredly honored beyond words. Like Dave, they had also recently relocated, they to Los Angeles and had just released their third album, “Darkest Days”, that April. I’d seen them a couple times already, once opening for the Killing Joke at Slim’s in ’94 and again at the B.F.D. festival at Shoreline in ’96, so I knew their stuff fairly well. The fans in the packed arena gave them a good reception and they finished their set with their hit song, “Shame”. But those fans soon went absolutely bananas when DM took the stage adorned by a set and video projections designed by acclaimed director Anton Corbijn.
They teased the crowd with an instrumental introduction but quickly followed up with the classic, “Question Of Time”. I was instantly impressed by Dave’s vigor as a frontman, matched by few I’d seen before like Mick Jagger or Iggy Pop. On stage, he seemed inexhaustible, running about while singing and swinging his mic stand around. He made it look effortless. They brought out a couple back up singers for “Condemnation” dressed in sparkly sequin outfits and gave the song a real gospel feel to it and brought the singers back to sing along to “I Feel You” at the end of the set as well. Dave introduced “Enjoy The Silence” saying, “Let’s see if you remember this one!”, which the audience clearly did, erupting in cheers and applause at the first few bars of the tune. He egged them on shouting, “I know you can sing! Let’s hear how loud you can sing!”, and we all obliged him. Seriously, there are very few occasions in my life when I heard a crowd sing along to a song’s chorus as loudly as we all did that night. I mean, it was deafening and Dave was on cloud nine hearing it.
For their final song of the night, they brought the house down with “Just Can’t Get Enough”, a perfect one to end it with, definitely leaving on a high note. That song is so joyous and when one hears it live, it’s hard not to get goosebumps. The band would fly to L.A. the next day to perform at the KROQ Acoustic Christmas show, being joined on stage by Billy Corgan of the Smashing Pumpkins to play guitar and sing along to “Never Let Me Down Again”. Like I said, this show is the only one to date I have seen with them, but I hope they tour again some day. They are just entering their 60’s, still have plenty of fans, and actually were just inducted into the Rock & Roll Hall Of Fame last November. But with over 14 studio albums and over 100 million of them sold in their long career, they can do as they please naturally. On a somber note, I would learn days later of the tragic death of Lynn Strait, the singer of Snot, who was killed in a car crash that night. Such a pity. Snot would have been an interesting opener for DM.
Live 105’s Not-So-Silent Night: Sugar Ray, The Cardigans, Less Than Jake, Placebo, War., SF, Thur., December 10, 1998
As mentioned about the show before, this would be a complete change of pace from the Einstuzende Neubauten show the night before at The Warfield. It would be highly doubtful that the teenage suburban crowd from this show would have gone for the German experimental band, but I think the mind fuck would have done them some good. Speaking of mind games, there was some bit of confusion on my part over the show’s very existence when I was doing research and listening to it again. It was being billed as Live 105’s annual “Not-So-Silent Night”, but was strangely enough competing with another show from the station with the very same name that was being performed that night down in San Jose at the Event Arena. At first, I thought I’d gotten the year wrong or something. Suffice to say, the San Jose show boasted a much more impressive line up with Cake, Everlast, Garbage, Hole, Rancid, Soul Coughing, and The Offspring. As much as I would have enjoyed that show, the drive down there and back is always a headache and I’d just seen Soul Coughing in September also at The Warfield, The Offspring just two weeks before at The Maritime, and I’d seen all the others at least once before then with the exception of Everlast, though I’d seen him a couple times as the frontman for the House Of Pain.
Not that these acts were slouches at all. I’d enjoyed Less Than Jake very much when they headlined the Ska Against Racism show at the Maritime that March and was surprisingly impressed with The Cardigans when they played The Warfield that May. This would be the only time I’d see Sugar Ray, but I would see Placebo again in 2006 opening for She Wants Revenge at The Warfield as well. Placebo were pretty good too. The incredibly nasal voice of their singer Brian Molko is a hard one to forget. All the members were conspicuously androgynous and very English. They were pretty new back then, having just released their second album “Without You I’m Nothing” in October, but would soon attract the attention of David Bowie and tour with him. Placebo would also record a cover of T. Rex’s “20th Century Boy” for the soundtrack of the Todd Haynes movie “Velvet Goldmine” that year. I didn’t know any of their music of course, but I do know that they ended their set with “Pure Morning”.
In between bands, the venerable DJ Aaron Axelson would spin tunes, playing such crowd pleasers as the remix of Cornershop’s “Brimful Of Asha”, the Norman Cook (AKA Fatboy Slim) version, and snappy remixes of Soul Coughing’s “Circles”, and the ever-present “Bittersweet Symphony” by The Verve. Also providing levity and introducing the acts were a couple DJs from Live 105, who made sure to rile the audience up dissing the competing show down south, getting them to shout, “Fuck San Jose!” The female DJ mentioned something about Placebo’s drummer getting “arrested for smoking indoors”, but I doubt she was serious. The guy DJ then joked, “I got one word for you… Less Than Jake!”. The mosh pit picked up a little for them, the band energetic to the point where I wondered if they were on cocaine or something. The lead singer started the set screaming, “Time to go apeshit!!!” and “Who’s here to see Sugar Ray and doesn’t give a rat shit about us!?!?” The sweet, cool, Swedish sounds of The Cardigans mellowed everybody out again, naturally playing their big radio hit, “Lovefool”.
But the crowd picked up again for Sugar Ray. Hailing from Newport Beach, they originally wanted to call themselves the Shrinky Dinks, but had to change their name out of fear of being sued by toymaker Milton Bradley. Sugar Ray would always be known for their hit single, “Fly” which featured reggae star Super Cat. Though it was a bouncy, dancehall departure from their other more punk orientated songs, there was no denying it was catchy and it certainly didn’t hurt their career none. The album it was on, “Floored”, released the year before would quickly go double platinum. They played that hit as expected, followed by “Iron Mic” and “Every Morning”, (the latter also a bouncy dancehall ear worm), but I didn’t know any of their other songs.
Their dreamboat frontman, (seriously, the girls at the show went nuts for him), Mark McGrath, would eventually do all sorts of TV work, from hosting and competing in celebrity game shows, to a cameo on “The Office”, to starring in the second “Sharknado” movie. As corny as he is, I appreciated that he was a fan of Lynn Strait the frontman of fellow So-Cal punks Snot, who would die tragically in a car crash the day after this show. Mark would contribute to the song “Reaching Out” on the tribute album, “Strait Up” a year later and even get a tattoo to memorialize Lynn. It’s hard not to like Mark and he graciously thanked all the other bands at the end of their set. I was even a little pleasantly surprised when he encouraged the crowd to see Incubus at the Maritime the following night, the Hall being the competitor to The Warfield, but obviously Mark didn’t know or care. I would miss that Incubus show though, seeing Depeche Mode in Oakland instead that night.
Einstuzende Neubauten, I Am Spoonbender, War., SF, Wed., December 9, 1998
SETLIST : The Garden, Die Explosion Im Festspielhaus, Haus Der Luge, NNNAAAMMM, Zebulon, Die Interimsliebenden, Installation No.1, Der Schracht Von Babel, Ich Bin’s, Headcleaner, Wuste, Dedukt, Ende Neu, Salamandrina, Sonnenbarke, Bili Rubin
This would begin another six show in a row run and what a show this was. I knew very little until this point about Einstuzende Neubauten but they had a solid reputation for being weird and were lumped into the great expanse of musicians deemed “experimental”. Their name literally translates from German to “collapsing new buildings” and I must confess, every time I say the name, I feel the irresistible urge to shout it while banging my fist on a table like the Fuhrer. It’s awful, I know and I feel bad every time I think about it. I also knew that this band was the brainchild of Blixa Bargeld, the singer/guitarist from West Berlin who I’d seen a few times already playing with Nick Cave & The Bad Seeds. Blixa had been doing double duty between the two bands since the early 80’s until he finally parted ways with Nick in 2003 to devote himself entirely to Neubauten and to spend more time with his family, though he’d show up from time to time to play with Nick again years later.
Opening that night would be I Am Spoonbender, another so-called experimental act. They were local guys, fronted by Dustin Donaldson, the drummer of queer punk pioneers, Pansy Division. This project of his would be quite a radical departure from his old band, involving tons of samples and multimedia stuff. Their name is a reference to celebrity psychic Uri Geller who would travel the world performing acts of telepathy and telekinesis including the old spoon bending trick. They were an unusual opening act to be sure, making one contemplate what music is in general. We’d be subjected to seemingly random samples of things like babies crying, electric drill noise, and what sounded like creaking door hinges. Experiencing their set was frankly a little jarring, but I assume that was their intention.
Slightly more accessible, Neubauten was a real band, instruments and all, and Blixa did sing a few songs that one could actually follow along with, though we were inundated with all manner of sounds like roaring jet turbines, ear splitting screeches, and banging metal. One could see how later industrial metal acts like Nine Inch Nails took a page from Blixa. Near the end of their set, they brought out a metal plate set up vertically at a 45 degree angle and periodically poured gravel down in, making the sound sort of like a rainstick, if the beads and stick were metal anyway. I’d say you’d get the picture, but you really need to see this spectacle live to really wrap your head around what Blixa and his crew were doing. The crowd that night were pretty much the same people who showed up to see Nick Cave, well dressed and brooding, just like Blixa. There was however one young woman down on the dance floor near me who screamed like she was seeing The Beatles between every song, a real fan to be sure. The show the following night at The Warfield with Sugar Ray, The Cardigans, Less Than Jake, and Placebo would be obviously a radio friendly, stylistic left turn from this show, though neither of them would get a poster, sadly.
Molotov, Ozomatli, Fill., SF, Sun., December 6, 1998
I wasn’t exactly sure what to expect from this show having never heard of either band. This was a sight unseen show, but at first glance, I thought with a name like Molotov, maybe they’re a punk band, maybe even Russian. But I was wrong, for they were from Mexico City, though their music did have some punk elements to it. They even did a surprising cover of “Anarchy In The U.K.” by the Sex Pistols near the end of their set. Molotov did an interesting mix of rap and rock, singing both in English and Spanish. They were still pretty new, having released their second album “Donde Jugaran Las Ninas?”, meaning “Where will the girls play?”, the year before and an album of remixes of those songs called “Molomix” earlier that year. The album cover of the former showing a young woman’s legs in a school uniform raised a few eyebrows back home and some stores wouldn’t sell it. Apparently, the name of the album is a humorous homage to fellow Mexican rockers Mana who had an album called, “Donde Jugaran Los Ninos?”, ninos meaning boys for y’all who don’t know.
Not that I have any grasp of Spanish other than some key words and phrases. I took German in high school and French in collage. Naturally, being a Californian, Spanish would have been much more useful especially at this show, since both bands spoke to the crowd in that language mostly. They did have one song halfway through their set called, “Chinga Tu Madre”, which I did know the meaning of the title. If you don’t know what it means, let’s just say it’s a song about the Oedipal Complex and leave it at that. They opened their set with an interesting re-working of Queen’s “Bohemian Rhapsody” which they called, “Rap, Soda Y Bohemia”, rapping verses between snippets of the original.
Though I really enjoyed Molotov’s rowdy set, I was particularly impressed by the opening act, Ozomatli, and I dare say that they even stole the show a little. Their name is a Nahuatl word from their astrological symbol of the monkey, which also serves as a god of dance, fire, the new harvest, and music. They were brand new back then, having just released their debut self-titled album that June. Ozomatli had been a bunch of guys trying to organize a worker’s union in L.A. before that who didn’t receive recognition, but were given the the lease of an abandoned building for one month in consolation. There they formed this band and before you know it, they were touring with everybody, even Carlos Santana. In fact, they had just played The Fillmore two nights before this opening for Los Lobos, a show I’d have liked to have seen, but was working across town at the Maritime recording The Black Crowes.
Incidentally, it had been a hell of a week, this night ending a six concert in a row run. Quite a variety of acts that week. Like Los Lobos and Molotov, Ozomatli would change seamlessly between genres and make it their own. There are few bands that new which would make that kind of impression on me. Naturally, I didn’t know their songs or their setlist, but I do know the second last song they played in their set was “Super Bowl Sundae”. At the end of the set, they slowly marched single file into the crowd with percussion instruments, jingling bells, and the trumpet player and did a sort of second line thing like they do in New Orleans. They got the crowd to dance and clap along as they snaked their way through everybody for a couple minutes and eventually ended it, going backstage. They would do this ending many times that I would see them in the years to come. Speaking of which, it wouldn’t be for another five years until I’d see them at The Warfield opening for the All American Rejects, but only two months later, I would see them headline their own show at The Fillmore. They would play there often, almost every year, and even released a live album recorded there in 2005, though sadly I wasn’t there to attend that one.
Billy Bragg & The Blokes, Corey Harris, Maritime Hall, SF, Sat., December 5, 1998
SETLIST : The World Turned Upside Down, St. Swithin’s Day, She Came Along To Me, I Guess I Planted, The Milkman Of Human Kindness, Eisler On The Go, Christ For President, Tank Park Salute, Must I Paint You A Picture?, A Lover Sings, Another Kind Of Judy, All You Fascists Are Bound To Lose, My Flying Saucer, California Stars, (encore), Waiting For The Great Leap Forwards, Hoodoo Voodoo, A New England, (encore), There Is Power In A Union, The Saturday Boy, Ingrid Bergman, Song About A Bear That Ain’t Got No Name, Way Over Yonder In The Minor Key
This would be the first time I’d see Billy play with a band, having seen him once before in 1996 playing solo opening for Robyn Hitchcock at The Warfield. Robyn was solo on that one as well. Mr. Bragg was riding high on the success of the “Mermaid Avenue” album, his collaboration with Wilco doing unpublished songs of Woody Guthrie. Relations between Billy and Wilco had soured by this time over the mixing and sequencing of the album leaving them to part ways and sing the songs they did together separately on the road. More likely the rift was over money as usual, but what’s done is done. At least “Mermaid Avenue” was such a hit that they released a sequel album in 2000 of the tunes they hadn’t used in the first one, then a complete recordings release afterwards. We were lucky to hear nine of Woody’s songs that show.
This occasion was actually a benefit for the Neptune Jade Committee, raising money for the legal fees of those opposing the unloading of a cargo ship trying to use non-union labor. The band Chumbawamba, also renowned left wing activists, did benefit shows in support of the workers as well. The story goes that the protest at the port of Oakland was in solidarity with 500 striking dockworkers in Liverpool who had been sacked. ILWU Local 10 refused to unload the ship and global shipowners represented by the Pacific Maritime Association who then sued the activists. But thanks partially to the efforts to support the union guys that night, the suit was eventually dropped. The Neptune Jade left Oakland for Vancouver, but the dock workers there also refused to unload the ship. They then tried Yokohama, Japan, same deal. The ship finally ended up in Taiwan where it reportedly was finally unloaded. Though the dispute was thankfully resolved by the time of this show, they donated the proceeds to help out the dockworkers in Liverpool.
Billy was touring with Ian McLagan from the Small Faces on keyboards which must have been a treat for Billy since the his band was a big influence on him. As luck would have it, I accidentally stumbled into a pub in north London when I was studying overseas in 1992 and there was Ian with his band playing a free set, so this would be the second time I’d see Ian perform live. Billy would go on to play one of Woody’s songs, “Way Over Yonder In The Minor Key”, on Letterman ten days later accompanied by Natalie Merchant, who sang the song with him on the album. Opening that show was a blues and reggae musician from Denver named Corey Harris. He had performed on both of the “Mermaid Avenue” albums, playing guitar, lap steel guitar, backing vocals, and handclaps on the first, and acoustic guitar on the second. I recall it was just him on stage solo that night and the crowd listened to him politely. Billy did mention later something about fireworks going off over on Treasure Island during Corey’s set, but I didn’t see them, nor knew what the occasion was for them.
It wasn’t that well sold since the balcony was closed off, but the floor was pretty full and his fans were certainly enthusiastic. Liz Farrow was there helping me in the recording room, but for some reason, they wouldn’t allow us to film video that night. It is rare when an artist allows us to do one, but not the other. I was able to find a bootleg of his set on line and I think there had been a DVD release to boot, suggesting that somebody was filming that night, but I haven’t found any footage of it anywhere. I’m just glad somebody else got it and was able to listen to Billy’s set again. He started things off singing the first two songs acoustic on his own before inviting some “beautiful blokes” on stage to join him. One thing about Billy, like Robyn Hitchcock, is that he has the gift of gab, talking a lot between songs. He praised the Maritime saying that the “last time two times I played in the bay area, it was in shops or football stadiums” that were “not conducive to rock & roll shows”.
He educated the audience plenty that night about what was going on with the Neptune Jade and the history of Woody Guthrie, pointing out that Woody was a member of the Maritime Union during World War II, making Billy playing there at the Hall all the more poignant. He then told the story of Hans Eisler before the tune “Eisler On The Go”> Hans was an anti-fascist activist in Germany during the rise of Hitler who had to flee to America in 1933. His warnings unheeded in America until it was too late, our government added insult to injury by having the House Un-American Activities Committee try him for being a communist. Hans was so disillusioned by this, that he fled the US in 1947 and ending up in East Germany. Billy joked that Eisler had “less a sense of irony than Alanis Morisette” choosing such a place to end his days.
Billy continued talking politics joking that he recently did a gig in Minnesota supporting “the separatist movement led by Jesse Ventura”, who had recently just been elected governor to everyone’s surprise. He then chimed in making wisecracks about the ongoing proceedings in Washington of which Bill Clinton would be impeached exactly two weeks after this show. Billy posed a “personal question” to the audience asking them “If the president ejaculated on an item of your clothing, you’d keep it, wouldn’t you? Even if it was accidental, like if he wiped his dick on your curtains or something.” Seriously, it did make one think. He admitted Clinton was wrong for “putting fingers in the intern”, but said the “only real victims were Hillary and Chelsea”. Billy then got a laugh quickly adding, “Woody wrote a song about it”, introducing “Jesus Christ For President” and saying that if Jesus was the president, the Republican congress would impeach him for healing the sick and feeding the multitudes. He finally added that prosecutor Ken Starr was “nothing more than a sheet sniffer” and going after Clinton “turns him on” and “steams up his glasses”.
Billy mentioned that he and the band had been in the country since the previous Thursday and that he had watched the Vikings play the Cowboys on TV in Chicago. It was getting his mind off England getting booted off the World Cup that week. Being just after Thanksgiving, he went on saying in 1621, the Pilgrims left England for being too stuck up, first going to Holland, but then “couldn’t handle it”, and made the unwise decision to try their luck enduring the winter in Massachusetts. Billy laughed that the local natives thought we were pathetic and had to explain to us that “this is a turkey. It’s like a chicken. C’mon, we’ll give you a hand.” Billy then complained that we were paying too much attention to the Founding Fathers and wondered, “What about the Founding Mothers?” He then digressed into the current mindset of folks in Chicago wondering if Michael Jordan was going to continue playing with The Bulls there, saying it was a bit like Schrodinger’s Cat, wondering if he was in or out. Coming back to England getting out of the running in the World Cup, he told a story about how he found comfort in a bakery in Philadelphia that made rhubarb crumble, describing that he considered rhubarb to be the “celery of the gods”. That night, Billy said St. George appeared in a dream dressed as a “West Ham fan” and told him that there was “more to life than football” and to “get a fucking life”.
Before playing “All You Fascists Bound To Lose”, he spoke of how The Clash used to write antifascist slogans on their guitars like Woody famously had scribing, “This machine kills fascists” on his and claimed Woody would have been a fan of The Clash. He introduced the song saying that it was from Woody’s “Sandinista period”. He also celebrated the recent arrest of Chilean dictator Augusto Pinochet in London that October saying he was longer welcome to “do his Christmas shopping there”. Pinochet died eight years later almost to the day in Chile under house arrest for a mountain of his crimes. He joked that “if you know any fascists, send them to England” and scolded Secretary Of State Madeline Albright for not arresting him herself. Billy lightened the mood introducing “My Flying Saucer” saying that Woody hadn’t written music for its lyrics, but had made a note for its tempo saying it should be “supersonic boogie”. Billy pointed out that although Woody was mainly known for being a country and folk singer, that he actually had spend a good portion of his life in New York City and appreciated all kinds of music.
Billy mentioned that the BBC would soon air a documentary about the making of “Mermaid Avenue” called “Man In The Sand” and hoped that PBS would air it soon as well. I admit that I still haven’t seen it yet, but definitely want to now after revisiting this show. They ended the set with the hit song, “California Stars” which Billy arranged to sound more like a cajun zydeco song opposed to the country rock ballad that was recorded on the album. When he came back for the first encore, he joked that he was looking in the crowd and seeing the look in their eyes as if it was ok for them to dance to it. Billy said it was ok referring how lamely he dances, saying “I dance the way I dance because I’m somebody’s dad.” He went on to observe that most rock & roll stars don’t write songs for kids anymore, but that Woody did and then sang the whimsical, “Hoodoo Voodoo”.
For the second encore, he introduced “A Song About A Bear That Ain’t Got No Name” talking about the expansive archive of songs Woody still had to offer. Billy said if you combined this song with “This Land Is Your Land”, you’d have a complete picture of Woody, the former showing his “mischievous toe rag” side. It indeed was a randy one, sung to the tune of “For He’s A Jolly Good Fellow”, which Woody’s daughter Nora claimed was his intention, but filled with his ribald lyrics about sparks coming out the bear’s asshole and a few digs at Republicans. They wrapped up the evening with a fast paced, hillbilly version of “Way Over In The Minor Key”, an even more radical departure from their version of “California Stars”, since it was a melancholy ballad on the album. It was a fun night altogether and for a good cause and I would get to see them perform again a year later when he returned to town and played The Fillmore.
The Black Crowes, Maritime Hall, SF, Fri., December 4, 1998
SETLIST : Remedy, Sting Me, Go Faster, Thick N’ Thin, High Head Blues, Ballad In Urgency, Wiser Time, My Morning Song, By Your Side, Stare It Cold, Blackberry, Kickin’ My Heart Around, Jealous Again, No Speak No Slave, (encore), She Talks To Angels, Hard To Handle, Twice As Hard
I was frankly a little surprised when this one was added since the Crowes had always played BGP venues before. But it figured with the Hall’s history with bay area hippies that they’d hear about the Maritime and would be amenable. It was a good fit really, especially with the psychedelic oil projections and stuff. It had actually been a few years since I’d seen them, the last time being on the bill for the H.O.R.D.E. Festival at Shoreline with the Allman Brothers, Blues Traveler (as always), and others. The Crowes had been quite busy that summer, co-headlining a tour with Lenny Kravitz, then doing another tour opening for Aerosmith. They were just on the cusp of releasing their fifth studio album, “By Your Side”, which would come out a month after this gig. So, we were fortunate to hear three of their new songs live for the first time, “Go Faster”, “By Your Side”, and “Kickin’ My Heart Around”.
As fantastic as a show as it was, the one memory that sticks in my head to this very day was something that happened early before the doors were even open. I had just gotten the mic list from the stage guys and was up in the balcony setting up the single video camera covering a wide shot of the stage when the Crowes’ road manager stormed in and started to berate people. I was next to our front of house sound engineer, Kevin, when I heard the guy’s booming voice demanding, “Where’s the fucking gack!?!” Apparently, they were expecting access to cocaine. His demand echoed in the Hall’s cavernous room and Kevin and I looked at each other with a sort of “is this guy serious?” look at each other. Whoever the road guy was talking to tried to reassure him that they had plenty of weed, but he was inconsolable, screaming, “WE already have weed!!!” This was also a strange situation considering the band had just gotten through some line up changes partially because of drug addiction. Their guitarist, Marc Ford, had just left the band due to his debilitating heroin habit and went into rehab. They had just replaced their bassist, Johnny Colt, as well.
But like I said, it was a great show as they always did and it was a full house, a sharp contrast to the sparse crowd that was at the Hall for Goldfinger the night before. It was an evening with, so it was easy to mix for Pete. I wished he would have given this one for me to do, but he was wise enough to know how important this band was and as always he mixed it better than I ever would have. They never used anything we recorded from that show sadly, but even stranger, there seems to be no bootlegs from that show to be found anywhere as well. The Crowes, like the Dead, had allowed their fans to tape and there had always been at least a handful of guys showing up to their gigs with their professional grade recording gear, setting up their tall mic stands in a section in the back of the dance floor. I’m pretty sure they were there that night as well, but like I said, I’ve come up empty trying to find this show online. On a final and unfortunate note, guitarist Rich Robinson had a bit of bad luck three months later when they were doing a show in Grand Rapids, Michigan. His prize vintage 1963 Fender Esquire was stolen and despite all efforts to find it again, the guitar was never recovered.
Goldfinger, Let’s Go Bowling, Betty Blowtorch, Liars Inc., Maritime Hall, Thurs., December 3, 1998
Though I was glad to see Goldfinger headlining the Hall, I had a feeling they would’t big enough to fill the place and I was right. The dance floor had probably about 300 people and of course the balcony was closed in an effort to make the floor look more full. Not that they weren’t talented or deserved to have a full house, but they had made a name for themselves primarily as an opening act since they formed four years before this show. I in fact had seen them three times by then opening for Primus at the Bill Graham Civic Center, then for No Doubt at The Fillmore, and again for the Sex Pistols reunion at Shoreline, all in 1996. I knew they were busy that year, but I was pleasantly surprised to discover that they even made it into the Guinness Book Of World Records for playing a mind boggling 385 shows in a single year, the most of any band in one year, a record they held until 2010. Some orchestra in Germany called the Kurochester Bad Kissingen did 727 in a year, but it’s probably safe to say Goldfinger still holds the record at least in America.
Like I said, Goldfinger had been around a few years and had always a dependable opening act. They were from L.A. as all the acts were, or at least from the area. The singer/guitarist, John Feldmann, actually met the bassist when they worked together in a shoe store. They had released their second album, “Hang Ups”, a year before this show and though it wasn’t a successful as their debut album, the single “Superman” made it onto the film soundtracks of the Farrelly Brothers’ comedy “Kingpin” and “Meet The Deedles”. Goldfinger was starting to steer their music away from ska by this time and was gravitating more into straight on punk music. Feldmann had also taken up producing other artists that year, including Showoff, Mest, and The Used. One band that was clearly sticking with the ska sound who was there was Let’s Go Bowling. I’d seen them many times by then and even knew them a little, they having toured with my brother’s old band, the Dance Hall Crashers. Hell, they were just at the Maritime a month before this opening for Men At Work. I was spoiled being able to see them so often back then and especially for being able to record them twice there in such a short period of time. Liars, Inc. was there too, but I don’t remember much about them, since they were first, playing to practically no one there, and for such a short set. They would go on the following year to play on the Emerging Artists Stage at the infamous Woodstock ’99 disaster alongside Moby and Bijou Phillips.
But the opener Betty Blowtorch made quite an impression on me. They were an all girl punk band with a penchant for raunchy lyrics and stage names. The singer called herself Bianca Butthole, the rhythm guitarist was Sharon Needles, and the lead guitarist was Blare N. Bitch. It figures that three of them were ex-members of Butt Trumpet, a band with one of the funniest names I’ll ever hear. I remember they had a short punk song called “I Left My Gun In San Francisco”. Betty Blowtorch were still brand new and wouldn’t release their first six-song record, “Get Off” until a year later, sporting such memorable song titles as “Shut Up & Fuck” and “Party Till You Puke”. One can’t help giggle at the lyrics for the former, “I don’t want conversation! I just want penis penetration!”. Bianca cracked me up with her stage antics, sporting pig tails, and wearing shin guards and knee pads. For the song, “I Wanna Be Your Sucker”, their other singer Mia X strutted about the stage holding a giant sucker prop with the song’s title written on it, occasionally straddling the sucker’s long stick in a suggestive manner. They also did a cover of the Beastie Boys’ “Fight For Your Right To Party”, getting folks up front to sing along. Fun stuff.
Betty Blowtorch met a tragic end in December 2001 though. While on tour and having just finished a show opening for Nashville Pussy in New Orleans, Bianca was killed in a high speed car crash on Interstate 10, a passenger in a car going over 100 m.p.h. and her driver intoxicated. Their set at the Maritime would be the only time I’d see them perform. The band had just appeared in the comedy “Bubble Boy” with Jake Gyllenhaal that year and had been slated to play New Year’s Eve weeks later in L.A. That year, former L7 bassist Jennifer Finch was touring in the band, replacing Sharon on guitar when she abruptly left the band with drummer Judy Molish mid-tour. Afterwards, Blare went on to form The Blare Bitch Project and a Black Sabbath cover band called Black Sabbitch, both also hilarious band names. The others went onto various all female cover bands as well. Sharon and Judy joined a AC/DC cover band called Hell’s Belles and Judy also played in Cheap Chick. Incidentally, this gig was the first show of the month and I was happy to see the Maritime’s new monthly poster was a good one and Boots somehow managed not to misspell anything this time.
Tricky, Whale, Fill., SF, Wed., December 2, 1998
I was more than familiar with Tricky by this time, having seen him four times already, first opening for P.J. Harvey at The Warfield in ’95, then twice at Lollapalooza in ’97, then a mere four months before this night headlining at The Warfield. So, Tricky had been getting around a lot, even playing a small role in the science fiction film, “The Fifth Element” the year before, playing Gary Oldman’s henchman, with the appropriate name of Right Arm. Gary’s character, Dr. Zorg, ended up blowing Tricky to smithereens when he failed him. But Tricky was no failure as an artist to be sure and he was there doing his songs while maniacally trembling for me and the crowd that night and performed well as always. It was nice to finally see him in a smaller venue than before and I was glad that this show got a decent poster at the end of night. He played mostly the same stuff as I saw him perform in August as one would expect, including an dreamy trip-hop cover of Blondie’s “Heart Of Glass”, the chorus sung by Carmen Ejogo again. She had recently taken over for Tricky’s original female singer Martina Topley-Brid, who was the mother of his daughter, Mina Mazy. Tricky and Carmen had gotten married that year in Las Vegas, but they eventually broke up too.
Opening that show was a rock band from Sweden called Whale. They were a funny bunch of folks and as luck would have it, that night was the lead singer Cia’s 35th birthday. They had the crowd wish her a happy birthday and one of the other members declared that “she’s a rockin’ bitch!”. That guy also gave a shout out to Dog Beaver, the band that was playing upstairs in the poster room between acts. He asked, “Anybody been upstairs to see Dog Beaver? Now that’s a show!” He then dedicated their next song to them, calling them “our new friends”. Dog Beaver, a local freeform improvisational band, would often play up in the poster room and I would occasionally tape them when I could get a break to go upstairs and watch them, though I didn’t that night. Like I said, Whale had a sense of humor, claiming on their website that their name was actually Southern Whale Cult 1987, though they later admitted that it was just a joke. But sadly, this would be the only time I’d see them perform since they would disband the following year. I would however go on to see Tricky a few more times though, three times in 2001 alone, playing two separate shows at The Fillmore again, once in April and once more in August, then opening for fellow Lollapalooza ’97 alumni Tool at Shoreline that November.
Deicide, Skinlab, Vile, Infestation, Maritime Hall, SF, Sat., November 28, 1998
SETLIST : When Satan Rules His World, Bastard Of Christ, Blame It On God, Lunatic Of God’s Creation, Serpents Of The Light, They Are The Children Of The Underworld, Oblivious To Evil, Dead But Dreaming, This Is Hell We’re In, Sacrificial Suicide, Deicide, Father Baker’s, Behind The Light Thou Shall Rise, Tick Or Betrayed, Once Upon The Cross, Dead By Dawn
I’ve said it before, but when I witness death metal bands perform, I make sure to look upward and give the big guy upstairs reassurances that their opinions don’t necessarily represent me and to ask politely not to send me into everlasting perdition for being there. Well, that went double or maybe triple for this one. I don’t know exactly what was this band’s bone to pick with the Almighty, but they definitely have it in for him. Their very name literally means “god killing”. Formed in the late 80’s in Tampa, Florida, they along with fellow grind-core heshers, Cannibal Corpse, had been freaking out Christians ever since. In their inception, Deicide’s singer/bassist, the hulking raven haired brute Glen Benton, reportedly stormed into the offices of Roadrunner Records, slapped his demo on the desk and growled, “Sign us, you fucking asshole!”. They took the bait and were signed the next day.
Like I said, these guys made enemies of the followers of Christ everywhere they went, even overseas. Deicide was banned in Valparaiso, Chile of all places after they made a promo poster with Jesus sporting a bullet hole in his forehead. Speaking of foreheads, Glen was also notorious for repeatedly branding an inverted cross into his own. If that wasn’t enough, he received the ire of animal rights activists as well, for expressing his interest in burning live rodents to death. Five years before this show, he freaked people out during an interview with NME at his home when he shot a squirrel in front of them with a pellet gun, complaining that they were messing up the electrical system up in his attic.
Blasphemy and animal cruelty aside, it still was a lively evening. Can’t say I remember much about the first opener, Infestation, and can’t even definitively say who they are or where they’re from since there at least four metal bands that claim that name. Chances are it was wither the one from London, since they formed that year, or the Swedish one, who had been around since 1990. I did, however, know both Vile and Skinlab, having recorded them both recently before this gig at the Maritime. Vile played with Cannibal Corpse in August and Skinlab opened for D.R.I. that July. Vile, a local band from Concord, would return the following March with Morbid Angel and use the recording I did that night to put four of the songs on their “Rare Tracks 1996-2004” album. Skinlab would also play the following January opening for Fear Factory. Unknown to me, Deicide had just released a live album, “When Satan Lives”, the month before this, recorded at the House Of Blues in Chicago, which pretty much derailed any chance of them using my recording that night for anything sadly.
It wasn’t sold out, but the dance floor was full at the Hall and those who were there were loud and aggressive as you might imagine. Glen and the band were dressed mostly in black leather, a couple of them sleeveless, and Glen was sporting an imposing, spiky armored shoulder plate, a Pauldron as it is known to those who make armor. They had somebody come out on stage in introduce them, saying that they were “from parts unknown!” Before they played “Bastard Of Christ”, Glen shouted, “What the fuck! We’ve never been here before! You know who we are, right? We’re Bastards Of Christ!!!” They ripped through their set pretty quickly, playing 17 songs in only an hour. After “Father Baker’s”, Glen joked, “We have a few more for you, then we’re going to Salt Lake to entertain some Mormons!” Just before they wrapped it up, he reassured the crowd that “there’s another record on its way. We’re halfway there and I think you’ll be surprised… Not let down, but surprised.” That album would eventually be “Insineratehymn” that would come out a little over a year afterwards.
Outkast, Black Eyed Peas, Melky Sedek, Headquarters, Most Chill Slackmob, Esinchill, Maritime Hall, SF, Fri., November 27, 1998
The dirty south returned in force at the Hall. Outkast and the Black Eyed Peas had both played there that year, Outkast in February and the Peas in September headlining the Lyricist Lounge tour. I was glad to have the Most Chill Slackmob back in the house too. They played at the 4/20 show there the previous April. Melky Sedek was back again, the brother and sister of Wyclef Jean who had also played the Hall in January. It was the day after Thanksgiving and I suppose all the dancing helped the audience work off the former night’s gluttony. Yes, it was an all star line up and the crowd reflected that. It was sold out, very sold out. It takes a lot to fill that place to the point of it being uncomfortable, but they certainly pulled it off that night.
Outkast had just released their new album, “Aquemini”, just two months before and it already was a resounding success. By this time, it had already gone platinum and by the following July, it would go double platinum. Incidentally, they got the name as a combination of Big Boi and Andre 3000’s astrological signs, they being Aquarius and Gemini respectively. They did get some heat from their new single, “Rosa Parks”. Apparently, the real Rosa Parks didn’t appreciate her name being used and objected to the obscenities in the song as well. The case was tried in Ann Arbor, Michigan, coincidentally where my future wife grew up, and the judge ultimately accepted Outkast’s argument that it was a homage and settled in their favor.
The Black Eyed Peas were getting bigger and bigger as well, still touring in support of their last album, “Behind The Front”, released that June. They brought along some of the “Dungeon Family”, the artist collective both bands belonged to in Atlanta. I know for sure that Witchdoctor was one of them. They had set up the bands in front of a big banner hanging high above on the front of the DJ’s riser and turntables with Outkast’s logo which what looked like a giant silver grill of a car. There were even small replicas of the front halves of vintage cars flanking both sides of the stage as well, making it feel as if it was some sort of drag race party late at night in an abandoned parking lot or something. I didn’t keep the recordings from that show, but I know that the Peas played “Fallin’ Up” and “Joints & Jam” for sure. I remember distinctly at the end of the show meeting Taboo, giving him the tapes from their set, and how friendly and thankful he was to me, despite his wearing some rather scary war paint on his face that night. Finally, Boots kept his reputation for misspelling band’s names on the monthly poster, listing Outkast as “The Outkast”.
The Offspring, Unwritten Law, Limp, Maritime Hall, SF, Wed., November 25, 1998
SELIST : All I Want, Session, Walla Walla, Gone Away, Kick Him When He’s Down, The Meaning Of Life, Have You Ever, Pretty Fly (For A White Guy), Bad Habit, Cool To Hate, I Choose, Smash, Intermission, Come Out & Play, Mota, Genocide, Self Esteem, Gotta Get Away, Nitro (Youth Energy)
The Offspring were brand new when I first saw them at The Fillmore four years before this, but by this time, everybody knew who they were. They had just released their fifth studio album, “Americana”, literally a week before this gig and they already had a hit with their hilarious single, “Pretty Fly (For A White Guy)”. The song is a biting mockery of “wiggers”, (an abbreviation of which I don’t care to explain), that infest the Huntington Beach area where the band is from. In fact, Weird Al Yankovic would go on to parody the tune, recording his own “Pretty Fly (For A Rabbi)”, making it the second song he’d remake of theirs, the first being “Laundry Day”, a parody of “Come Out & Play”. Kurt Cobain once said that you know you’ve made it show business when Weird Al does one of your songs, but you definitely have made it if he’s done two. Unfortunately, The Offspring were touring with their own monitor board, so we couldn’t get a hook up in the recording room, so I had the night off. At least I was able to hang out, watch the show, have a few beers, and record it on my own tape deck, but I was disappointed not to have them or the other two bands in my roster of stuff I taped at the Hall.
I hadn’t seen the first opener Limp before, but I thought they were a fun band. They finished their set with a cover of “Holiday Road” by Lindsey Buckingham of Fleetwood Mac, made famous by being the theme song for “National Lampoon’s Vacation”. At the end of the song, they did the chorus faster and faster until it ended at breakneck speed. I had however seen the second opener, Unwritten Law, once before opening for Bad Religion at The Warfield in 1996 and thought highly of them and was glad they were there. Unwritten Law had just signed to Interscope records the year before and had just released a self titled album from them that June. They did an interesting cover of “Guns Of Brixton” by The Clash, starting it off normally as it was a reggae tune, then switching to a punk style in the middle, then reverting back to reggae to finish it. Between songs, the singer bantered with the crowd saying, “Wow! There’s a lot of people in this room! Where the girls at?!?”. The women cheered and he responded, “Yay! People with vaginas!” At the end of their set, they did a song called, “C.P.K.”, which stood for “Crazy Poway Kinds”, not “California Pizza Kitchen” as some might have presumed. They were from Poway, a conservative suburb of San Diego, and the song was named after a bunch of bored white kids at Abraxas High School who started a gang as a joke. I’d see Unwritten Law perform again four years later opening for Sum 41 at The Warfield and they would frequently perform on the Van’s Warped Tour in the years to come.
It was a jam packed house that evening, sold out I believe. The young audience made a lot of noise and there was no shortage of action in the mosh pit, as well as crowd floaters and stage divers. Their fans knew their songs very well and they particularly sang loudly to the tune “Bad Habit”. It would be a couple years until I’d see them again in 2000, but I’d catch them twice that year, once at Live 105’s B.F.D. at Shoreline, then again at The Warfield with Cypress Hill opening, who also was on the bill at the B.F.D. that year, an eclectic pairing if there ever was one. Recently, my young cousin Nate gave me bottle of hot sauce made by The Offspring’s singer, Dexter Holland, called “Gringo Bandito”. I have to say that it was pretty good stuff, (pretty spicy for a white guy as it were). The headquarters that produces it is actually located next door to their recording studio down south. Dexter also recently received his PhD in molecular biology, which would explain one reason why his hot sauce is so well crafted I suppose.
Sunny Day Real Estate, 764-Hero, Track Star, Maritime Hall, SF, Sat., November 21, 1998
SETLIST : In Circles, Pillars, Guitar & Video Games, The Blankets Were Stairs, 100 Million, Every Shining Time You Arrive, Waffle, The Prophet, Song About An Angel, How It Feels To Be Something On, Rodeo Jones, (encore), J’nuh, Roses In Water, Days Were Golden
I was coming in dry as a bone for this one, having not heard a thing of Sunny Day Real Estate before that night. I did see their frontman, Jeremy Enigk, open for Sebadoh at the Great American Music Hall in 1996, but I didn’t make the connection at the time. I did however know the first opener, Track Star, for having seen them twice, once also at the Great American opening for Stereolab also in ’96 and the following year opening for Cornershop at Slim’s. At least this time I was able to record them properly at the Maritime. They actually weren’t on the tour originally, but were filling in for The Rapture who had to drop out for some reason.
Sunny Day were from Seattle and had made a bit of a splash when they started, being one of the pioneers of the new emo movement, but quickly broke up. They broke up so fast that they didn’t even finish recording their second album, the appropriately named “LP2”, before they all just threw in the towel. In fact, a few songs had no lyrics put down at all, so Jeremy just made up gibberish for them. He said later that he got a kick out of when the Japanese tried to translate them. Their bass player, Nate Mendel, and drummer, William Goldsmith, joined the Foo Fighters. Goldsmith came back for their reformation in 1997, but Mendel didn’t, being replaced by Jeff Palmer of The Mommyheads, then later by Joe Skyward. They would make two more studio albums and also a live album before breaking up again in 2001. I was a little pissed to learn of their live album, simply called “Live” which was recorded in May of 1999 at a show they did in Eugene, Oregon, less than six weeks before they returned to the Maritime. Certainly, I would have liked them to use some of my stuff, especially since it turned out that the band ended up hating their live album, which is one of the reasons they left Sub Pop records.
This show they were promoting their latest record, “How It Feels To Be Something On”. They were a simple drum, bass, and two guitar quartet with no fancy lights, bells, or whistles, though they had a road guy come out frequently between songs to change out Dan and Jeremy’s guitars.Their lead guitarist, Dan Hoerner, did however wear a full brown suit on stage, but eventually took off his coat after the fourth song, “The Blankets Were The Stairs”, saying “this is all too much”. Jeremy was more modest, wearing a plain white T-shirt. It was Dan’s the first time he’d ever been in San Francisco and he cheered, “I think I like it!” Jeremy had an interesting singing style, a high pitched, but focused voice, really unlike anything I had heard before that. Their music was truly original as well, dreamy and beautiful for rock music, definitely influencing many to follow like Fall Out Boy, The Get Up Kids, Dashboard Confessional, and The Shins.
Dan introduced the title track of the new album near the end of their set, then before they finished with “Rodeo Jones”, people up front were yelling out requests. He thanked them, then noticed a few were peeking at the setlist taped to the stage at his feet and he joked, “That’s no fair! You can see the list!” Thankfully, there’s a YouTube video from a fan recording up front and he grabbed the list and showed it to the camera. I had transcribed about half the songs before that, so it was just the thing to fill in the gaps. The show itself wasn’t sold enough to have the balcony opened up, but the floor was pretty full and I have to hand it to their fans. They were pretty enthusiastic and cheered loudly between every song. When they came back for the encore, Jeremy thanked the crowd for “making them feel very welcome”. They finished the show with the placid “Days Were Golden”, and at the end of it, he and Dan took off their guitars and simply walked off stage, leaving the drummer and bassist continuing. The bassist eventually stopped and walked off, leaving William on drums still thumping away, and then eventually he stopped. I was impressed with them for sure. It also was a thoughtful juxtaposition to the knucklehead stoner scene at the Ganja Skateboard Party at the Hall the night before with the Kottonmouth Kings and Papa Roach and I was glad when Sunny Day returned the following July.
Ganja Skateboard Party : Kottonmouth Kings, Insolence, Carcinogen, Papa Roach, Maritime Hall, SF, Fri., November 20, 1998
I can’t say I remember too much from this night, since as the party was advertised, there was copious amounts of marijuana around. Pete had left this one to me, being a young person’s show, and I plundered his Altoid’s tin of leftover roaches to match the ambiance of the evening. The Kottonmouth Kings had already played the Hall twice already that year, once opening for Eek-A Mouse in April for the 4/20 Festival show and again only two months later opening for The Urge so, yeah, I got to know those goofy stoners pretty well that year. This would also be the third time I’d record Vacaville’s own Papa Roach at the Hall. They had literally had just played there the week before opening for Soul Brains : The Bad Brains Reunion and earlier that March with Salmon. Little did people realize that they’d soon be signed to Dreamworks and make more money than everybody they ever opened for, but back then they still the first band out of four playing to the nearly empty cavernous walls of the Maritime. I’d record them for a fourth and final time the following June when they opened for Zebrahead and then they moved on to bigger and better things. As also advertised, there was plenty of skateboard products and clothing vendors around, sponsored by companies like Real Stereo, Anti-Hero, Spitfire, Thunder, and Lucky.
John Lee Hooker, Charlie Musselwhite, Zakiya Hooker & Blues 4U, Fill., SF, Sat., November 14, 1998
This was a show I couldn’t pass up. Yes, I’d seen John twice before, once at the Good Road Festival at Shoreline in 1992, then again at the Tibet Freedom Concert in 1996, but only for a short mid-day festival set and at a considerable distance from the stage. At The Fillmore, I’d be much, much closer and this time he was there headlining and playing a full set, the second night of a two day stint there. I left veteran reggae band, The Abyssinians, for Pete to record at the Maritime, knowing full well he’d be head engineer that night anyway. Luckily, The Abyssinians returned to play there only four months later and from that recording, the Hall released a live album. Everybody wins. Mr. Hooker was getting his just due around this time after decades of touring and recording.
That year, Chess Records released a 50th anniversary collection of his songs and he had additional commercial success putting out an album of duets called “Best Of Friends” then too. His flyers for the show advertised that this tour was in support of that one, in which he collaborated with such renowned artists as Eric Clapton, Van Morrison, Ike Turner, Ry Cooder, Jimmie Vaughn, members of Los Lobos, as well as locals Bonnie Raitt and Carlos Santana. John himself had become a local, taking over the bar across Geary from The Fillmore the year before and christening it “John Lee Hooker’s Boom Boom Room”. There, a regular stream of local funk, soul, and blues acts would perform every week, with the occasional DJ party and still so to this day twenty years after the bar’s namesake would pass on. It’s a very cool place and would naturally be the site of several post-Fillmore after parties, announced and improvised. Yes, the man known the world over as the Godfather Of Blues also bought residences in Los Altos, Redwood City, and Gilroy to boot. And if that wasn’t enough, that album had just followed his release of “Don’t Look Back” which won him Grammies for Best Traditional Blues Album and Best Pop Collaboration With Vocals for the title track duet with Van Morrison. Not bad for a man in his 80’s, or approximately that age. His exact date of birth has never been determined.
Another special thing about this show was the fact that the first opener was none other than John’s daughter Zakiya and her band Blues 4U. She had been performing for a few years by then and had just put out her second album, “Flavors Of The Blues”, the year before. She had changed her name from Vera after the break up of her first marriage, her new name meaning “Pure” in Hebrew, but coincidentally also meaning “Intelligence” in Swahili. Zakiya was rebounding from a pair of tragedies in her life, her youngest son John killed in car crash at the young age of 20 and her other son Maurice put in jail three years after that. You would have never known of her heartache that night when she was performing alongside her new husband, Ollan Christopher, who played bass, co-wrote their songs, and was her producer as well. They had clever banter between songs, playfully ribbing each other and trying to get the “ladies” and “fellahs” to take their respective sides. I didn’t get a setlist, but I knew one song was “Let’s Do Something (Even If It’s Wrong)” and a soulful cover of Bob Dylan’s “Knockin’ On Heaven’s Door”.
Next up was the venerable blues harmonica genius Charlie Musselwhite and his band. Charlie would join John and his crew, the Coast To Coast Blues Band, after his set too. He had played a bit that year in the “Blue Brothers 2000” reboot movie playing in a band that called themselves the Louisiana Gator Boys which had a who’s who of blues greats like B.B. King, Bo Diddley, Eric Clapton, Koko Taylor, Jimmie Vaughn, and Dr. John. You know, I’ve never seen that movie in its entirety, though I am still a big fan of the original. Shame on me. I’ll check it out sometime. Likewise, I didn’t get a setlist from him either, but I do know the second song of his set was, “Gone Too Long”, followed by “38 Special”. A couple songs later, he did “Voodoo Garden”, “I’m Going Home”, and “Blues, Why Do You Worry Me?”
There was a brief set change and then Lisa from KFOG introduced his band and things got rolling. They did about five songs before John came out, showing off their chops and warming up the crowd. I would meet John’s guitarist, Rich Kirch, years later when he’d play with the Farlow-Kirch Band with bassist Dave Tolmie, a buddy I worked with for years in Local 16. Dave used to play bass with Commander Cody and Huey Lewis briefly and was a hell of guy, God rest his soul. I’d see Rich again in 2004 when Pete was recording stuff at The Plant in Sausalito with Nick Gravenites. Talented guy, Rich. Hell of a guitar player. I could really only recognize a couple songs from John, though. Unlike many blues singers, whose tales of heartbreak and hard times usually lend themselves to clear diction, John’s vocals are actually kind of hard to decipher. But that voice is unmistakable. He did his big hit, of course, “Boom Boom” and before that did a tune called “Rockin’ Chair”. The band tore it up that night, a class act show start to finish. I’m glad I caught John when he did, since he was nearing the end of his life. The last recording he’d make was with hippie keyboard impresario Pete Sears that January for a song called “Elizebeth” which they recorded at Bayview Studios in Richmond across the bay. And then I’d see him perform one final time for a short set at the Guinness Fleagh in Golden Gate Park with his buddy Van Morrison the next year. Sadly, John at long last would pass away two years later. But he left behind an respected legacy and one hell of a Fillmore poster which was passed out at the end of the show.
Soul Brains, Missing Link, Papa Roach, Maritime Hall, SF, Fri., November 13, 1998
SETLIST : Attitude, Sailin’ On, Coptic Times, On Like Popcorn, At The Movies, Right Brigade, Pay To Cum, House Of Suffering, Re-Ignition, Sacred Love, Voyage Into Infinity, Soul Craft, Tongue Tee Tie, Rally ‘Round Jah Throne, I & I Survive, How I Love Thee, Day Tripper, She’s A Rainbow, Youth Are Getting Restless, (encore) I Against I
This was a very important show for me, probably the most of all the shows I recorded at the Maritime. Their set that night would be used for a live album, the first entirely recorded by yours truly. Maybe if Pete knew it would have become an album, he’d of stuck around for this one, but he didn’t know Bad Brains from Adam, so finder’s keepers. Even if they hadn’t have used it for an album, just the honor and privilege of recording them was good enough for me. But this album was a crowning achievement for me and listening to it now to this day makes my heart swell with pride. It had been three long years since I’d see them open for the Beastie Boys, who I’d just coincidentally played two months before this again at the Oakland Arena. Since then, singer H.R., an abbreviation of “Human Rights”, though it was listed on my album as “Hunting Rod” which it originally stood for when he was a kid, clearly had cleaned up his act, or at least was on the good pills. He and his brother, Earl Hudson, and the rest of the band had patched things up since his schitzophenic meltdown on that 1995 tour and were now on the road calling themselves “Soul Brains”. I think they did it partially for legal reasons, probably wrangling with their record company of money or something.
The first to open that night were the ever-present Papa Roach, who were just on the cusp of getting huge, bigger than Bad Brains or anybody else they ever opened for at the Hall. They had just released their “5 Tracks Deep” EP which would eventually catch the attention of big shot record executives, first by Warner Brothers, but then ultimately getting them signed to Dreamworks. Their “Infest” album they would then release a year later would explode in popularity, quickly going triple platinum and earning them a Grammy nomination for Best New Artist. Two songs from that previous EP, “Revenge In Japanese” and “Thrown Away”, would also be on that new album. But back then, they were still our humble warm up act from Vacaville, playing so often, they were practically the house band. It would only be a week before they would perform there again opening for the Kottonmouth Kings at what was billed as a “Ganja Skateboard Party”. Following them was a band called Missing Link, which I can’t say I remember, but I do know they share the name with a German pop band from the 80’s hailing from Monchengladbach, a suburb of Dusseldorf.
My buddy Tom Murphy was on monitors that night, dutifully manning his board in his trademark sleeveless black shirt. Dan Rubin was once again skillfully operating the lone camera in the balcony and this would be the first time Liz Farrow would assist me in the recording room, just me and her. Like I said, H.R. was on good behavior, all smiles, swaying and spinning about in his dark sunglasses and long white scarf. They ripped though the first half of the set pretty fast doing their punk stuff before chilling out and doing reggae songs for the last half, including a truly stony cover of “Day Tripper” by The Beatles. I’m sure the reggae tunes came to the relief of the long suffering security guys trying desperately to wrangle all the crowd floaters and stage divers that night. Bad Brains pumped up the house one more time for the encore, doing an intense rendition of “I Against I”. Before H.R. walked off stage, somebody threw him a joint and he held up up saying that “I heard marijuana was officially legal now in San Francisco, California now. Is that true?”, then thanked everybody holding up his flaming lighter. After the crowd cleared out, H.R. even helped sweep up the stage and when I gave him the tapes, he gave me a surprisingly affectionate hug, though we had just then met. It was the kind of hug that went on a little longer than one would expect and he rested his head sideways on my shoulder when he did it. I gave him a polite pat on the back and was thinking to myself, “Uhhh… OK…” I can still feel the weight of his boney dreadlocked skull in memory to this day. That one is for life.
So, being the fan as I was, you can imagine my exaltation when I learned that my recording would become an album and the glowing satisfaction I felt when I held it in my hand for the first time. As usual, though it was mine, Pete was still listed as Head Engineer and I as 2nd Engineers, mistakenly listed in the plural. Typical of Boots to misspell that on such an important album. They had also used some songs from the show Bad Brains did at the Hall in 2000 after Pete and I departed, engineered by a fellow named Andy Stackpole, who I don’t believe I’ve ever met. Sadly, the album doesn’t list which songs he or I did, but part of me doesn’t care or even wants to know. Reviews of the album were mixed, mostly complaining about H.R.’s singing that night, but I couldn’t see what the beef was. He sounded at least as good as any of their other live stuff, but then again, I am understandably biased. For some reason, I only have the last half of their set from the original recordings in my collection, starting off halfway through “Soul Craft”, so the setlist listed above might be out of order, but I know they played all those songs.
Before I wrap it all up, I’d be amiss if I didn’t give a short eulogy to Lee “Scratch” Perry, who I just learned ascended to join Jah this morning at the age of 85. Yes, the Bad Brains live album might be the one I’m most proud of, but Lee’s was the first we did with Mad Professor and the Robotix Band. It is a forgone conclusion that Bad Brains and any other band, obviously the ones who play reggae, owe him many thanks for his expansive body of work and influence. Sure, H.R. was eccentric and maybe a little mental, but Lee was from another dimension. I am grateful for seeing him as many times as I did and especially for that first album and Jah willing, I will make it Valhalla some time in the distant future and thank him personally.
Galactic, Robert Walter’s 20th Congress, Fill., SF, Thur., November 12, 1998
This would be the third time that year I’d have the pleasure of seeing Galactic, the second time headlining at The Fillmore. Continuing a long tradition of funky talent coming out of New Orleans, these guys made a big splash in a short time. They would go on to play The Fillmore plenty of more occasions to come and rack up more posters than any other band to play there. By this time, their second album album, “Crazyhorse Mongoose” was out, only a couple months old. Their singer, Theryl DeClouet, announced it proudly at the beginning of their set declaring that “The Goose is loose!” Opening that night was Greyboy Allstars keyboard virtuoso Robert Walter and his new band the 20th Congress. Where he got that name is a mystery to me, but I like it still. Sounds official. Robert had played with Galactic drummer Stanton Moore with his old trio along with guitarist Will Bernard, who I’d seen a few times on his own and with T.J. Kirk. Robert is a charming fellow, quietly and politely introducing himself and the band and a few of their songs. I wasn’t able to get a setlist, but I do know he played a cover of Ronnie Foster’s “Funky Motion” as well as his originals, “Vegetarian Bake Sale” and “What Goes Around”.
Galactic played a long and fun filled set as they did six months before there and what little I saw of them at the Mountain Aire show after that up in Angel’s Camp, when they played a late night set in a tent after midnight. These guys are true workhorses. It’s exhausting just witnessing one of their shows, so one could only imagine how they feel at the end of the night. Theryl dedicated one of the songs to all the ladies and went into a long story about “funky love” while the band backed him up playing a mid-tempo groove behind him. He went on about two people “in the bay area” who were “so in love, they couldn’t let it go” and how they would argue, but “then go home and get it on!” Theryl asked for a show of hands in the audience if they knew what he meant and continued talking about how the guy would jealously follow her around town to a “Thai restaurant, to the House Of Nanking, and even to The Fillmore”. That story went on for about five minutes before they actually got to the song. Like Robert Walter, I didn’t have a setlist for these guys, but I knew they played “Change My Ways” and “There’s Something Wrong With This Picture”, which I had heard them play before. Additionally, they did a couple covers, “Tippi Toes” by The Meters, which I knew from Primus’ covering it on their “Miscellaneous Debris” EP and the Lee Dorsey soul standard, “Get Out Of My Life”, which Jerry Garcia Band played all the time.
Cypress Hill, Orixa, Fill., SF, Sun., November 8, 1998
SETLIST : We Ain’t Goin’ Out Like That, Real Estate, Hand On The Pump, Checkmate, Pigs, Looking Through The Eye Of A Pig, Lick A Shot, Cock The Hammer, Insane In The Brain, (unknown), Dr. Greenthumb, I Wanna Get High, Stoned Is The Way Of The Walk, Hits From The Bong, Steel Magnolia, I Remember That Freak Bitch, Riot Starter, Funky Bilingual, Hole In The Head, Illusions, When The Shit Goes Down, How I Could Just Kill A Man
Though this would be the seventh time I’d see Cypress Hill perform in only six years, this would be only the second time I’d see them headline their own show. Every other time was at Festivals, twice in a row on the second stage of Lollapalooza ’92, then twice again on the main stage of Lollapalooza ’95, then once more at the Smokin’ Grooves tour gig in ’96. This would be the second time they would play this hallowed venue, having been there once before in ’95, but it certainly wouldn’t be the last. They were already huge, but with the release of their fourth album, the aptly named “IV”, dropped a month before this show, they would soon become the best selling Latin rap group of all time. Cypress Hill even recently became the first hip hop group to get a star on the Hollywood Walk Of Fame. We got to hear seven of the new songs that gig. They had a hit with their single, “Dr. Greenthumb”, which they performed at the end of their set. The origin of the name of that tune is still in dispute, but it may have been culled from a villain in the 1970’s cartoon, “Josie & The Pussycats” who ruled creature plants. Anyway, any musical act that plays The Fillmore already is elevated in the concert experience just by being there, but for some reason Cypress Hill felt like they truly belonged there. I mean, they could be the house band or play stints for weeks like Tom Petty did in ’97. They have certainly returned a number of times since this night and even released a live album from their show there in 2000, which I was unfortunately out of town for.
I had also recorded B-Real earlier that year in May when he toured with Psycho Realm, opening for Funkdoobiest at Maritime Hall, the only time to my knowledge that ever performed up here with that crew. Somehow during his busy schedule or touring and recording, B-Real found time to contribute his voice to the song “The World Is Something New To Me” which was in, believe it or not, the animated children’s film “The Rugrats Movie” that year. Yes, he was part of an all star ensemble who did a few lines each, playing newborn babies in adjacent cribs in a maternity ward. Seriously, the talent on that song was formidable, consisting of Dawn Robinson from En Vogue, Lisa Loeb, Patti Smith, Lou Rawls, Laurie Anderson, Gordon Gano from the Violent Femmes, three members of the B-52’s (Fred Schneider, Kate Pierson, and Cindy Wilson), Pfife Dawg from A Tribe Called Quest, Lenny Kravitz, Beck, Jacob Dylan, and Iggy Pop. I think perhaps since the filmmakers got Mark Mothersbaugh from Devo to do the music and write that songs, it helped recruit such an armada of stars. B-Real only had two lines in the song, the second one in the tune, “How did I get here?” and later on “This world is way too big!” Anyway, back to the show.
I was very impressed by the opening act, Orixa, a Latin alt-rock group who employed a full band. I think their sound help influence Cypress Hill in the next few years to come when they would tour with a full band for a while. Public Enemy did too. Lots of rap acts were doing this in fact, probably seeing the popularity of the nu-metal movement and wanting to get a slice of that pie. Cypress Hill didn’t have a full band by then, but they were touring with a drummer along with their percussionist, Bobo. I would enjoy Orixa again three years later again at The Fillmore when they opened for legendary Mexico City rock band El Tri. It didn’t take long after Cypress Hill took the stage that the air was thick with marijuana smoke. No fog machine was needed that night for sure, the whole house being hotboxed, which is no small feat. The Fillmore is small, but not that small. I’ve said it once and I’ll say it again, there are very few acts that helped bring about mainstream acceptance of herb than these guys.
They went through the first few songs pretty fast, going straight from “Real Estate” right into “Hand On The Pump”. After they did a bit of “Pigs” and the new “Looking Through The Eye Of A Pig”, B-Real asked the crowd, “you know what I want to do when I see a pig?… Can you guess?” then they went into “Lick A Shot”. They all joined in an extended drum and percussion solo between “Cock The Hammer” and “Insane In The Brain”, getting everybody in the house to clap along to the beat. Then B-Real introduced “Hits From The Bong”, praising the “sticky, green, northern Cali weed” saying they should toss him up some since ours was so much better than everybody else’s and entreated everybody to light up and pass it around. B-Real praised KMEL a couple times and dedicated “I Remember That Freak Bitch” to all the freaks in the house. But at the end of the song, Bobo pretended to disparage the amount of the audience’s freakiness and B-Real countered by saying what he’d do if he were us in the crowd and then did “Riot Starter”. Just before “When The Shit Goes Down”, B-Real asked us to remember this day, November 8th, and rambled on about writing the weed national anthem to be recited every 420. At least being mashed to the gills, I had my disappointment eased a little when we didn’t get a poster at the end of the night.
DJ Shadow, Latyrx, Blackalicious, Maritime Hall, SF, Sat., November 7, 1998
I had the pleasure of recording DJ Shadow twice before at the Hall the previous year, once opening for De La Soul in April and then again during the epic Electronica Hanukkah festival that December. So, I got to know his music pretty well, but this time he was there as the headliner, the first occasion I’d see him as such. He had formed a collective of artists at the time in the city called Quannum Projects and the openers that night were both part of that. They would all put out the works from their Solesides Records label, which is still totally independently owned and operated. By this time, Shadow had released the “Preemptive Strike” record, a compilation of his singles and stuff he’d recorded since his groundbreaking “Endtroducing…” album. He had plenty of friends and fans in the house that night and for the rest of us, the honor of seeing the openers for their maiden shows in San Francisco.
First up was Blackalicious, a rap duo consisting of Gift Of Gab and Chef Xcel. They were brand new, the two of them meeting it Sacramento while going to school at UC Davis. I was blown away by their sound, especially the brilliant, rapid fire vocal style of Gift Of Gab. I’d see them quite a few more times in the years to come, but I’m sad to say that Gab passed away two months ago from kidney failure at the all too young age of 50, just a year older than me. But I and all who got to hear him spit can count themselves lucky, especially that night when they were so new to the scene. They wouldn’t even release their first album, “Nia”, for another nine months. Second, up and also brand spanking new were Latyrx, friends of Blackalicious and also from the Sacramento area. They also were a rap duo, made up of Lyrics Born and Lateef The Truthspeaker. They likewise were very talented and I’d see them a number more times as well, both as Latyrx and Lyrics Born’s solo work. Once again, Boots the owner, screwed up on the Maritime’s monthly poster, putting the bands out of order and spelling Blackalicious as “Black Delicious”. He’d done so many typos on his posters, by then it was like a tradition.
Men At Work, Howard Jones, Let’s Go Bowling, Maritime Hall, SF, Mon., November 2, 1998
(HOWARD JONES) : You Know I Love You Don’t You?, New Song, Love Is A Good Thing, No One Is To Blame, Like To Get To Know You Well, Tomorrow Is Now, Everlasting Love, Pearl In The Shell, Let The People Have Their Say, What Is Love?, Things Can Only Get Better
(MEN AT WORK) : Touching The Untouchables, Dr. Heckyll & Mr. Jive, Catch A Star, Blue For You, I Can See It In Your Eyes, No Sign Of Yesterday, Overkill, Everything I Need, The Longest Night, Lifeline, Underground, Helpless Automation, No Restrictions, Down By The Sea, Who Can It Be Now?, Can’t Take This Town, Down Under, (encore), Waiting For My Life To Begin, It’s A Mistake, Be Good Johnny
It had been a year since I was treated to the return from the boys from down under when they had played their show at the relatively tiny venue of the Great American Music Hall. With the impending beginning of the new century, the music of the 1980’s was just on the cusp of returning to popular culture as golden oldies and Men At Work was one of that decade’s finest bands. I had hoped that Pete would give me the whole show to record on my own, but he was no dummy. He knew how big Men At Work were and it was just as well, since clearly he was and always will be the superior engineer and his mix sounded perfect that show as always. This would be the first night my friend Liz Farrow would sit in with us in the recording room, learning the gear and the routines we did. She would go on to assist me for several shows in the next couple years I served at the Hall and her friend Christine Ogu would as well from time to time. My buddy Dan was also in the house that evening dutifully manning the video camera in the balcony.
A unexpected, but welcome bonus to the gig was that they had Let’s Go Bowling as the first act. They had played with my brother’s band, the Dance Hall Crashers, a number of times and it was a delight to record them. Pete let me have that one since he knew I was a fan. Their ska sound went well with the bill and honestly, they would be a good opening act for practically anybody. It’s hard not to love those guys. Also accompanying Men At Work on this tour would be fellow 80’s music impresario and Live Aid alumni Howard Jones from Wales, who frankly stole the show that night. He got the crowd worked up so much that they were singing along to almost every song he did, especially “Everlasting Love” and “Like To Get To Know You Well” the tune I knew from the soundtrack of the hilarious film comedy “Better Off Dead”. Seriously, there are only a handful of concerts in my lifetime I’d hear a crowd sing along that loudly. Not to be outdone, Men At Work’s frontman Colin Hay did his best to get them to sing along to a couple of their songs like “Who Can It Be Now?” and “It’s A Mistake” as well, with almost as much success. Speaking of celebrities from the 1980’s, that evening had the added tinge of weirdness in that Jesse “The Body” Ventura had been elected governor of Minnesota that night.
Men At Work played a solid set as they had when I saw them at the Great American and Colin was his hilarious and charming self. He cracked up the crowd clarifying a bit of the lyrics of “Overkill” saying of the song’s chorus, “that’s ‘ghosts appear and fade away’, not ‘goats appear and fade away’ which is what many people think it is. When goats appear they very rarely fade away I find.” Their flute/sax/keyboard player Greg Ham also made some giggles introducing his tune, “Helpless Automation” calling it new wave music and asking, “Anyone remember new wave music? Those tight red pants, white shoes, geometric designs on top? Very, very nice.” Then Colin joked, “If you don’t like it, we’ll play it again.”
Near the end of the set, Greg finished his sax solo finishing “Can’t Take This Town”, then pretended to wheeze and asked the audience, “What’s the matter? Doesn’t emphysema turn you on? This is a song about where we come from!” The people cheered knowing what was coming next, then Greg said, “It’s not up here, it’s DOWN THERE!” and then they finished the set with their smash hit, “Down Under”. For their encore, just before they did “It’s A Mistake”, Colin said, “thanks for waiting for us for 15 years. We had a very long coffee break”. Sadly, this would be the final time I’d see Colin and Greg perform together. They would have a falling out in later years, predictably over royalties, and then Greg would die unexpectedly at the all too young age of 58 from a heart attack in 2012. Colin continues to tour under the name Men At Work, but he’s currently the only original member.
Frontline Assembly, Switchblade Symphony, Spahn Ranch, Kevorkian Death Cycle, Galaxxy Chamber, Maritime Hall, SF, Sat., October 31, 1998
SETLIST : Vigilante, Circuitry, Resist, Predator, Mindphaser, Surface Patterns, Plasticity, Comatose, Liquid Separation, Gun, Millennium, Bio-Mechanic
I have always savored doing shows on Halloween, probably tied with New Year’s for the best night to be at a show. This year at the Hall, I was treated to a five band line up of electronic industrial acts headlined by Frontline Assembly, a radical departure from the Hooker’s Ball the year before. Such melancholy and theatricality lent itself nicely to the holiday, especially with the copious amounts of stage fog permeating the air. It had been a memorable holiday weekend, starting with DJ Spooky at the Hall on Thursday, then The Residents at The Fillmore the night before. I was missing The Residents playing there again as well as The Cramps at The Warfield and that stung a bit, though I’d had the pleasure of seeing them both before a couple times. Although I was working, I wore my latex skull mask for most of the night and never forgot a prank that Bones, the Maritime’s stage manager, pulled on me with it. I had taken it off for a bit while I was away from the recording room and he snuck in, put it on, and when I returned, leapt from the corner with it on, scaring the dickens out of me. Being startled easily as I always have been, I let out a blood curdling shriek which amused him no end. Rest assured, he went back upstairs and told everybody in the crew about it and I took the mild humiliation in stride. At least everybody got a good laugh and heck, isn’t that what Halloween is all about anyway?
Opening that night was local weirdos Galaxxy Chamber, the one act who had been at the Hooker’s ball the year before who was also on this bill. They were dressed appropriately again for the occasion in their ghoulish goblin attire and make up which they wore to every one of their shows regardless. Following them were Kevorkian Death Cycle from Riverside who had played the Hall earlier that July on the second of the two day stint with Front 242. The one opener of the evening that had yet to play the Hall were Spahn Ranch from Los Angeles, named after the infamous compound that the murderous Manson cult holed up in before doing their monstrous deeds in 1969. They had just released their “Beat Noir” album less than two weeks before this show with the help of Love & Rockets and Bauhaus bassist David J, who I’d just seen do two shows at the Warfield with Bauhaus that August.
The last opener of the night was San Francisco’s own Switchblade Symphony who actually was the opener for the very first Maritime show I helped record when they played with Christian Death, back in September of 1996. I was touched that singer Tina Root remembered me and even addressed me by my name. I always liked that band and thought they were were underrated, not to mention a perfect opener for Frontline Assembly. They would return with them as well as Spahn Ranch the following April, but would disband later that year sadly. I discovered that they put out a live album a few years after that called “Sweet Little Witches”, but didn’t use any of the recordings we did at the Hall, instead using stuff from shows that they did at the Trocadero in Philadelphia in 1996 and the Ventura Theater in 1999. That makes me sad since, like I said, they were from here and between the three times they played the Hall, they had a lot of stuff we taped to choose from. But what’s done is done.
I knew the name of Frontline Assembly, being one of a handful of so-called Electronic Body Music or EBM bands making beats around that time, but hadn’t heard their music before this night. Their frontman, Bill Beeb, had worked previously with Skinny Puppy until parting ways with them in 1986 to start this band, and I talked to him briefly before the show began. He was a tall, lanky man with cropped blond hair from Canada and was very polite to me, as his countrymen were renown to be. I thought he bore a striking resemblance to veteran English actor Terrance Stamp who played General Zod in “Superman II”. In hindsight, it would have been awesome if he dressed like him that night and entreated the crowd to kneel before him. The real General Zod and his Kryptonian buddies, Ursa and Non, probably would have enjoyed his music. Seriously, even if it wasn’t Halloween, they would probably fit in with that crowd anyway. A year later, Siouxsie Sioux played Halloween at the Hall with her band, The Creatures, and let’s just say Ursa in the movie took a page from her look, but I digress.
Bill did ask that on the monitor mix for the evening that his voice be layered with his special vocal effects, partially because it was their style, but I think also because he was a little self conscious about his singing ability, or at least that was the impression I was getting from him. I reassured him that any effects could also be added to the multi-track mix later, but told him I’d do it anyway. I soloed his vocals during the show and thought he actually had a nice voice on its own. I was impressed by his music and thought it was easily as good as such contemporaries of theirs as Nine Inch Nails or Front 242. They had released their album, “[FLA]vour Of The Weak” the previous November, but the only song off that album they played that night was “Comatose”. They had brought a few of their own lights with their gear that night, helping to cut through the clouds of stage fog and giving Bill some creepy backlighting. It was a fun end to a long month, having a whopping 18 shows in only 31 days under my belt, probably a record for me, at least up till then. I’d get a slight reprieve in November, only doing 12 of them.
The Residents, Fill., SF, Fri., October 30, 1998
SETLIST : Jesus Christ Superstar, In The Beginning, Kill Him!, How To Get A Head, Hanging By His Hair, Mr. Misery, Tent Peg In The Temple, God’s Magic Finger, Dinah & The Unclean Skin, Cain & Abel, Burn Baby Burn, Fire Fall, The Seven Ugly Cows, Melancholy Clumps, Bathsheba Bathes, Bridegroom Of Blood, They Are The Meat, I Hate Heaven, Judas Saves, Revelation, Jesus Loves Me, (encore), Smelly Tongues, Moisture, Picnic Boy, Walter Westinghouse
I went from the far out frying pan of DJ Spooky the night before at the Maritime into the true fire of the bizarre with The Residents at The Fillmore. This was Devil’s night, but I can think of no other band apart from The Cramps which is more appropriate to see on Halloween and they were playing at The Warfield. It was a tough call all around, since I had to work at the Frontline Assembly show at the Maritime for Halloween this year. I was just glad I could catch one of these three shows that The Residents did. They were in fact beginning their tour with these shows, having just released their new concept album, “Wormwood : Curious Stories From The Bible”, so we all had the honor of hearing this stuff for the first time live. As the name of the album suggests, each song was a musical exploration of some of the Bible’s more gruesome stories, all from the Old Testament as far as I know.
Many were of ones most people commonly knew like Cain & Abel, Noah’s Ark, and King David and Bathsheba, and the decapitation of John The Baptist, but there were also ones more obscure and a few that only a real student of the good book would have even heard about. One particular song was about King Belshazzar and how a floating, severed finger appeared at one of his parties and wrote a message on a wall in blood saying his days were numbered. Another, “Burn Baby Burn” told of Jephthah who burned his daughter alive as a sacrifice to God for helping him win a battle. It was particularly haunting as it was told from the perspective of the daughter, who the Bible didn’t even have the courtesy of revealing her name, and had the unforgettable ear worm of a chorus, “Soon I will be burning for my, soon I will be burning for my daddy! God digs my daddy!” Yeah, that chorus is in my head for life. For each of these stories, the guy in the Black Skull mask would introduce the songs, giving a brief and humorous synopsis of each as he did the year before at The Fillmore for the “Have A Bad Day” and “Freak Show” songs. Likewise, Mr. Skull would put on different masks and sing, as well as guest vocalist Molly Harvey and drummer Toby Dammit, who also took turns singing, all the while backed up by the band in their traditional Eyeball masks and top hats.
They would produce all manners of stage props, giant wooden heads on sticks, and the lights would change to alter the mood of each tune, taking the audience on this wild biblical journey. This show was coming at an opportune time in my life intellectually, as I was becoming increasingly interested in theology and higher ethics. This was partially because of my friendship to Liz Farrow, who I had met through my brother and was a devout Jehovah’s Witness. We’d talk about Bible stories and such and after this show, I made a point to buy another copy of this album to give to her. Hearing these dark stories hammered home to me the power of the Bible’s imagery and moral quandaries that it posed upon its readers. Indeed, the good book, well, wasn’t so good until Jesus showed up and let’s just say that his death wasn’t pretty, even though he came back and was in a forgiving mood.
The “good news” as it were that night was that there was an excellent poster for the occasion. I was so thrilled about what I witnessed, that I even bought one of their tour shirts. After that night, I was a fully fledged Residents fanatic and took it upon myself to find absolutely every possible album and DVD of theirs that I could lay my hands on. As luck would have it, Boots at the Maritime tried to book The Residents to play Zellerbach Hall in Berkeley at the end of their tour the following year, but had to cancel it due to low ticket sales. I was naturally disappointed, but figured that it would have been hard to sell enough for such a large venue, about twice the capacity of The Fillmore, and all those who had seen them at these three shows, probably wouldn’t shell out the loot to see them again so soon, though I would have. I would have to wait another four years until I got the chance to see them again when they played The Warfield, touring with the “Demons Dance Alone” album. I was able to find a half decent bootleg of the audio from the show they did at The Fillmore the night before this one on Youtube, but thankfully The Residents released an excellent DVD of their show from this tour that they did in Bonn, Germany. That one included previously unreleased songs, “David’s Dick” and “Attitude Is Everything”, about King David’s lewd and exhibitionist behaviors before he straightened himself out and wrote some Psalms.
DJ Spooky, Plastilina Mosh, P.J. Olsson, Maritime Hall, SF, Thurs., October 29, 1998
I suppose it was appropriate that this show happened the day John Glenn went into space again. Mr. Paul Miller AKA DJ Spooky is a pretty far out guy, a real thinking man’s DJ and his education was a testament to that. He has a double degree in philosophy and French Literature from Bowdwoin College in Brunswick, Maine, not the typical credentials of your average turntable jockey. This would be the first time I’d see or hear of him, but I was impressed. One could lump him into the whole trip hop movement that had taken root in the UK, but his sound was different, moodier, ambient, and dark. He had just released his “Riddim Warfare” album which featured fellow hip hop weirdo Kool Keith, but also had a jam with Sonic Youth guitarist Thurston Moore, a telling reflection of his eclectic tastes. I appreciated that he also went by the moniker of That Subliminal Kid, a reference to “Nova Express” by William S. Burroughs, one of my favorite writers. Spooky has since become a professor of music himself.
In a way, his live show was conducive to the Maritime’s atmosphere. There was lots of room and it seemed to meld well with the visuals on the walls, the oil plate projections, and stuff. I could see Spooky being an opening act for hippie shows even, he’s that far out. Likewise, the openers Mexican electronic group Plastilina Mosh and P.J. Olsson also brought beats to the Hall that night which made you think as well as dance. It would only be four months later until I would see Spooky again, opening the SnoCore show at The Warfield alongside Soul Coughing who I had coincidentally just seen there only a month before this show. I was glad Pete was gone for the night as well, giving me this gig since he had been at the helm of the recording room for the previous three shows. This was a good one and I remember distinctly how friendly he was to me at the end of the night when I gave him the tapes from his set. The world needs more DJ Spooky’s out there.
Gregory Isaacs, The Skatalites, Filibuster, Maritime Hall, SF, Wed., October 28, 1998
Mr. Isaacs had played the Hall twice before, once in October of ’96 and then again in April of this year, and we had already released a live CD/DVD from our recordings, the second one we’d put out, just following our debut release of Lee “Scratch” Perry. Though there were likely no plans to release another, especially since he was performing practically the same stuff as before, we were there nonetheless to document the proceedings of the night. I had hoped however, that we’d get to put out a live album for the second opening act that night, the legendary ska band, The Skatalites. It ultimately wouldn’t happen, but I kept my hopes up all the same. I’d seen them a couple times before, once on the Skavoovee bill at The Warfield in 1993 with The Special Beat, The Selecter, and The Toasters and once more for the massive Tibet Freedom Concert in Golden Gate Park in 1996. Having grown up in the midst of the third ska wave in the bay area, especially around my brother’s band, the Dance Hall Crashers, I considered them to be ska royalty and it was a supreme honor to help Pete record them that night.
It would turn out to be crucial to see them at this time since their esteemed founding member, tenor saxophonist Roland Alphonso, would die suddenly just three weeks after this gig. Poor guy suffered a burst blood vessel in his head, which had happened to him once before in 1983, and he would pass away from it at Cedar Sinai in L.A. If that wasn’t bad enough, they had just lost their other saxophonist, Tommy McCook, to pneumonia and heart failure only that May, but at least the two made it to relative old age, being 67 and 71 respectively. Sadly, I never saved the recordings they made that night, nor the time they returned to play the Hall the following July when they opened for Michael Rose, but I did find a decent quality bootleg of their show in Detroit from that year and it was basically all the same songs. They had just released their “Ball Of Fire” album, and I know they played their lively cover of the James Bond theme song, the first track from that new album that show.
The Skatalites opened their set, as they always did, doing their countdown from ten to one and it took no time for them to get the crowd skanking. They had always been primarily an instrumental band, known mostly for their cover of the theme to the old action film, “Guns Of Navarone”, but they did bring out singer Doreen Shaffer to do a few songs. Doreen is now the only surviving founding member incidentally. She would sing “You’re Wondering Now”, a song later made famous by The Specials, as well as the reggae classic “Simmer Down”. The Skatalites in fact had been the band that backed up The Wailers on the original recording of that song way back in 1963. As luck would have it, Bunny Wailer had just performed at the Hall only eleven days before this show with Andrew Tosh, celebrating his late father Peter Tosh’s birthday.
The Murmurs, Paradise Lounge, SF, Mon., October 26, 1998
SETLIST : Don’t Lie, Underdog, Sucker Upper, I’m A Mess, Big Talker, Genius, La Di Da, Misfit, You Suck, Smash, X-Song, (encore), You Suck, One & Only
Purveyors of music in San Francisco around this time would be remiss not to mention the Paradise Lounge, a multi-room brick building on the corner opposite of Slim’s down in the south of Market area. Though I didn’t spend much time seeing shows there, it was adored and respected by locals. It was hard not to feel like you were at home when you were under that roof. Everybody was so nice and the atmosphere was so relaxed that it felt more like a house party than an event when you were there. One would stroll between the main room to the smaller rooms and there would be people about talking casually and the sound level from the bands would seldom be too painful. Sadly, the Lounge went the way of the Dodo years ago like so many venues and I haven’t the foggiest of what the building is used for now, probably a dance club or dot-com start up.
This was likely the last time I set foot in that venue, though I can’t be sure. I can’t even tell you exactly what brought me to see The Murmurs there that night, though I think it was a safe bet that my friend Matt was able to get free tickets at the last minute which would explain why I didn’t tape the show that night. It was a informal night out, but I had seen The Murmurs before opening for Joe Jackson at The Warfield in 1994 and I liked them, so I was glad to be there. The two of them had been music students in New York before that, breaking themselves in busking in the subways. But with their hit song “You Suck” and their cover of Jefferson Airplane’s “White Rabbit”, they soon found themselves signed to MCA and touring. By this time, they had expanded their acoustic duo to a add bass player Sheri Ozeki and drummer Sherri Soliger. The two singers, Leisha Hailey and Heather Grody, had also since reverted their hairstyles from the fright-wig, Rainbow Brite look they had before to simply dark hair, almost black. Only they and their stylists would know if it was their natural color, but they looked nice regardless.
I do remember distinctly talking to both of them, the Lounge being so small it was easy and almost irresistible to approach artists there, and was delighted and even a little surprised how friendly they were to me. I told them that I was at The Warfield show and how much I was impressed by their talent and they were all smiles. I even got them both to to sign their setlist for me, Heather writing, “Thanks for everything! See Ya’!” In hindsight, I can’t imagine what she was thanking me for, other than coming out to see them and appreciating their music, but what the hay, I’ll take it. They had a new album out then called “Blender” which had been co-produced by Leisha’s then-girlfriend, singer K.D. Lang. They would break up three years later though. Also, that album had a song called “Smash” that had been co-written by Jane Wiedlin and Charlotte Caffey of The Go-Go’s. I didn’t know any of this at the time and didn’t even know they were lesbians, not that I would have cared. In fact, Leisha would go on to star in the Showtime series, “The L Word”, among other film, TV, and commercial roles in the years to come. It had been so many years passed, that I didn’t recognize her when she was in the HBO series, “Silicon Valley”, in 2017 where she played the wife of one of Richard’s business partners. Richard would have an impulsive sexual encounter with her and she would later complain to him how bad it was, specifically repulsed by their teeth clumsily hitting each other when they kissed. But this would be the last time I’d see The Murmurs. Leisha and Heather parted ways soon after this show, though briefly reunited to form the band Gush in 2001.
Jon Spencer Blues Explosion, Add N To X, Bob Log III, Fill., SF, Sat., October 24, 1998
It had been over a year and a half since I saw Jon rock The Fillmore for the first time with Sleater-Kinney opening and I was eager to hear more. He had just released his fifth studio album, “Acme”, with the help of legendary producer Dan “The Automator” Nakamura, and just started the new tour, playing the first gig of it in Las Vegas only four days prior to this one. It was easy to love this band, as Beavis & Butthead did, praising their video of “Dang”, Butthead declaring, “I didn’t know something could kick this much ass!”. And speaking of videos, Jon had just made a video for the new single, “Talk About The Blues”, which starred none other than Winona Ryder, Giovanni Ribisi, and John C. Reilly, playing the band members Jon, guitarist Judah Bauer, and drummer Russell Simins respectively. It was quite a sight to see Winona then in her pixie cut doing her manic impersonation of him, yet another reason I’m in love with her… and her talent of course. On top of that, Jon had recorded a cover of Dr. John’s “Right Place, Wrong Time” which would be in the soundtrack of the horror film, “Scream 2”, released the previous December. He also had a memorable appearance on the “Canal+” show, where in the middle of his performance, he ran into the audience, then jumped on the host’s desk, and finally shook the hand of fellow guest, martial arts film legend Jackie Chan, handing him a copy of the new CD.
I had seen Bob Log III once before when he was with his old band, Doo Rag, when they opened for The Cramps at The Edge in Palo Alto back in 1995, but didn’t know his name, or at least his stage name, when this show was booked. It was a treat to see him again, but this time as a solo act, a one man band, playing his slide guitar with his hands, hitting a kick drum pedal with one foot, a high hat with the other, and singing through a CB mic attached to a space helmet. It was quite a spectacle to see for only one guy and for such a short set. This was his first year playing as a solo act and had just released his first album as such, “School Bus”, that year. Fat Possum, his record company declared that Bob had a monkey paw grafted to his left wrist after a childhood boating accident took his human hand off, but Bob denies it, insisting that his hand is just “very, very hairy”. Some guy introduced him that night when he came on stage as “Bob Log III from Tucson, Arizona and he’s gonna kick your ears in the ass!” I’d see Bob quite a few more times in the years to come and especially enjoyed whenever he would invite young women to dip one of their bare breasts into a glass of scotch, then pass around that glass to people in the front row to take a sip while he played his song, “Boob Scotch”. I admit that Bob is correct when he says that scotch tastes better after having a boob dipped into it.
The second opening act was Add N To (X), an electronic or “electroclash” band from England. They apparently had to add the parenthesis to the X in their name for legal purposes, though I find the idea of someone claiming a mathematical formula legally for their own a little strange. Add N To (X) were a bit of an odd departure from the manic blues rock of the rest of the bill, but they at least shared one thing in common with Mr. Spencer in that they were LOUD! I have often said that English acts of all kinds of genres were notoriously loud, but these guys were up there, I mean like Motorhead loud. God help anyone there who didn’t wear earplugs for their set or for Jon’s for that matter. Jon was his usual hyperactive, brilliant self and though his lyrics are practically indecipherable, I did know that the second song was the aforementioned, “Dang” and he ended his set with “Blues X Man”. Unfortunately, my tape deck ran out of batteries that night and I only got a little over the first half of his show. Also, there was no official poster this time, though I found an image of what I assume was an official flyer of this show on line and it looked pretty cool. But worst of all, I didn’t hear about Jon playing a full set for free at Amoeba Records the following day and missed it. That and I had to wait another six years until I had a chance to see him again when he would play at Slim’s.
Little Feat, Legion Of Mary, Maritime Hall, SF, Fri., October 23, 1998
SETLIST : Hate To Lose Your Lovin’, Honest Man, Loco Motives, A Distant Thunder, Spanish Moon, Skin It Back, Rock & Roll Everynight, Dixie Chicken, Eden’s Wall, Sailin’ Shoes, Voices On The Wind, Home Ground, Oh Atlanta, The Blues Don’t Tell All, Let It Roll, (encore), Willin’, Don’t Bogart Me, Willin’ (reprise), Fat Man In The Bathtub
I was really pleased to see Little Feat was added to the calendar at the Hall that month, having been really impressed by their set at The Fillmore three years earlier. I knew Pete would be in the house taping the show, being one of the more respected hippie acts out there. Though they had plenty of live material out since their inception way back in 1969, I still hoped that they’d use the recording we did that night, but to no avail. It still was an enjoyable experience nonetheless. Little Feat had been long associated with New Orleans funk music and I had, as am sure many others did, assumed that they were from there, although they originally formed in Los Angeles. Still, they’re sound undeniably served as inspiration to many southern acts in the years to come like the Black Crowes, Steve Earle, and the Allman Brothers.
Another blast from the past would open that night, The Legion Of Mary. They were hippies through and through, being a very short lived Jerry Garcia side project formed in 1975, along with Jerry Garcia Band’s bassist John Kahn, the ever present veteran keyboardist Merl Saunders, and Martin Fierro, the saxophonist from Zero. Jerry had of course past away three years earlier and John the year after, but there was Merl and and Martin to represent the original line up. This would be the only time I’d see this band together, an even rarer occurrence than the original who actually played less than sixty shows back in the day, so I guess I was lucky. Like I’d written before, Pete and I had long since given up recording Zero at the Hall, but it was still good to see Martin again, being his usual wise guy self on stage and performing different material for once.
PJ Harvey, The Rachels, War., SF, Thur., October 22, 1998
SETLIST : I Think I’m A Mother, Joy, Joe, Civil War Correspondent, Taut, Electric Light, A Perfect Day Elise, Hook, Meet Za Monster, City Of No Sun, Angelene, Missed, Dress, Snake, Heela, To Bring You My Love, (encore), The Wind, Down By The Water
It had been three long years since I had seen the one and only Madame Polly Jean Harvey play not one but two non-consecutive shows at The Warfield in 1995, the first in May, the second in September. I was itching to see her again, especially since her latest album, “Is This Desire?” had just been released a little over three weeks before this night. I picked it up right away and I found the music of the new album was an interesting and alluring departure from her previous work, and though it wasn’t as commercially successful, it still racked her up up a Grammy nomination for Best Alternative Music Performance. Clearly she was branching out into new directions and I was eager to hear the new songs live. This show was important enough for me to leave the duties of recording at the Maritime to Pete, who did Arlo Guthrie there that night. I was sad to miss Arlo, especially if I had been there and Pete left it for me to tape alone, but to me, P.J. was more important. Besides, I’d already seen Arlo at The Fillmore twice in the last two years then. I suppose it was fitting that Pete did that show, since missing Bunny Wailer the night before, leaving that one to me. Both Bunny and Arlo talk incessantly between their songs, and I suppose it was wise to split them up between us to avoid being burnt out.
I had just seen P.J.’s last boyfriend, Australian goth icon Nick Cave play on the very same stage a month before and the experience of their break up and recording the new album took their toll on her mentally and physically, speaking of being burnt out. Probably burnt Nick out too, but he was always so gaunt and vampirish, who could tell? It also didn’t help that P.J. received the ire of animal rights activists that year when she was quoted in an NME interview tacitly supporting fox hunting, saying “Seeing the hunt out on the fields is just so natural to me.” She would tour with The Dirty Three, fronted by Warren Ellis, Nick’s violin player and musical collaborator, later in the year in the U.K., for which I was jealous. We had a group from Houston there that night called The Rachels and they were nice all the same, coincidentally having a couple string players of their own in the band. Nick’s music was also taking a quieter turn at the time, his hauntingly beautiful ballad, “Into My Arms”, clearly inspired by her.
Yeah, she was a lot more subdued than her maniacal performances I saw before there, but the new material was quieter, especially the four songs she played from the “Dance Hall At Louise Point” album she made with John Parrish in 1996. Then again, the song “Taut” as the name suggests was a tense, ranting one, no doubt about that. Still, hearing those and the new songs, edged out older tunes like “50 Foot Queenie” and “Oh My Lover” which I adored, but I will always take hearing a new song for the first time live over an old one for a second time. Still, I’m glad she played, “Dress”, always a favorite.
P.J. had a new look that year as well, drastically cutting down the amount of make up she wore and cutting her hair to a sort of Raggety Ann shape. More or less every time I’ve had the pleasure of seeing her perform, she had a new look. I always thought she had remarkable taste in her aesthetics, personally and with the art in her albums. She even did a brief stint acting around then, playing in a film called, “The Book Of Life” by indy film director Hal Hartley. She played Magdelina in a sort of modern day biblical parody, though I can’t really speak about it, since I still haven’t seen it. I should check it out. Sadly, unlike the last Warfield shows she did, this one didn’t get a poster, though I saw that they made a really cool one for her show up in Seattle at The Showbox that tour two days before this gig. And like before, I would have to wait another three years to see P.J. play the Warfield yet again, but that one would get a poster. My tapes came out alright, but I was delighted to find an excellent bootleg of this set on YouTube.
Bunny Wailer, Andrew Tosh, Lasana Bandele, Maritime Hall, SF, Sat., October 17, 1998
SETLIST : Benediction, Bald Head Jesus, Rasta Man, Blackheart Man, Armagideon, Fighting Against Conviction, Dreamland, Love Fire, Crazy Baldhead, No Woman No Cry, Legalize It, Rockers, Rock N Groove, Dance Rock, Rootsman Skanking, Cool Runnings, Rule Dance Hall, Rock Stone, Simmer Down, Walk The Proud Land, Jailhouse, I Stand Predominate, I’m The Toughest, Hypocrites, The Specialist, Keep On Moving
Bunny had just played the Hall a mere five months before this show and that night was a long one. We had plenty of material recorded from the May show to make an album and Boots had even booked time at The Plant in Sausalito to mix it down with Pete and legendary engineer Tom Flye. For some reason, that album was never released, but the good news was since Pete already had that one in the can, he let me have this night. Frankly, I was surprised he gave it to me regardless, it being reggae royalty with Bunny, one of the original Wailers and the son of his partner in music, Andrew Tosh. That and the fact that he’d been there the night before to record Jimmy Cliff with me. The show this night was billed as the “7th Annual Peter Tosh Birthday Celebration”, though in reality, Peter’s birthday was two days later on the 19th. Peter would have been 54 years old that year. This would be the fifth show in a row for me at the Hall that week and by the end of it, I was a little limp. Reggae shows at the Maritime almost always went late and this one did, big time, especially because it was a Saturday.
Andrew did his father proud, singing all his dad’s hits like “Legalize It”, which Bunny also played, “Equal Rights”, and “Stepping Razor” as well as a few originals of his own. Yes, he was a talent in his own right, and was nominated for his first Grammy in 1989 when he was only 22 for his album, “Make Place For The Youth”. Andrew didn’t have any new material that night, but would eventually release another studio album two years later called, “Message From Jah”. It was easy to like him. For starters, his voice was uncannily similar to his father’s and I mean naturally. I could tell if he was trying to impersonate him, at least I think. Often, many sons of famous singers have good voices, but don’t nearly sound as similar as Andrew did to Peter. One funny, random thing he and his father shared was their love of the unicycle, though I didn’t see if he had it with him that night. Bunny once again played a few of the songs he shared with Peter and that other guy… Bob Marley, I think his name was, “No Woman No Cry”, “Crazy Baldhead”, and “Simmer Down”.
I know it’s not nice to say, considering Bunny’s immense talent and impact on the genre of reggae, but I think half the reason Pete gave me that show to do was so he didn’t have to listen to Bunny drone on between songs. I said it before in the May show, but Bunny’s set would be an hour shorter if he didn’t ramble on as he did, but then again, he wouldn’t be Bunny if he didn’t. Besides, Pete went on five days later to record Arlo Guthrie at the Hall while I was at P.J. Harvey at The Warfield. God knows, Arlo could talk as long as Bunny. It would have been hilarious to record a conversation between the two. It probably would have gone on for days or until the first one would succumb to laryngitis. All kidding aside, it was a supreme honor for me to tape Bunny and Andrew and I was certainly willing to listen all night need be. After both their sets, I gave the tapes to both Bunny and Andrew and I remember each of them being very friendly to me, especially Andrew. Both of them would return along with the other opener, Lasana Bandele, a year later to do the birthday celebration again and once more, Pete allowed me the honor to do that one too. That year, they did it on the 10th, nine days early of Peter’s actual birthday, but who cares? I’d celebrate all month recording music like this.
Jimmy Cliff, Derek Trucks Band, Reggae Angels, Maritime Hall, SF, Fri., October 16, 1998
This was an unexpected, but welcome show to come to the Maritime. Originally, Banyon, the musical collaboration between Jane’s Addiction drummer Stephen Perkins and bass wiz Rob Wasserman, was supposed to play this night. But for some reason, they cancelled and Jimmy Cliff, a very different musical act, took their place. What made it stranger was that the original opening act, The Derek Trucks Band, was kept on the bill. Now this wasn’t the first time the Hall had paired a “deadhead” act with a “dreadhead” act. They all love weed and tended to get along as they did that night. Jimmy was sight for sore eyes, I having not seen him in five years, and it being the Maritime, was the rightful place for such a reggae legend to do his thing. Like Willie Nelson, Jimmy had that strange aura about him that made you feel as if there could be no harm that could come to you while you were in his presence. His music can melt the heart of even the coldest music critic.
Opening that night were the ever-present Fenton and his Reggae Angels band. I can’t even say how many times I saw them opening for reggae people and I don’t care to count. Derek was still a kid, just 24 at the time, two years younger than me, but already had a stellar reputation as a guitar hero, playing alongside the likes of Buddy Guy when he was only thirteen. He was the nephew of Allman Brothers Band drummer Butch Trucks and would join them as a member himself the following year, as well as touring with Phil Lesh & Friends. We had recorded Derek once before that January at the Hall when he opened for Zero, and though we skipped taping Zero for a host of reasons I’ve gone into plenty of times, we did get his set. Like that night, Pete recorded this one as well. I didn’t expect him to give me Jimmy and I didn’t mind. As reggae guys go, Jimmy was too important. He played all the old hits that show and I’m pretty sure he was doing his reggae cover of The Beatles’ “Ob-La-Di, Ob-La Da” back then. He had just released the “Journey Of A Lifetime” album that year, his 26th album in just over 20 years, depending on which ones you’re counting. Once again, he danced and sang up a storm all through his long set with the energy of a man half his age.
Though it had been five years since I had the honor of seeing Mr. Cliff, I was happy to see him make a hilarious appearance on the Adult Swim animated talk show “Space Ghost : Coast To Coast” the previous year. There, Space Ghost asked Jimmy, “Do you think I’m Irish?” Zorak corrected him saying, “Irie”. Space Ghost then asked, “Do you think I’m Irie?” Jimmy graciously responded, “You’re very well on your way, yes.” Space Ghost then cheered, “Hey Zorak, guess what? I’m Irie!” which Zorak coldly replied, “Guess what? You’re an idiot.” Anyway, Jimmy would thankfully return to headline at the second One Festival the Maritime put on at Pier 30/32 the following year, but that would be the last time I’d see him. Derek would return to play the Hall opening for John Lee Hooker on New Year’s Eve in 1999, but Pete and I had left by then and Wade got to record that one. I would get to see Derek again personally opening for Eric Johnson at The Fillmore in 2001, then have the honor to actually help set up his gear at Outside Lands in 2014, when he was touring with his wife, singer Susan Tedeschi, in their group, the Tedeschi Trucks Band. I regret not mentioning the nights at the Hall to him then, but while working, I was too busy anyway and didn’t want to bother him.
Hieroglyphics, The Earthlings, New Born Sun, Maritime Hall, SF, Thurs., October 15, 1998
This would be the fourth time in just over a year I got to record the Hieroglyphics crew. Their breakthrough debut album, “3rd Eye Vision” had been out for half a year and they were home once again after a busy year of touring. Del Tha Funkee Homosapien had finished his third solo album, “Future Development” the previous November, but was unceremoniously dropped by Elektra a month later. The guys from Hiero released it themselves, though only on cassette tape at first, on their homegrown label, Hieroglyphics Imperium Recordings. They would later give it a proper full re-release in 2002. They would go on to play at the Phoenix Theater in Petaluma, a venue the Hall was also booking, two nights later.
It was strange to revisit the opening act, The Earthlings, for this entry, since I discovered, or rather bothered to check, that a few tracks on their live album, “Dues Paid”, were recorded by yours truly on this very night, three of them in fact, “Soujourn Response”, “Three MCs”, and “That’s How It Goes”. Furthermore, five tracks came from the show they did with the Mystik Journeymen five months later, though they gave credit to Pete for recording those, though I was at the helm on that occasion as well. Pete did however record one of the tracks, “Indie Fest”, when they played again with the Journeymen the following July. In addition there were another two live tracks on it for when I recorded them opening for Ol’ Dirty Bastard three months before this show. They even threw in Top Ramen’s freestyle at the beginning of the Lyricist Lounge the month before this show, when he came up on stage with a bunch of other random rappers to spit for three minutes. I know that wasn’t multi-track recorded on the ADATs, so I have to assume they simply used the DAT monitor mix.
Upon re-listening to the album again, I felt a tinge of nostalgia for these suburban white hip hop knuckleheads. Sure, they weren’t Hiero, but as I always said, they got better as the years went on. BOAC, Safari, Top Ramen, and the others clearly took a page from the Beastie Boys, but hey, everybody loves the B-Boys. They chose wisely who to emulate. And I have to face the fact that I saw these guys a lot back then, recording them a whopping seven times opening for all manner of hip hop royalty during my tenure at the Hall. Now that I think about it, I saw them there more times than anybody, easily. I especially am thankful for their meticulous detail in the liner notes of their album, documenting each and every song, where and when it was recorded. I’ve complained time and again about bands releasing live albums without so much as a year or location it was recorded, much less a specific date, venue, or who actually was running the tape decks that night. This pisses me off tenfold when it is with stuff that Pete and I recorded.
And like Hiero, The Earthlings themselves were having the time of their lives performing to the home crowd. It was hard not to like them when they were up there, all smiles, with a bunch of their cheering friends and family in the audience. I doubt they got a better reception anywhere else in the country. On “Sojourn Response”, you can hear one of them goading the crowd saying they can get “louder than Albuquerque!” Yes, they were only on these bills because little Boots, calling himself DJ Bootleg, the owner’s son and stage manager at the Hall was in the band and they all knew it. But seriously, no one can blame them for taking advantage of the situation. Show biz is cruel and fickle enough. I appreciated that they performed with a live bass player and little Boots’ samples were actually clever from time to time. He was a fan of the early “Transformers” cartoon as I was and used bits from the series. They definitely got their folks in the audience pumped up that night during their song, “That’s How It Goes”, getting them to chant and fill in the blanks for some of the lyrics. This would be the last time I’d get to record Hiero at the Hall, though Del and Casual would play there doing their solo stuff later the following year, and I’d see all of them together again twice at The Fillmore and once at The Warfield in years to come. I’d definitely see Del plenty of times in the future as well, playing solo, doing the Deltron 3030 project, and once with the Gorillaz.
Cradle Of Filth, Enthroned, Sadistic Intent, Impaled, Maritime Hall, SF, Wed., October 14, 1998
SETLIST : Cruelty Brought Thee Orchids, Summer Dying Fast, Funeral At Carpathia, A Gothic Romance (Red Roses For The Devil’s Whore), The Forest Whispers My Name, Queen Of Winter Dethroned, The Twisted Nails Of Faith, Desire In Violent Overture, Malice Through The Looking Glass, Dusk & Her Embrace, The Black Goddess Rises, (encore), Black Metal, The Eve The Art Of Witchcraft
The bands coming to the Maritime continued to come at a steady pace, bringing every manner of genre through, including a lot of metal, in this case, black metal. The broad genre of metal was splitting farther and farther leaving this one branch of dark, theatrical types to be led by such bands as Cradle Of Filth. Carrying on the vampirish makeup and overt anarchic and confrontational theatricality of such predecessors as Alice Cooper and King Diamond, the band from Suffolk in the UK had made a name for themselves in a very short period of time.
The first band on the bill was Impaled from across the bay in Oakland. Their name is actually a “backronym” which is to say it is a word that is an acronym of an already existing word. Their name mean “Immoral Medical Practitioners And Licentious Evil-Doers”. I guess they have a well deserved bone to pick with the American health care system. They were going through a lot of line up changes during that time, having guitarist Jared Deaver and bassist Ron Dern leave, then adding from Exhumed vocalist Leon Del Muerte and bassist Ross Sewage. Next was Sadistic Intent from L.A, then Entroned from Belgium. They had just released their third album, “The Apocalypse Manifesto”. Their lead guitarist Nornagest was the cousin of the lead singer of Venom, Conrad Cronos. Venom was supposed to play the Hall that July, but the show was cancelled.
It didn’t take long for Cradle Of Filth to make an impression when they began their set. I mean, God, OK, they get points 10 out of ten in effort, but I guess that was the point especially since they were so new, this being their very first US tour. They looked as if their tailor was Pinhead from “Hellraiser”, head to toe in bondage gear, white face make up, and black painted fingernails and lips. They had brought, as many metal bands did those days, an array of lights of their own, theirs being ones on the deck in the back of the stage lighting them from behind. The Cradle had just released their third studio album “Cruelty & The Beast”, a concept album based on the legend of the Hungarian “blood countess” Elizabeth Bathory. They hated the mix on the album and eventually re-released it in 2011 remixed. On the album, there was narration by actress Ingrid Pitt whose first film role was that of her in the Hammer film, “Countess Dracula” in 1977. Well, there was one obsessed fan who thought she was the reincarnation of Bathory and that lead singer, Dani Filth was her prince, and as luck would have it, Dani had an encounter with her recently dumped boyfriend, who was supposed to drive him to a local Walmart on the tour. I can’t report exactly how that encounter was resolved, but one can assume there are some remaining hurt feelings.
I learned that Cradle’s drummer was almost had the same name as me, being Nicholas Barker, just one letter off. He would eventually leave Cradle to join Sadistic Intent, the opening act from that night, in 2011 and ten years later, have planned to return to the band to tour playing the “Cruelty & The Beast” album in its entirety. The first thing that I imagine most people notice about this band is Dani’s voice. Renowned for having a five octave range, which I’m sure he has, one can’t help but notice that he primarily stays between two particular voices. Like Golem, he seems to be one having a discourse between one high pitched scream, similar to that of Billy Corgan when he’s screaming at his loudest. But this voice for Dani, is one that starts at that level of screaming and just remains there. God, he must have a sore throat every time he does that. The second voice drops precipitously down low, being a guttural growl, like a person barely a level above consciousness. I liked that he was backed up by soprano Sarah Jezebel Diva, singing with their country’s Union Jack flag draped above the drum kit.
All their theatricality that brought them attention, so much so, ultimately in fact produced the most controversial band T-shirt in music history. Around this time, they got it in their head that making a shirt with a nun masturbating on the front and the words “Jesus Is A Cunt” on the back would be a good idea. Yes, maybe after a minute or so, they realized that it might raise a few eyebrows, and even after the first couple printer’s declines to make the said T-shirt, gave them pause to think that this might anger a few people, but they pressed on. They finally found one printer who would do the job, and after paying him discreetly in cash in the back of the shop, they had a bunch and started selling them.
It didn’t take long for that T-shirt to piss people off, especially the Catholics. Fans in several countries were arrested for wearing it and New Zealand banned it altogether. It didn’t help that when the band was visiting the Vatican then, they were arrested since their keyboardist, Lector, was dressed as a priest, a crime there if you weren’t actually one, and another member was wearing a “I Love Satan” shirt. They had machine guns pointed at them and everything, but when they found out that they were supposed to perform that night in town, they released them to avoid an international incident. Anyway, as you can imagine, the more people talked about it, the more the T-shirts sold, at least 25,000 of them.
Still, I’m happy to report that their show at the Hall that night went off without much ballyhoo. Dani came out in his leather regalia and grabbed his mic with fingers adorned with strange rings and an index finger claw and did his thing without incident. He dedicated the third song of the set, “Funeral At Carpathia” to Jake Beckora from Possessed, the Oakland death metal band which Larry LeLonde from Primus used belong to. Being the top story of the day, Dani also took the time to dedicate the song, “Gothic Romance (Red Roses For The Devil’s Whore)” to Monica Lewinski. Dani described the song, “Desire In Violent Overture” as a “musical excretion” and “Dusk & Her Embrace” as a song about the “retribution of the soul”. You get the idea. The darker these metal bands get, the longer the song titles.
Sevendust, Clutch, Stuck Mojo, Ultraspank, Maritime Hall, SF, Tues., October 13, 1998
I was seeing a lot of Sevendust back then at the Hall, this being the fourth time in only ten months, not to mention their second time with Clutch as well. They had come through headlining on their own that January, then opening two months later with Clutch who headlined that night since Limp Bizkit dropped out of that tour, and then once more that April opening for Coal Chamber. Between those shows and the one Clutch did opening for Slayer that May, there is little much more I can tell you about either of those bands from this show. Sevendust would end up joining Limp Bizkit to play at the disastrous Woodstock ’99 show the following year.
But this time, they brought with them the rap metal band Stuck Mojo from Atlanta. Stuck Mojo had just released their third studio album, “Rising”, which had the title track accompanied by WCW wrestling members Diamond Dallas Page, Raven, and The Flock. That song would go on to be played on WCW Nitro for some time and the image of their champion belt would grace the cover of Stuck Mojo’s album. I had since lost interest in pro wrestling since Wrestlemania 3, but I do respect the economic and social power it continues to amass to this day and their album would be a tiny part of that. Also on the bill was Ultraspank from Santa Barbara who had just put out their first self titled album that March. I would go on to see Sevendust one more time at the Fillmore in 2002, but this would be this last time I’d see Clutch live. They would end up touring together again exactly twenty years later, playing at the Regency, but I didn’t see it.
23rd Annual International Comedy Competition, Maritime Hall, SF, Sun., October 11, 1998
After seeing the testosterone fueled extravaganza of the Family Values tour the night before at the Cow Palace with Korn, Rammstein, and Ice Cube, it was a relief to lighten up with some stand up comedy. Like the year before, it was an easy one to tape, there being only a couple microphones to wrangle. But like the previous time, I didn’t save the tapes for myself, nor can I find any of the footage on line, though I did find some bits from some of the comedians who played that night performing elsewhere and naturally, they all were funny guys. This competition was going into it’s 23rd year, just three years younger than myself at the time and had such notable past entries as Robin Williams, Michael Winslow (the sound effects wizard from the Police Academy movies), SNL alumni Dana Carvey, Rob Schneider, and A. Whitney Brown, as well as Patton Oswalt, Louis C.K., Kevin Pollak, and Ellen DeGereres.
The competition was once again hosted by veteran San Francisco comedian Will Durst and the winner on this occasion was James P Connolly, a local from San Mateo. He had also tied with comedian Dan Friesen for the win the previous year. James had served in Operation Desert Storm in Iraq where he helped write jokes for his Colonel before coming home to make comedy his profession. I liked his bit where he said if you’re ever late to work, tell your boss that you’re technically not late since you never intended to show up in time in the first place. Though James didn’t go on to the type of fame and fortune as the others I listed earlier, he continues to crack people up to this day performing stand up and appearing on the syndicated “Bob & Tom Radio Show”. Incidentally, I thought it a strange coincidence to see Will Durst the night after seeing Fred Durst of Limp Bizkit perform. I suppose there’s no relation between them, but who knows? It’s a small world.
Family Values Tour ’98: Korn, Rammstein, Ice Cube, Limp Bizkit, Orgy, Cow Palace, SF, Sat., October 10, 1998
(ORGY) : Dissention, Gender, Pantomime, Fetisha, Stitches, Blue Monday, Revival
(LIMP BIZKIT) : Cambodia, Pollution, Counterfeit, Thieves, Nobody Loves Me, Let The Attack Begin, Stuck, Faith, Jump Around
(ICE CUBE) : Natural Born Killaz, The Nigga You Love To Hate, Check Yo Self, Fuck Dying, Dow Down, We Be Clubbin, Straight Outta Compton, Fuck The Police, Wicked
(RAMMSTEIN) : Rammstein, Tier, Bestrafe Mich, Weisses Fleisch, Sehensucht, Asche Zu Asche, Du Hast, Buck Dich, Engel
(KORN) It’s On! Twist, Chi, Wicked (with Chino Moreno), A.D.I.D.A.S., Shoots & Ladders – Justin – Predictable – Ball Tongue – Divine – Kill You, B.B.K., Blind, Got The Life, Dead Bodies Everywhere, Faget, (encore), All In The Family (with Fred Durst)
Like I had written about the swing movement recently with the previous Royal Crown Revue show at The Fillmore, the nu metal scene was also in its heyday back then, though with much bigger numbers. Korn had brought the genre to its highest level of commercial popularity when they launched this brief but successful tour, bringing it to the Cow Palace, a venue that can easily hold over 16,000 people . They would make even more money with the Family Values tour the following year at the same place, but for some reason, I missed it, even though Primus was also on the bill for that one. Most likely, I had to work. Sort of the antithesis of the Lilith Tour, this one didn’t have a single female performer on stage all night and let’s just say the men that did perform, with the exception of one or two of the Rammstein guys, were a little butch.
I have made no secret for my hatred of the Cow Palace, despite the talent I’ve seen perform there. The acoustics are atrocious, the atmosphere positively toxic, the neighborhood it’s in is a war zone, and getting in and out of there always would prove tedious at best. All that and the fact that I had to get there for the show to start at 6:30 PM during rush hour traffic all added up to an unpleasant experience on a logistical level. I went with my friend Drew and yes, we got stuck getting in and missed not only Orgy, but Limp Bizkit before we finally made it inside. I wasn’t as upset as Drew, who was a die hard Limp Bizkit fan and I didn’t know Orgy from Adam, but anybody who knows me knows that I never miss opening acts if at all possible, even if I don’t like them and/or have a comp ticket, which was the case on this occasion. I had at least seen Limp Bizkit before also opening for Korn at The Fillmore in 1996 and I’d get to record Orgy the following year at the Maritime. As a sort of consolation prize, I was able to find bootleg recordings of everybody’s set on YouTube including theirs.
Orgy were brand new back then, but already had a hit doing a nu metal cover of New Order’s “Blue Monday”, which they of course played that night. Their guitarist, Ryan Shuck, had previously been in a band with Jonathan Davis, the singer of Korn, called Sexart, when they lived in Bakersfield, before Davis left the band to form Korn in 1993. Orgy’s debut album, “Candyass” was released a couple months before this on the same day Korn put out their “Follow The Leader” album, though they were signed to different labels. Their singer, Jay Gordon, yelled, “Make some noise Oakland!” between songs. Maybe he was giving a shout out to the city across the bay or maybe he really thought he was there at the time. They had a DJ spinning records between acts called DeeJay Punk-Roc, though he mostly spun hip hop songs.
Next up was Limp Bizkit with their already infamous frontman, Fred Durst. His boorish behavior alienated them off Faith No More’s tour the previous October, causing them to be replaced by Lowercase when they came to The Warfield. They went on to tour with Soulfly on their first European tour, then joining the bill on Ozzfest. Lynn Straight, the singer from Snot who would tragically die in a car crash that December, was arrested for indecent exposure during Limp Bizkit’s set at one of those shows when he emerged naked from a prop toilet they had on stage with them. Let it not be said that Fred couldn’t get the crowd’s blood up though, something he had infinite talent for good or for worse. Borrowing the old hip hop trick, he had the crowd split down the middle competing for which side was louder. They did an interesting instrumental interlude called “Let The Attack Begin” which included samples from what sounded like an old science fiction movie before playing “Stuck”.
Fred asked the crowd, “How many people in San Francisco like Suicidal Tendencies? How many people in San Francisco like Primus? Primus is in the house! Do you guys know I used to live in Fremont?” The audience cheered but gave him a less than lukewarm response when he asked “How many people here like George Michaels?” They all knew their cover of “Faith” was coming next and he responded to them, “That’s fucked up. He’s still young man.” At the end of their set, Fred reminded everyone that it was a general admission show and that everybody could come down to the dance floor which he said earlier was “the biggest floor I’ve ever seen!” before finished with a truly cringeworthy cover of the House Of Pain’s “Jump Around”. Their cover of Ministry’s “Thieves” earlier in the set was at least slightly more tolerable. Now, as you might have gathered, I’m not the biggest fan of Fred or his band, but my friend Drew was and there are plenty of others who feel the same about them. However, I did appreciate their guitarist, Wes Borland, who had a unique style and always dressed up in absolutely bizarre costumes and face paint. Wes had just gotten married to his long time girlfriend Heather McMillan that April, though they would divorce three years later.
Thank God we arrived in time to see Ice Cube. It had been two years since I saw him at The Warfield and a full five years since he had released a new album, this one being, “War & Peace Vol.1 (The War Album)”, which wouldn’t even hit stores for over a month later. His DJ was set up on a giant riser shaped like a skull and Cube came out looking like a steampunk undertaker in a black top hat, dark goggles, and long coat and opened appropriately enough with “Natural Born Killaz”. Cube then pretended to be offended saying that that “the people in the back don’t wanna see Ice Cube. I’m outta this motherfucka’! Peace!”, and walked off stage. His DJ predictably worked up the crowd until he came back and used the frustration to egg them on to raise their middle fingers and chant, “Fuck You, Ice Cube!”, which continued as it always did when he played, “The Nigga You Love To Hate”. Afterwards, Cube admonished the crowd who chanted that, telling them that they had better “Check Yo Self”, then going into that song.
Korn and Cube had collaborated with each other recently, Cube contributing vocals to the song, “Children Of The Korn” on their new album, and Korn backing up Cube for “Fuck Dying” on his new one. So, it made sense that they would tour together, making it a perfect opportunity for one of Korn’s guitarists, I think it was Munky, to come out and play with him for the latter song. There was a strange interlude with a deep, English voice going off about Cube’s crew, the Westside Connection, before they went into their single, “Bow Down”. Cube then did the song, “We Be Clubbin”, a tune that was on the soundtrack for “The Player’s Club”, a movie Cube wrote and directed that came out that March. I never saw it actually, but was mightily impressed with his acting in “Three Kings”, that would come out the following year.
Yes, Cube would do a great deal of acting work in the future, but we were treated to a couple jams from his past when he dusted off N.W.A.’s “Straight Outta Compton” and “Fuck The Police”. Like Limp Bizkit, he divided up the crowd with the other guy rapping with him to see which side was the loudest, even betting $300 that he’d win. He taunted the audience saying, “You all don’t smoke Indo, you smoke Pretend-O”. Taunting aside, I appreciated that Korn had brought him on the bill, exposing the predominately white, suburban crowd to some real hip hop, some there probably for the first time live. Those kids may have not run home and started reading “The Autobiography Of Malcolm X” right away, but it was a start. Cube finished his set with “Wicked” opening it up with the theme song from the movie “Jaws” which I learned researching this was his favorite movie. He joked before walking off stage that he was going to collect his $300 because his side of the crowd was the loudest. We were lucky to see Cube, especially since he would leave to tour ultimately to continue working on his film, “Next Friday”, and be replaced two weeks later by Incubus to finish the tour’s last four dates. I’d see Cube one more time at the Warfield two years later, but sadly haven’t seen perform live since then.
Hip hop music might have been foreign to some of the kids at the show that day, but they would all soon be in for a particularly jarring experience when Rammstein came on. I had already experienced their unique brand of insanity at the Maritime six months before, so I wasn’t surprised to see their singer, Til Lindemann, emerge out on stage in his heavy silver jacket with arms outstretched and engulfed in flames. Like Incubus would be, they too were a replacement on the tour, taking over for Rob Zombie. There were conflicting reports to why Rob dropped out or was dropped, some saying he didn’t think hip hop acts should be on the bill, others citing the exorbitant amounts of money it took to get him and pay his production costs. Either way, he and Korn made amends and toured together later the following year and then again in 2016. Rammstein pretty much played the same stuff as when I saw them, setting off their pyrotechnics again and again, much to the delight of the mosh pit. Til didn’t say anything between songs, but politely thanked the crowd at the end, even saying, “Danke Schon”.
When the tour ended that Halloween in Worcester, Massachusetts, there was a bit of a dust up when Rammstein played on stage in various stages of nudity except for guitarist Richard Kruspe who was wearing a wedding dress. Near the end of their set that night, Til had grabbed keyboardist Christian “Flake” Lorenz by his leather leash, bent him over, produced a fake plastic dick from his pants, and pretended to sodomize him with it, finally ejaculating some unspecified fluid all over the stage, crowd, and both of them. They got dragged away by the cops and charged with “lewd and lascivious behavior”. Not the kind of stuff people are used to in Worcester I suppose, but a typical Saturday night for the folks on Folsom Street out here. To this day, Til has to explain this incident to customs officials each and every time he enters the country.
At long last, Korn came out to finish the bill. They had erected a giant steel cage next to the band called the “Korn Kage” which held several of their fans who were lucky enough to be selected through a radio contest. Like I said earlier, their new album, “Follow The Leader”, had just come out and Drew and I were hearing the new songs live for the first time, including their hit, “Freak On A Leash”, a song I’m sure Rammstein could identify with. The video for that song, directed by “Spawn” and “Spider-Man” comic book artist legend Todd McFarlane, would be so successful, it would win Korn a Grammy for Best Short Form Music Video as well as two MTV Video Music Awards for Best Editing and Best Rock Video. The album itself would eventually go platinum five times over. There had been no shortage of sex, alcohol, and drugs for the band leading up to this tour, but they were starting to clean up their act. Jonathan Davis got sober just before the tour and married Renee Perez, though they divorced two years later. Also, guitarist Brian Welch and bass player Fieldy would each become fathers to their second daughters, Brian’s daughter Jennea born that July, Fieldy’s daughter Olivia born later that December.
As always, Davis busted out his bagpipes to introduce the song “Blind”. I learned he was inspired to play them after seeing Scotty play them for the funeral for Spock at the end of “Star Trek II : The Wrath Of Khan”. Strangely enough, Korn also played Ice Cube’s song, “Wicked”, that night joined on stage by Chino Moreno from The Deftones. One more cover, or at least part of one, they sang a verse of Cypress Hill’s “We Ain’t Goin’ Out Like That” before going into “Got The Life”. For the encore, Fred Durst came out to do “All In The Family” with them, a song comprised of he and Jonathan ripping on each other playfully. Light hearted as it was to them, the song did piss people off who considered their banter homophobic and Davis later confessed that this song was “dumbest fuckin’ track Korn ever did”. At least Drew and I got some consolation being able to see Fred do one song that night.
Continuing their reputation of inspiring controversy, Korn, Limp Bizkit, and Ice Cube would all take part in the disastrous Woodstock ’99 festival the following year, Durst getting more than some of the blame for inciting that immense crowd to riot. But on the lighter side of the news, Korn did however take part in a hilarious episode of “South Park” aired later that October titled, “Korn’s Groovy Pirate Ghost Mystery”, a clever parody of the old “Scooby Doo” mysteries with guest voices. I would see Limp Bizkit headlining Live 105’s B.F.D. festival at Shoreline two years later and then once again opening for Korn for my third time at The Warfield in 2003. Finally, in a strange coincidence, the comedy competition I would record at the Maritime the night after this show was hosted by veteran San Francisco comedian Will Durst. I wonder if he and Fred are related…
Agnostic Front, Dropkick Murphys, Maximum Penalty, One Man Army, Maritime Hall, SF, Fri., October 9, 1998
I was a little familiar with Agnostic Front from my friend Hefe, who had been a fan of theirs since we were kids in high school. The New York City band had been one of the pioneers of hardcore punk music since 1980, providing the soundtrack for the (non-racist) skinhead movement. Agnostic Front had disbanded briefly in 1992 and reformed in 1996 and they had just released their fifth studio album, “Something’s Gotta Give”, three months before this show. In a strange coincidence, I had just seen Royal Crown Revue at The Fillmore singing the Louis Prima swing standard of the same name as well as the Beastie Boys a few weeks before that singing their own song of the same name. The good lord was trying to tell me something maybe.
The first opener was One Man Army, a local punk band that had been recently discovered by Green Day’s Billy Joe Armstrong. Their frontman, Jack Dalrymple, had been playing guitar for the Swingin’ Utters and had just dropped their first album, “Dead End Stories”, just ten days before this show. They were good, definitely taking a page from The Clash. Next up were Agnostic Front’s fellow New York hardcore punks, Maximum Penalty, who had been taken under their wing. The Front gave them their first matinee show opening for them at CBGB’s and took them on their first European tour. Maximum Penalty were some pretty tough looking guys, especially the singer James Williams, a big, bald mountain of a man. But I was impressed by the quality of his voice. That guy could really sing. US Bombs were listed on the bill for the Maritime’s monthly poster, but they didn’t make that show for some reason.
But the band who stole the show would be the last opening act, the celtic punk band, the Dropkick Murphys from Quincy, Massachusetts. They derived their name from an alcohol detox center in their hometown, which is ironic considering their hard drinking fans. It would be the first time I’d be seeing them. The Murphys had just picked up their new singer, Al Barr who had spent the previous decade as the singer of a band called The Bruisers. He had replaced singer Mike McColgan only months before, who had left the band to become a fireman and later sing in the band, the Street Dogs. They were rowdy and fun, Al crooning and growling in his wife beater shirt, taking the sound of Pogues and adding a heaping spoonful of machismo. I would see them five years later opening for the Sex Pistols at The Warfield with the Reverend Horton Heat and later headlining there in 2005. They would forever be known for their song, “I’m Shipping To Boston”, which would be used as sort of the de facto theme song for Martin Scorsese’s Oscar winning film, “The Departed”, in 2006. But back then, they were brand new to folks on the west coast and I was proud to get to record them before they got big. In typical Maritime Hall fashion, Boots screwed up the monthly poster at least once, having them listed as the “Dropkick Murphy’s” with an apostrophe.
Sepultura, Vision Of Disorder, Earth Crisis, Maritime Hall, SF, Fri., October 2, 1998
SETLIST : Spit, Choke, Rumors, Slave New World, Attitude, Cut-Throat, Old Earth, Floaters In Mud, Biotech Is Godzilla (with Jello Biafra), Forkboy (with Jello Biafra), Arise, Dead Embryonic Cells, Troops Of Doom, We Who Are Not As Others, Boycott, Breed Apart, Refuse/Resist, Territory, Inner Self/Beneath The Remains, (encore), Tribus/Kaiowas, Lookaway (with Mike Patton), (encore), Roots Bloody Roots, Against
It had been six long years since I’d seen Sepultura when they opened for Ministry at that unforgettable night at the Bill Graham Civic. As you might remember if you read the stuff I wrote about that one, I had accidentally taken a tab of acid a day early, showed up to the venue to find it empty, panicked, then collected myself and went to cool off at the Castro watching “Casablanca”. The show the next day and when they headlined the Warfield two years later were the only times I’d see Sepultura with their original singer Max Cavalera, though I’d seen him only five months before this show at the Maritime with his new band Soulfly. Sepultura was now touring with their brand new singer, Derrick Green, and I had to admit he was an impressive replacement for Max. He was tall, muscular, and handsome with a head of immaculate dreadlocks and not only had a powerful voice, but could also play guitar and percussion. He had a set of congas on stage with him which he pounded with mallets for a song or two.
Opening that night were two bands from New York, Earth Crisis from Syracuse and Vision Of Disorder from Long Island. Earth Crisis was a straight-edge hardcore punk band that were vegan and promoted animal rights. They had named themselves after the reggae band Steel Pulse’s album from 1984 and had just released their first major label album that September called, “Breed The Killers” and had just finished a tour alongside Hatebreed earlier that year. Rob Flynn of Machinehead who had just played the Hall three weeks to the day before this show had contributed to the album, lending his vocals to their song “One Against All” and he being a local from across the bay in Oakland, did them the honor of joining them on stage that night to sing along to that tune. In another strange coincidence, guitarist Logan Maher had left Soulfly to join Machinehead that year. Vision Of Disorder was also on the Roadrunner label with Sepultura and Earth Crisis and had just released their second album, “Imprint”. I liked their singer, Matt Baumbach, who covered in an impressive array of tattoos and screeched like Ad Rock from the Beastie Boys all through their set.
Sepultura had brought their own stage lighting with them, a rack above and behind the band and a couple triangular truss racks on the deck on stage in front of their guitar amps with up lights attached to them. With their new singer, they were touring with a new album called, “Against”, which they had recorded in their native Brazil and it would hit the stores a week after this show. The mosh pit was predictably cray-cray sending up stage diver after stage diver, so much so, that by the end of the show there were at least one or two “redcoats” up front with their baseball hats on backwards, stationed there catching and dispatching them as fast as they could.
We were treated to not one but two special guests that night, the first being Jello Biafra from the Dead Kennedys. As you might remember, I was all too familiar with Jello, having been an intern at his record label, Alternative Tentacles, a couple years before this when I was still in college. He would pop by the Hall and practically every other punk show that came to town, still does, and either hang out and/or join the band for a song or two. This time, he joined Sepultura wearing a Tribe 8 shirt, a hardcore dyke punk band Alternative Tentacles represented, to sing their song, “Biotech Is Godzilla”, then they did a song called “Forkboy” from Jello’s band Lard, which was basically Jello with Ministry as his band. That was one of my favorite Lard songs and I never tire or hearing it.
The second guest that night was none other than Mike Patton from Faith No More, amongst other musical projects. In fact, one of the guitarists that night was wearing a T-Shirt from his band , Fantomas, a super-group which Mike formed just earlier that very same year with Buzz Osborne from The Melvins, Dave Lombardo from Slayer, and Trevor Dunn From Mr. Bungle. I’d see Mike play with Faith No More for their last bay area performance at the Warfield, before they split up the following April, though they’ve had reunions since. He joined them for the Sepultura song, “Lookaway”, opening the tune by making his voice sound like a didgeridoo, then singing in his usual voice, and then did a bunch of vocal tricks, tapping his throat with his fingers,finally finishing exchanging shrieks with Derrick. The crowd was loving it and chanted, “Sep-Ul-Tur-A!” over and over again during the encore breaks. Unfortunately, Sepultura wouldn’t let us record that night, though I was able to get the openers. Often, when a band is new or is breaking in new members they are a little skittish about being taped. Thankfully, there was somebody in the balcony that night who got their whole set on a video camera and posted in on YouTube.
Soul Coughing, War., Wed., September 30, 1998
SETLIST : Screenwriter’s Blues, White Girl, Collapse, (unknown), (unknown), Maybe I’ll Come Out, (unknown), (unknown), (unknown), Circles, I Miss The Girl, Bus To Beelzebub, (unknown), (unknown), (encore), Mr. Bitterness, Rolling, Super Bon Bon
I had a few days off between shows to rest for which I was grateful. September had been a doozy, me doing 17 shows in only 30 days and 11 of those shows were in a 12 day period. Soul Coughing was a good way to end the month for a couple of reasons. First and foremost, on an emotional level it helped me further closure with my grief over the untimely death of my friend Casey the year before. Soul Coughing playing The Fillmore that August was the last show I saw before he was tragically hit by a car and killed while riding his bike in downtown San Francisco the next day. David Byrne was the first show I saw after the accident and eventually seeing him as well at The Fillmore in 2001 also helped coming to terms with my grief. But on a happier note, seeing Soul Coughing at the end of this month was relieving since they were such a unique and talented band and because there was only a DJ opening, ushering the night was a breeze.
Like so often when a band is going through turmoil, I was blissfully unaware. The frontman of the group, Mike Doughty, was in throws of heroin, opiate, and alcohol addiction and he wasn’t getting along with anybody, especially his bandmates. They had literally just released their third and final studio album, “El Oso”, the day before this show, which is one of the reasons I only knew about half of their setlist. Nobody could have guessed the personal hell Mike was going through that night since he and the band were in perfect form and amongst a full house of devoted fans. I liked how they would splice in ransom samples between songs this time around. As I mentioned in the show four days prior to this, Royal Crown Revue at The Fillmore, that the opening act that night, The Crosstops, coincidentally also had a “Beelzebub” song which I thought was eerily strange.
At the end of their set, Mike said, “We are Soul Coughing and we bid you adieu!” They came back and Mike joked, “Ah yes! Spontaneity, thy name is encore!” and they did three more songs, finishing with their hit, “Super Bon Bon”. For that song, he had the crowd repeatedly shout “Candy Bar!” a bunch of times after he did and also had them yell out “Through!” when he did the line, “Move aside and let the man go – Through!” It was a brilliant show and like the Revue four nights before, I was pissed there was no poster. I’d see Soul Coughing one more time also at The Warfield, five months later, playing alongside Everclear, Redman, and DJ Spooky at the Snocore tour show, but shortly afterwards, they broke up for good.
Royal Crown Revue, Fill., SF, Sat., September 26, 1998
(THE CROSSTOPS) : Nasty Dan, Beelzebub, I Was Drunk, Let’s Truck Together, Truck Drivin’ Man, Road Boner Blues, Bill Clinton’s Got A Boner, I’d Like To Fuck Your Brains Out, Sadie Divine, UFO & The Trucker
(ROYAL CROWN REVUE) : The Good, The Bad, & The Ugly Intro, Zip Gun Bop, The Walkin’ Blues, The Contender, Who Dat?, Work Baby Work, Walkin’ Like Brando, Big Boss Lee, Spanky’s In The Kitchen, Something’s Gotta Give, Hey Pachuco!, I Live The Life I Love I Love The Life I Live, Morning Light, Salt Peanuts, There’ll Be No Next Time, Barflies On The Beach, Beyond The Sea, (encore), Hot Rod, Medley – Flintstones – Rumble
The swing music revival was having its heyday back then, though it is difficult to determine exactly when a musical trend comes and goes. Often musical movements have a significant death or series of deaths like that of Kurt Cobain in 1994 or of Jimi Hendrix, Janis Joplin, and Jim Morrison in quick succession in 1970 that one could mark the end of their genres era. The music never really dies, but it’s not quite the same. Swing music never got stadium big, but it was prevalent enough back then to embed itself into popular culture of the time with movies like “Swingers” in 1996. It was seeing the Royal Crown Revue’s residency at The Derby in L.A. which inspired Jon Favreau to make that 1996 comedy and both the Revue and Big Bad Voodoo Daddy played songs in it. Also, the Revue had a prominent role in the Jim Carey film, “The Mask”, playing their hit song, “Hey Pachuco!” as he and Cameron Diaz danced to it. This would be the second band that I’d see within a month that was in a movie with Jim, the other being Cannibal Corpse who I recorded at the Maritime, a very different band indeed. They played their song, “Hammer Smashed Face” in “Ace Ventura : Pet Detective”. I suppose if those bands ever meet, they’d at least have that in common and trade stories.
Swing music does have some things in common with punk and metal though. Back in the 30’s and 40’s, there was no shortage of repressed religious types to declare the genre as the devil’s music. Whoa, would they be in for a shock as the years went on. But the swing acts of the 90’s had quite a few ex-punks among their ranks and the Royal Crown Revue had a few of their own. Mark Stern, drummer of the Hollywood punk band Youth Brigade, helped found the band along with his brothers, Adam, Shawn, and Jamie, playing bass, guitar, and alto sax respectively. Although they were doing well, obviously as they were headlining The Fillmore for the second time in two years, they were mired in legal wrangling, first with the band The Amazing Royal Crowns. They sued them claiming that the similarities in their names was causing confusion with their fans and promoters. They relented eventually and agreed to change their name to simply, The Amazing Crowns. Also, they in turn were sued over their name by Royal Crown Cola of all folks. What a mess. At least Royal Crown whiskey stayed out of it. But the Revue were signed to Warner Brothers and had just released their second major label album “The Contender” for this tour that year, so things were otherwise looking up for them.
But as usual, I was blissfully unaware of it all when I saw this show. I was just glad to hear some real organic music played by folks with instruments after recording the electronic rave stylings of The Crystal Method the night before at the Maritime. A real highlight of the evening for me was the opening act, The Crosstops, a rockabilly band with a penchant for drinking and womanizing. Their first EP, just released the year before was called, “Drinkin’, Fightin’, Fuckin’, & Truckin’” for crying out loud. Like swing music, rockabilly was also considered the devil’s music in it’s day and likewise was populated often by ex-punks during this time. The frontman of The Crosstops was Barry Ward, one of the founding members of Rich Kids On L.S.D. Last time I saw him, he was throwing up on stage opening for Gwar at The Warfield in 1994. He was calling himself “The Wooper” in this band and was joined on stage by a fellow named Porkchop and another called Chatty.
I initially mistook their song, “I’d Like To Fuck Your Brains Out”, as a song done by Michael Shelley who opened for They Might Be Giants at The Fillmore the month before, since the recording of them playing it at their soundcheck mysteriously ended up on that show. I thought it suspicious since it didn’t sound like Michael, but didn’t figure it out until I eventually got to this show. I loved the hilarious chorus that went, “I’d like to fuck your brains out doncha’ know, I’d like to eat your pussy, lick your titties to and fro, you make my body tingle, you make my peeter grow, I’d like to fuck your brains out doncha’ know!” It’s vulgarity was only matched by its catchiness.Trust me, once you hear it, that chorus is in your head for life. But it wasn’t the only raunchy tune they would play that night for sure.
As most people remember, our president at the time was embroiled in an embarrassing sex scandal and well, it didn’t go unnoticed by The Crosstops. They did a real quick number for as The Wooper described “our pervy president” that went, “Bill Clinton’s got a boner that just won’t go away. Seems like there’s another story every other day on how he’s getting blow jobs and how he’s sportin’ wood. He might be a pervert but to me that’s good cus’ I’d rather have a president that tries to bust a nut than hear the Reaganomics fuckin’ us up the butt.” Pure poetry. Between songs of sex, trucking, and fornication, they made time to sing one song about the guy downstairs called “Beelzebub”. Coincidentally, I would see Soul Coughing four days later at The Warfield where they would play their song, “Bus To Beelzebub”. Alas, this would be the only time I’d see The Crosstops, but their set was one of the most entertaining openers that I’d ever see.
It was a pretty well sold crowd by the sound of it and as always, there were plenty of swing enthusiasts dressed to the nines in vintage clothing ready to party like it’s 1949. They took to the stage to the recording of Ennio Morricone’s theme from “The Good, The Bad, & The Ugly” and immediately went into their first song, “Zip Gun Bop”. I liked their slick, fast talking singer, Eddie Nichols. The palooka was like a time traveler beamed there from The Copa. He introduced the song, “Who Dat?” saying it was “about a speakeasy where you can smoke”. After playing a bunch of their original stuff, they got to a few covers starting with the Johnny Mercer swing standard “Something’s Gotta Give”. I thought it ironic since I’d just seen the Beastie Boys at Oakland Arena less than two weeks before this and they have a song with that title as well, though quite a different one stylistically. There was also some excellent drum and bass solos for “Hey Pachuco!”, extending the tune almost ten minutes long.
From there, they did covers of “I Live The Life I Love, I Love The Life I Live” by Willie Dixon and “There’ll Be No Next Time” by swing icon Louis Prima. The Revue had just released a live album the previous year called “Caught In The Act” where they debuted their song “Barflies On The Beach” which was their second to last song of their main set that night. The melody was actually a reworking of Prima’s hit “Sing, Sing, Sing”. They finished the set with Bobby Darin’s “Beyond The Sea” then came back for the encore starting it with the feverish instrumental, “Hot Rod”. It eventually morphed into a medley ending with a bit of the theme from “The Flintstones”, finishing it with Link Wray’s “Rumble”. I was disappointed that the show didn’t get a poster at the end of the evening, as I always am when that happens, but I was especially pissed since their show at The Fillmore they did they year before did get one and it was a real good one at that.
The Crystal Method, Taylor, Lunatic Calm, Maritime Hall, SF, Sun., September 25, 1998
Like the Goodie Mob who had played at the Hall a few days before, I got to see The Crystal Method on quite a few occasions in a short span of time. They had played the Maritime at the Electronica Hanukkah the previous December and they came back and played the Warfield just three months later. They brought along an impressive array of lights with them this time, blasting the living shit out of the retinas of anybody up near the front of the stage for sure. Their set was basically same as before, obviously playing their big hit at the time, “Busy Child”. There was another DJ named Taylor and a band from London called Lunatic Calm. They were pretty new then, their debut album “Metropol”, released the year before. I appreciated that Lunatic Calm had a live drummer, a tight one at that, and singer in the band. Their music would be used a few years later in movie soundtracks like “The Matrix”, “Charlie’s Angel’s”, and “Mortal Kombat : Annihilation”.
Though I didn’t save the tapes from this night, I did find a humorous video on YouTube of Lunatic Calm at various stops on the road during that tour with The Crystal Method, mostly between New Mexico and Texas. During their show in Albuquerque, there was a rain storm that caused a leak onto the stage at the ironically named “Sunshine Theater” and they joked that they needed to play while holding umbrellas. It was a little funny to see the fans lined up to get into the venues since the kids back then at those shows used to sport and show off pants with enormously wide pant legs, borderline clown sized. Coincidentally, at one moment in the video on their tour bus, they were listening to Soul Coughing, who’d I see at The Warfield five days after this gig. Though I never saw Lunatic Calm again, I got to see The Crystal Method a couple more times at The Warfield in 2004, one in March and then again in July of that year, yet another close grouping of shows with them.
Goodie Mob, Xzibit, Maritime Hall, SF, Sun., September 20, 1998
I was lucky to see these guys as often as I did back then. The Goodie Mob had just played at the Hall four months before this opening for fellow Atlanta “Dungeon Family” contemporaries, Outkast. Also, they had opened for De La Soul there in 1996, who had just played the Hall only days before this show at the Lyricist Lounge. But this would be the last time I’d see them perform, though I’d get to see CeeLo on his own a couple of times, once opening for Musiq at The Fillmore in May of 2002, then again later that July at the Smokin’ Gooves tour at Shoreline, also with Outkast again. They also collaborated with Outkast for the hit single “Black Ice (Sky High)”. This was a prosperous time for CeeLo and the group, but on an emotional level, he was sinking into a bad place then. After his mother passed away, he fell into depression and ultimately left the band. He got through it eventually and went onto superstardom a few years later when he hooked up with Danger Mouse to form Gnarles Barkley and make a fortune with their hit songs “Crazy” and “Fuck You”. Still haven’t seem yet. Listening to him again made me appreciate not only how clever he was with his lyrics, but the speed and clarity of his diction, all with a thick Georgian accent. Very few rappers can perform that clear and fast, Sir Mix-A-Lot is the only one that I think can match him.
Like most hip hop shows at the Maritime, it was totally sold out and one hell of a party. One of the highlights of this show would definitely be the opener, Xzibit. This would be the only time I’d see him before he blew up and got famous, though he was pretty new then. He had recently moved to Los Angeles from New Mexico and had just put out his “40 Dayz & 40 Nightz” album less than a month before this show. I too was impressed by his intelligence, speed, and diction. It doesn’t surprise me that his star rose quickly either. But I wouldn’t have guessed he’d eventually find new fame and fortune from his work on television and in the movies. Most people remember him as the host of the “Pimp My Ride” show on MTV and for a role on the TV series, “Empire”. I admit I never watched either of them, but I knew they were popular as hell, the former running for six full seasons, the latter for five. I did however see Xzibit act in the film “8 Mile” and for one music video that is very, very dear to my heart.
Seven years after this show, Xzibit acted in a video for the song, “Twisted Transistor” by the heavy metal band, Korn, that my brother Alex also had a key part in. Basically, Korn got four rappers to play the members of the band in a mockumentary about making the video and Xzibit played the bass player, Reginald “Fieldy” Arvizu. Snoop Dogg, (who toured with Korn in Lollapalooza the year before this show), David Banner, and Lil’ John playing guitarist James “Munky” Shaffer, drummer David Sylveria, and singer Jonathan David respectively. Alex was playing the part of the erudite British tour manager of the band called “Little Sterling Assoff” who struggles hilariously to keep things running smoothly, having the funny line that he was the “buffer between Korn and reality.” Alex said that Xzibit was good at improv and that when he “threw stuff at him, he could return service you could say”. It figures that hip hop guys would have improv skills, having training doing freestyle and rap battles.
Xzibit berates Alex in the beginning over being given a pink colored bass guitar, then vomits into a bowl of potato chips. The band is being interviewed afterwards and Xzibit said that Korn was “like BBQ, different types of meat, but smothered in the same sauce”. Later, he’s woken up in the tour bus covered in empty, crushed beer cans and accidentally opens the bus bathroom door to find Alex sitting on the toilet. Xzibit pukes again during a video within the video shoot and there’s an epilogue at the end with the caption for him, “Fieldy won the first gold medal in Extreme Projectile Vomiting at the X Games with a record 12 meter hurl”. I guess Fieldy had a reputation for vomiting a lot, but he’s cleaned up since and is a Born Again Christian now. Anyway, it’s a very funny video, directed by veteran music video virtuoso Dave Meyers and frankly, I think it is one of Korn’s best songs. And lo and behold, as luck would have it, I got to see Korn three weeks after this show at the Cow Palace headlining the Family Values tour along with Ice Cube and Rammstein.
Dee Snider’s Strangeland Tour : Soulfly, Snot, Hed (PE), Day In The Life, Maritime Hall, SF, Sat., September 19, 1998
One not need be a fan of heavy metal to know of Dee Snider, whose nightmarish harlequin visage as lead singer of Twisted Sister was burned into the memory of all who had so much of a glance of it back in the 1980’s. Though I didn’t think Twisted Sister was the best metal band around back then, I did appreciate his theatrical flair and the fact that he was freaking out the Moral Majority no end back then. I especially admired Dee’s contribution to the fight against music censorship, his efforts adding to a respectable and diverse roster of artists ranging from John Denver to 2 Live Crew. It was hard not like Dee, he is a natural showman and his gravitation towards the silver screen would not come to anyone’s surprise. He and his band had already made a famous cameo in the seminal film comedy, “Pee Wee’s Big Adventure”, but this time he had gone so far as to pen his own script, produce, and star as the villain in his slasher flick, “Strangeland”.
The film hadn’t even been released in the theaters, coming out 13 days after this show and I suppose it was a good thing since by all accounts, it was a stinker. Rotten Tomatoes has it listed with an anemic 6% rating, citing its terrible direction, laughable make up effects, and bad acting, despite having such notable thespians as Linda Cardellini, Elizabeth Pena, Amy Smart, and Freddie Kruger himself, Robert Englund. I haven’t seen it and have no desire to after learning about it, but I have to give Dee credit for having the vision to do one of the first films to address the dangers of meeting strangers via Internet chatrooms. It also helped bring about the trend of “torture porn” horror films such as “Hostel” and the “Saw” movies to follow. No offense to Dee or any of the talented people who made them. I like horror films as much as the next guy, but watching people being tortured, especially innocent people, really doesn’t do anything for me other than make me queazy. But hats off to Dee for making it happen and one couldn’t help but be impressed at the look of his character, Captain Howdy, meticulously adorned with numerous tattoos and an baffling amount of body piercings. It took about 10 hours in the make up chair to make him look like that, a patient man Mr. Snyder. There had been rumors of a remake in the works a few years ago, but as of today, all plans have been scrapped.
But this isn’t about the movie, it’s about the show. Dee had premiered this tour with an opening show in L.A. at the Key Club, but Static X was the headliner instead of Soulfly. The show at the Maritime would be the first show of the promotional tour to follow starting a couple weeks afterwards. Soulfly had just played the Hall the previous May, also with Snot and Hed (PE) opening and this tour was essentially the same all around, with the exception of the addition of the first opener, Day In The Life. They had played the Hall the previous April as well opening for Coal Chamber, so I was familiar with all of them. Each band had a song on the film’s soundtrack and Dee being Dee, was able to “scare” up quite an impressive amount of talent to add to it such as Sevendust, Megadeth, Pantera, Anthrax, Kid Rock, System Of A Down, and Marilyn Manson. One can easily see that Dee was a big influence on Marilyn, his look and his music.
It was a rowdy night, lots of action in the mosh pit just like the last time and they pretty much played all the same stuff. I really have to say it was an honor to meet Dee, who was there to emcee the show. He was very polite and friendly to me and I’ve never forgotten that. Dee was the belle of the ball and there were no shortage of fans and friends orbiting around him the entire evening. Speaking of “Strange”, in a strange double coincidence, Soulfly’s disgruntled recently ex-guitarist, Logan Maher, had just been at the Hall playing with Machinehead eight days before this show and less than two weeks later, frontman Max Cavalera’s old band, Sepultura, would also play there on their first tour with their new singer, Derrick Green. Small world, eh? Got to hear a lot of those songs twice. But this show will forever remain a bittersweet memory to me since it would be the last time I’d see Lynn Strait, the singer of Snot, alive and thus the last time I’d see them perform as well. Lynn would fall victim to a car crash less than two months later along with his dog, Dobbs the boxer, who had graced the cover of Snot’s debut album, “Get Some”. They were a great band, one of the founders of the “nu metal” genre, and still don’t get the credit I feel they deserve.
KVHW, Maritime Hall, SF, Fri., September 18, 1998
SETLIST : (Set 1), Bad Hair, Slumber, Hillbillies On PCP, Spring Water, Why Can’t We All Just Samba?, Pandora’s Box, I’m So Lonely I Could Cry, (Set 2), Shotgun House – High Heeled Sneakers – Shotgun House, Boom-Digi-Di, Cissy Strut, Tangled Hangers, City Of Tiny Lights, It’s Impossible, (encore), It’s Up To You
My exhaustion from the countless shows with guitarist extraordinaire Steve Kimock’s other band, Zero, has long been documented, so I won’t go into that. But this time he was playing with a new group called KVHW. As you might have guessed, the name is an abbreviation, each letter the first initial of each member’s last name. Obviously, the K is for Kimock. Joining him was Bobby Vega on bass, Alan Hertz on drums, and Ray White also on guitar as well as vocals, they all being the VHW. Though along with Vega, the band was already half Zero, the others were just enough to tweak it out of the hippie zone to make them interesting. Alan had played drums with a number of jazz fusion acts like Garaj Mahal and Ray White had been a longtime collaborator and touring musician with Frank Zappa during the 70s and 80s. Ray would continue to honor Frank’s legacy after his death, touring with his son Dweezil in the Zappa Plays Zappa band.
Together, these guys played a variety of original songs, Steve’s songs, covers of Zappa and others. They did a spot on rendition of The Meter’s “Cissy Strut” that night. It was the first and one of the only times the Brotherhood Of Light guys up in the balcony busted out a third oil plate projector and aimed it dead center on the stage, blasting their psychedelic projection onto a large sheet draped along the back wall. On top of that, they had a third video projector splashing stuff on it as well. Being a fairly new project, having only formed that January, people weren’t really familiar with them and the show wasn’t that well sold, hardly at all really, but being a hippie show, Pete was there to do the recording. Pete was showing up less and less as time went on, doing only two shows out of the ten the Hall had that month. Since it was just the four musicians on stage playing two sets with no opening act, it was easy as pie.
I liked Ray’s voice and thought he was a pleasant guy, cracking jokes with the band and the audience between songs. After “Pandora’s Box”, he chuckled, “if that doesn’t deliver you from childhood angst, nothing will”. He also wished somebody in the crowd named Jason a happy birthday at the end of the first set. Steve was his usual subdued self, doing most of his guitar work sitting on a stool, but he did stand for a couple songs to play on a slide guitar, one of my favorite instruments to hear live. The tinge of funk and fusion was a welcome departure from the sounds of Zero and I had the honor of recording KVHW again personally when they played with Jazz Is Dead at the Hall the following April. Having recorded them both by then, Pete let me have that one. But this musical project was a short lived one. They would also do a couple gigs each at the Great American and The Fillmore in 1999, but they all went their separate ways at the end of the year. But being hippies, there remains plenty of bootlegs of their stuff around including an amateur video of their set that night on YouTube.
Nick Cave & The Bad Seeds, 16 Horsepower, War., Thur., September 17, 1998
SETLIST : Far From Me, Do You Love Me?, Lime Tree Arbour, Red Right Hand, Tupelo, Brompton Oratory, Let Love In, From Her To Eternity, West Country Girl, The Mercy Seat, The Weeping Song, Nobody’s Baby Now, Into My Arms, Henry Lee, Where The Wild Roses Grow, Deanna, (encore), Plain Gold Ring, Stagger Lee, (encore), The Ship Song, Your Funeral My Trial
The gaunt, melancholy, Gothic idol Mr. Cave was booked for two sold out shows at The Warfield and as much as I’d have liked to have seen them both, I could only catch the second night, since I was at the Maritime the previous evening, recording the Lyricist Lounge with the Black Eyed Peas, De La Soul, and a fresh faced young man by the name of Eminem. Though an entirely different scene altogether, Nick Cave had been familiar with touring with hip hop acts, having spent the summer of 1994 touring with acts like Tribe Called Quest and the Beastie Boys on Lollapalooza, which had been the last time I’d see him and The Bad Seeds play. Most people agree that his playing that tour in broad daylight in the summer heat was incongruous to their dark, vampirish persona and sound, but it did expose them to unfamiliar people like myself, the few there who would appreciate his work and become fans. Yes, it had been over four long years since I saw his gloomy ass take the stage, but by then I had become a true believer, snatching up every album of his I could find, including his former band, The Birthday Party. By this show, his previous album, “The Boatman’s Call” had been out for a year and half and he’d just released a “Best Of” compilation that May and this time, I’d be seeing him indoors and in the cool of the evening.
On the first night, Clovis De La Floret with Vudi, the guitarist from American Music Club, opened, but on the second night was 16 Horsepower an Alt-Country band from Denver, who I’d seen open for Shane MacGowan & The Popes at The Fillmore two years before. 16 Horsepower’s sound fit well as an opening act for Nick Cave and one could clearly see and hear his influence on them. They had just replaced guitarist Jeffrey Paul Norlander with their touring guitar tech, Steve Taylor. It’s surprising how often touring tech guys would fill in and even replace members of bands, but as they say, necessity is the mother of invention. I liked 16 Horsepower and most bands that would play with an accordionist, reminding me of gypsy music or sea shanties. Mr. Cave was going through a transitional phase then personally since the time I saw him last. He had divorced his wife Viviane Carneiro in 1996, followed by a bit of a romantic fling with P.J. Harvey. Nick dedicated the song, “Do You Love Me?” to Viviane that night and one could gather that the brooding ballad “Into My Arms” which he finished his set with had plenty to do with both her and P.J. But thankfully, he would soon meet Susie Beck, a Viviane Westwood model who had been the lady on the cover of The Damned’s goth rock classic album, “Phantasmagoria”. She would go on to model on the cover with Nick of the Bad Seeds album, “Push The Sky Away”, in 2013, naked as a jay bird. Susie and Nick would marry a year after this show and they would have twin sons, Arthur and Earl, together a year later. Tragically, Arthur would later die at the age of 15, accidentally falling off of cliff near Brighton, UK.
It was good to see Nick after such a long time and to get close up front on the dance floor. The addition of violin virtuoso Warren Ellis from the Dirty Three to the band was a stroke of genius and he still plays with him to this day, even collaborating with him in a number of film soundtracks such as “The Assassination Of Jesse James By The Coward Robert Ford”, in my opinion one of the greatest film scores of all time. Warren did a scorching solo during the usually subdued, “Plain Gold Ring” during the encore. It was also nice to hear a handful of his newer songs, tender ballads such as “Lime Tree Arbour”, “Brompton Oratory”, and “West Country Girl”. Such tunes made the crowd shut up and listen too, which I always appreciated. They also played “Where The Wild Roses Grow”, a tune that had been a sultry duet he had recorded with fellow Australian, pop diva Kylie Minogue, an unlikely, though musically beautiful pairing. But it was wishful thinking at its worst to hope that Kylie would be there that night to sing it with him and she wasn’t. Mr. Cave is mostly all business on stage, though never rude, merely saying a polite thank you or thank you very much between songs. They did, however, do a funny bit for the encore before “Deanna” where the drummer, Thomas Wylder, did a few false starts of it. Nick introduced him and they eventually did it. It would be another three years until I’d see Mr. Cave again, playing for once without the Bad Seeds band at the Palace Of Fine Arts for two nights. But he would return with them the following year in 2002 to the Warfield to play another two nights and I made damn sure to catch both of those as well. Thankfully, those shows got a poster because these shows didn’t.
Lyricist Lounge : Black Eyed Peas, De La Soul, Syndicate, Rah Sun, Ras Kass, Eminem, Last Emperor, Degree, Maritime Hall, SF, Wed., September 16, 1998
(EMINEM) : Scary Movie, My Name Is, Bad Meets Evil, Role Model, Just Don’t Give A Fuck
(DE LA SOUL) : Chanel No.Fever, Ego Trippin’, Itsoweezee, Jenifa Taught Me, Buddy, Afro Connection at A Hi-5, Sh.Fe.
(BLACK EYED PEAS) : Movement, Fallin’ Up, Say Goodbye, Communication, Que Dices?, Joints & Jam, Head Bobs, (encore), Freestyle with Wyclef Jean
By this time, I’d seen my share of hip hop at the Hall, but this was a big one. The Lyricist Lounge was the brainchild of promoters Anthony Marshall and Danny Castro from New York City. From this festival’s humble beginnings as a modest open mic night there in 1991, they amassed an impressive line up of talent for their very first tour, rotating artists for every date. They would take the tour to L.A. to play the House Of Blues the day after this show, switching out headliner, the Black Eyed Peas, with Slick Rick. On this day, it happened to be Anthony’s birthday and it was quite a party indeed. The critics of artistic merits of hip hop were quickly losing ground to the undeniable truth of its commercial success. Almost every rap show booked at the Hall sold out including this one. We were lucky to get the Lyricist Lounge, this being one of only 11 cities the tour would visit. Before the show began, they had projected the words, “Hip Hop Is No Longer Homeless” on the giant screens on the sides of the Maritime’s walls.
Danny would emcee the show for most of the evening and he started it off by inviting random artists in the house to come on stage and do some rhymes for three minutes each. There were a handful I recognized such as Top Ramen from Little Boots’, the son of Maritime’s boss, band The Earthlings, members of 7 Gin, but most were new to me like Realism, Sauce, E.P.I.C., and a couple whose names I missed completely. I’d see 7 Gin open for Xzibit at the Hall the following year and it being the Maritime, had plenty of nights with Top Ramen and The Earthings. The dreadlocked Mr. Castro thanked the open mic artists and made jokes about how cold it was in San Francisco, saying having come from New York, he had brought his bathing suit and slippers “thinking it was beach weather”, but “it’s like winter! It’s gonna snow out here!” He then whipped out the crowd bringing out a large cardboard box and egging on the audience asking them to guess what was in it. Danny opened it and started throwing around Lyricist Lounge T-Shirts to whoever would scream the loudest. There was plenty of noise going around and by the time he got to the last few shirts, he had to urge those struggling to get one not to fight over them. He joked that he hadn’t slept for three days and praised the scent of marijuana in the air that night, saying that they “don’t have bud like that in NYC!”
Keeping track of the roster of talent at any hip hop show always proved to be a challenge, but for this one, it was practically impossible, except for the last few acts. So, for a long while, I didn’t even label the artists on the various tapes I was recording with in the beginning and saved the ADATs for the headliners. This would prove to be a mistake for one particular artist, a fresh faced young man, a few months younger than myself in fact, calling himself Eminem, but I’ll get to him later. Throughout the night, one artist I did know who stayed on stage most of the night was DJ Maceo from De La Soul who spun records between acts and basically was the glue holding this willy nilly cavalcade of stars together. I was quite familiar with him and his compatriots in De La by then, they having played the Hall twice before already, once in September of ’96, one of my first shows recording there, and then again the following April. They had been non stop touring since releasing “Stakes Is High” in ’96, but would eventually release new material a couple years later with “Art Official Intelligence : Mosaic Thump”. Though all three members of De La were only a couple years older than me, they were already becoming veterans of the genre, having ten years of work under their belts.
One of the opening acts that night that made an impression on me was the Last Emperor from Philadelphia, who followed the first act, Degree. Last Emperor had been a protege of Dr. Dre, as Eminem was, and he had recently signed him to his new record label, Aftermath, and his talent reflected the good Dr.’s eye for lyrical genius. He had excellent diction, was hilarious, and left me and the fans screaming for more. Danny introduced him shouting, “Let’s get ready to rumble!” and the Last Emperor recited the famous intro from The Doors, “Is everybody in? The ceremony is about to begin…” I appreciated that his songs took some imaginative turns like one of them about turning into animals and another about comic book characters battling rappers like GZA fighting Dr. Strange, G.I. Joe and COBRA battling the Boot Camp Click, Duke versus Buckshot, and so forth. I especially liked his song, “The World Of Suzi Wong”, its chorus a definite ear worm. This would be the only time I’d see the Last Emperor, but he’s still around making music and if he ever came back to town, I’d definitely check him out and encourage others to do so.
Now, to get to that fresh faced young man. Most of the people there that night like myself had no idea who Eminem was. His breakthrough album, “The Slim Shady LP” wouldn’t even be released for another five months, which would chalk up Grammys for Best Rap Album and Best Solo Performance for “My Name Is”, and catapult him to fame and fortune. In fact, when his set started, I assumed the main artist was his side man, Royce Da 5’9”, who he had met the previous December and collaborated with for his single, “Bad Meets Evil”. But I quickly saw that this scrawny, white kid waving around a white towel for the opening song, “Scary Movie”, was something altogether different. From his poverty stricken origins in Detroit, Eminem had gone from being fired from his job at Gilbert’s Lodge restaurant days before his infant daughters’ birthday in March of ‘97, to placing 2nd in a “Rap Olympics” in L.A., to having his demo heard by Dr. Dre, to the Maritime. It took him only a matter of a minute or two to drive the audience bananas with his brilliant lyrics, everybody waving their hands in the air and jumping to the beat. He then played his signature tune, “My Name Is”, which led me to believe that his name actually was Slim Shady and I labeled his tapes accordingly.
I was transfixed by his stage presence and realized about halfway through his set that it was a colossal mistake to not have the ADATs rolling for him, but I did my best on the monitor mix. He lost his baseball hat briefly and asked where the fuck it was at briefly before his last song, saying he has a “new single coming out on Interscope Records on October 4th. We want you to run out and buy it… and if you don’t… I JUST DON’T GIVE A FUCK!!!” and he began that song. He put his middle finger in the air waiving it from side to side and had everybody in the house do the same. I was so blown away by what I heard that night from him, I made a VHS copy of his set as soon as I could and was watching it over and over again, something I never did with any other artist I taped there, or at least not watching it as frequently as I did. Furthermore, I made a point to show it to all my friends and family too, something I for sure never did with any other act. I’m not saying that I was prophetic or anything, his talent was unmistakable and it came to no real surprise that he went on to be big, though I wouldn’t have guessed exactly just how big. I regret that this would be my only encounter with the one and only Mr. Marshall Mathers. He did a show at The Fillmore the following May, but I couldn’t attend because I was recording Motorhead at the Hall that night. That Fillmore show was infamous too because he stopped a few songs into his set there and got into a fight with a heckler. From then on, he was playing huge venues and rarely came to the bay area anyway.
Suffice to say, following Eminem was a tough order and Ras Kass and Rah Sun really couldn’t match up what we all just witnessed. I thought it was strange that Rah Sun kept on saying “word is bond” over and over again, but chuckled when he asked the crowd between songs, “Who likes sex!?! Everybody say SEX!!!!”. The energy in the room picked up again with the female duo, Syndicate, a welcome change to the testosterone soaked roster that preceded them. I was very impressed at the speed which they rapped, faster than anybody I had heard up until then on record or live, male or female. Being a horny young man, I was also hypnotized by their beauty and the way their buxom, tank top clad figures bounced to the beat, especially for their last song “Here I Come”. There was a funny bit when the shorter of the two women nearly slipped on some liquid spilled on stage and she said, “see me slippin’? I’m gonna bust my ass up here.” Sadly, this would also be the only time I’d see them either. But once again, De La would take the stage and played a short, but excellent set. They did a bit saying they spotted a girl way in the back by the bar, wondering if it was “Jenifa” and got the crowd cheering, declaring that they going “old school” like “Kango” or “Adidas” asking, “Where my B-Boys at? Where my B-Girls at?” before launching into “Jenifa Taught Me”, one of their oldest songs.
They had a brief intermission to change the stage set for the Black Eyed Peas, setting up their drum kit, guitar, keyboard, and bass rigs. The guys from De La introduced them on stage and I’d be seeing and even hearing the Peas for the first time that night. Anyone who knows their old music or had seen them back then would tell you that they were quite a different band than the one they’d become a few years afterward. For starters, they all dressed quite casually, looking a little like college students frankly, not the weirdos from beyond the moon they are now. The bass player was even wearing a plain, long sleeved sweater. Also, this was four years before Fergie joined the band. Back then they had a female singer named Kim Hill, who sang back ups mostly, though was featured for the song, “Say Goodbye”. Though they were brand new to me, I really enjoyed the music they played for their set, just shy of an hour long.
There was a great bit during the song, “Communication” where the three main vocalists, Will.i.am, Taboo, and Apl.de.ap., took turns doing acrobatic hip hop dancing and all of them were really spry, doing backflips, handstands, and stuff. During the next tune, “Que Dices?”, my friend Tom Murphy who was working monitors that night, had to come out on stage to fix a mic chord or something, and on his way back to his board encountered Will.i.am, who hugged Tom and they took a moment to jump up and down to the beat. I’ll never forget the sight of Tom in his cut off sleeve shirt, smiling with his toothy grin as he did that. It makes me smile even now. Before they did, “Joints & Jam”, the first major label single for Interscope, Taboo introduced it repeating in a hypnotists’ voice, “ If you hear this on the radio… I’m not going to get tired of it…” They finished their set with “Head Bobs” and Danny Castro came out again with Anthony Marshall to thank the artists and the crowd. They had more shirts to give out, but first they asked if anybody could name all the MCs who performed on the last skit on the Lyricist Lounge album. A few audience members tried, but Danny eventually gave up telling Anthony, “ahh… just give it to them!”
But nobody on stage was going anywhere in a hurry, so the band members of the Peas stuck around and they decided to have another freestyle session for the encore and they brought out none other than Wyclef Jean, sporting a Jimi Hendrix T-shirt. He and Will.i.am went back and forth for a while, dropping rhymes with manic energy. Wyclef mentioned in one of his raps that he had been in the studio with Carlos Santana and heard about the show rhyming with Santana that joining in would be “no drama”. He presumably was working with Carlos at the time for the song, “Maria Maria” that would be on Carlos’ blockbuster album, “Supernatural”, recorded across the bay in Berkeley at Fantasy Studios and released the following June. Later, some crusty looking young woman with dark dreadlocks came on stage and took one of the mics and we all thought she’d sing or rap or something, but all she said was, “What up, motherfucka’?”. Wyclef immediate shut her down rapping for her to step off, that she “looked like a gypsy”, and shouldn’t take the mic unless she was going to bring it.
From there, a handful a rando guys took turns on the mic and it looked as if security was about to shut the second to last one down until the Last Emperor took the mic, did a few good verses and ended the show for good. Danny Castro took the mic one last time to thank the artists and the crowd and then Boots, the Maritime’s boss, made sure to thank everybody and make a not so subtle request to “get home safe”. By the end there were at least 30 people on stage and Boots was understandably anxious that something violent might go down on everybody’s way out the door, but thankfully nothing did. The video recording ended with my buddy Dan, who had been dutifully operating the single camera in the balcony all night, putting up a piece of paper to the lens with the words, “HI NICK!”, written on it, illuminated by his flashlight. Dan had done it a week before at the beginning of the My Life With The Thrill Kill Kult show at the Hall and I always grin and giggle when he did it. There was an afterparty at the Paradise Lounge that night, but as you might imagine after this three hour hip hop spectacle, I was too exhausted to attend. It would be only two months later that the Black Eyed Peas would return to play the Hall opening for Outkast, another Atlanta hip hop band that would soon be hitting the big leagues.
Tori Amos, The Devlins, Oakland Coliseum, Oakland, Tues., September 15
SETLIST : Precious Things, Iieee, Corn Flake Girl, Bells For Her, Sugar, Cruel, Happy Phantom, Hey Jupiter, Jackie’s Strength, Space Boy, Spark, The Waitress, (encore), She’s Your Cocaine, Raspberry Swirl, (encore), Horses
This would be the first and only time I’d see one Miss Myra Ellen Amos, better known to her fans and friends as Tori. Hers was the music I knew in my heart that I should have been following but didn’t for some reason, probably because I hadn’t had the opportunity to see her yet, she not having played either The Fillmore or The Warfield during my tenure as usher there. I did know my friend Drew was a die hard fan of this songstress with the head of flaming, red locks and living just up the street a few BART stops away, and he would assuredly be there with bells on, so I joined him on this one. Like I had written before, I had just witnessed the first of two shows of the Beastie Boys at the Arena immediately just before this one, making it the only time I had seen back to back shows of different bands there. It was quite a departure from the the rowdy set performed “in the round” set up in the center of the Arena, to this more subdued, traditional set up on a normal stage. Tori would have her grand piano, accompanied by Steve Canton on guitar, Matt Chamberlain on drums, and Jon Evans on bass. That was it.
There was an opening act that night, The Devlins from Dublin, Ireland. They had toured with her in Europe and Tori liked them so much that she had asked the brothers Devlin, Colin and Peter, to continue along with her in the States. I thought they were pretty good, a polite couple of guys. They said at the end of their set, “thanks a million” and “Cheers!”, but I haven’t seen them since. Tori was calling this the “Plugged ’98” tour, (perhaps a dig on the recent avalanche of “Unplugged” albums being released by people around that time), and doing an impressive 137 shows in only 8 months. Also departing from the piano driven ballads she had become famous for, Tori had recently put out the “From The Choirgirl Hotel” album, highlighting her band and more electronica sounding stuff. She played quite a few new songs from that album that night, including “Spark”, “Cruel”, “Raspberry Swirl”, “Iieee”, “Jackie’s Strength”, and “She’s Your Cocaine”. But I had none of her albums and frankly couldn’t name song one of hers, so I was coming in as fresh as a daisy, making this what I like to call a “sight unseen” show.
I was impressed with not only her masterful skills on the ivories, but the calm she was able to project, despite being surrounded by thousands of her screaming fans. Such poise is the trademark of a musician who had been performing in front of people all her life. At age 5, Tori was actually the youngest person ever to be admitted to the Peabody Conservatory Of Music. By the time I’d see her there, she had been recording her own songs for nearly twenty years. It was remarkable that she could go from playing such tender, delicate piano songs to jams with the riveting intensity of a band like Tool. Before “Hey Phantom”, she took a moment to greet the crowd and waived to the folks up in the cheap seats, saying, “How’s it going back there? I was always sitting back there. I was always late” then went on saying something about it being a “good thing” and that it made her “three times as smaller than I really am”. She then went on about “Dip-see” and something about being a “religious teacher” and “the markings of purity”. You got me. Though I had but one day off after a six day stretch before seeing Tori, I would continue my grueling diet of concerts with five more in a row starting with this one. That’s eleven shows in twelve days, 17 total for a month of only 30 days. Yep, September was a whopper that year.
Beastie Boys, Money Mark, Invisabl Skratch Piklz, Oakland Coliseum, Oakland, Sun., September 13, 1998
SETLIST : Tom Sawyer Intro, The Biz Vs The Nuge, The Move, Sure Shot, Pass The Pic, The Skills That Pay The Bills, Time To Get Ill, (unknown), Remote Control, Sabrosa, Body Movin’, Root Down, Egg Man, Paul Revere, Flute Loop, Lighten Up, Ricky’s Theme, Gratitude, Tough Guy, Beastie Boys, Super Disco Breakin’, Shake Your Rump, Slow & Low, 3 MCs & 1 DJ, Something’s Got To Give, (unknown), Heart Attack Man, So Whatcha’ Want?, (encore), Intergalactic, Sabotage
It had been quite a week, but I could think of no better show to end my six gig run than with the Beasties. It had been three long years since I last saw them at this very same venue, when their music whipped the entire floor of the Arena into easily one of the largest mosh pits I’d ever witness. Between that show, the two shows I saw them play at Shoreline for Lollapalooza in 1994, and the massive Tibetan Freedom Concert in Golden Gate Park, the injuries that must have been sustained by those rampaging crowds had to have kept the staff at Rock Med busy. But this time the Boys were touring with a special “in the round” set up, placing their gargantuan, round stage smack dab in the middle of the floor, making it next to impossible for those down on that level to whip up any mosh pit of more than a couple dozen at a time. Now, I can’t say if this design was a reaction to the previous tours, attempting to calm the crowds a bit, but it worked. These Boys were gradually morphing into the Men they would inevitably become. All three of them were married by this time, MCA tying the knot as well as becoming a father that very year. Ad Rock would divorce his wife, actress Ione Skye the following year, but would soon rebound, falling in love and eventually marrying Kathleen Hanna from Bikini Kill.
Though I wasn’t aware of it at the time, the tour had already lost Tribe Called Quest as their opening act. The fellow Lollapalooza alumni were at the end of their rope with each other and broke up mid tour the month before, just weeks shy of the release of their new album, “The Love Movement”. To replace them, the Beastie’s enlisted the help of the Invisabl Skratch Piklz, the DJ collective led by their new turntable wizard, Mix Master Mike. The addition of Mike to the band was already a match made in heaven. One could hardly think of a DJ more suited to join their ranks. The Piklz rotated several DJs through their roster over time including virtuosos of the 1s and 2s like Q-Bert and DJ Apollo, but this time around Mike had Shortcut and D-Styles by his side. Incidentally, I just saw Shortcut only yesterday spinning records between sets for the Thievery Corporation show at Stern Grove, almost 23 years later. Mike had an impressive rig on stage, surrounded by 18 giant video monitors, shaped in a U-Shape, 6 monitors each side, 2 rows of 3 stacked horizontally. Their set, though short, was truly a master class in the art of scratching.
Also opening up that day, culled from the Beastie’s band, was Money Mark, their keyboard player. Mark actually had met the band years ago working as a carpenter, tasked to repair a wooden gate at the property where they were recording the “Paul’s Boutique” album. He helped them finish putting their studio together and lo and behold, they roped Mark into going on the road with them. Mark eventually started doing studio work with other acts, even making the unforgettable keyboard riff used by Beck for his hit song, “Where It’s At”, and then went on to make his own albums. But he had a hard time keeping the attention of the crowd with his jazzy jam music, especially after we had just been floored by the jaw dropping skills of the Piklz. He did give a shout out to hip hop, saying that all music like jazz and funk, “all the noises in the world”, make up the genre. But we were here to see the Beasties one and all and I for one was excited to hear the new songs live.
Since I’d seen them last, they had taken their time releasing their new album, “Hello Nasty”, a day before my birthday that July and it was worth the wait, a master work easily as good as their last few albums. It would chalk up a couple Grammys for them, Best Alternative Music Album and Best Rap Performance By Dup Or Group, and the single “Intergalactic” would get them the Best Hip Hop Video trophy at the MTV Video Music Awards. They would also be one of the first bands to make MP3’s of the songs available for download on their website. The Boys were at the top of their game and part of me felt that despite this, that the tour would be sort of an end of an era for them. They would continue to make excellent music, but I got the feeling after this show, that they had nothing left to prove and they would play smaller venues from then on out. Not that they were phoning it in, not in the slightest, but it was if they were in a good place commercially and critically and no longer needed to struggle as hard to succeed. That and I imagine the logistics and effort involved to put on such a grand spectacle year in and year out would take its toll on anybody. MCA would continue his good work fighting for the rights of Tibetans with his Milarepa Fund and $1 of each ticket this tour would be donated to it.
But they were having the time of their lives that night as we all were, the first of two shows at the Arena. As luck would have it, I would return to that very venue two nights later to see Tori Amos, a very different act indeed. I believe this was the only occasion where I would see two different shows there back to back. The set started with Mix Master Mike scratching up an intro bit with Rush’s “Tom Sawyer” before going into the Beasties’ other signature intro song, “The Biz Vs The Nuge”. For there, the rest of the band ran on stage with their matching orange jumpsuits and went right into one of the new songs, “The Move”. As usual, Mike D would take time to banter and joke with the crowd. Before “Time To Get Ill” he mused, “What goes on in Oakland Coliseum?… We got questions, you got answers… Q & A? It’s back to school time… Must annunciate and answer.” Some folks were raising their hands hoping to ask him something. He praised the “nice, warm evening in Oakland” before they played “Remote Control”, then asked if it was “better to say Oakland or Oak-Town?”
They would switch between rapping with just Mike on the turntables to picking up instruments, joining and trading places occasionally with other members like Money Mark again, Amery Smith on drums, and Alfredo Ortiz on percussion. Ortiz did an impressive solo leading into “Lighten Up”. As I had heard them do on previous tours, they did a long instrumental intro to “Gratitude” and Mike D did a spoken word intro to “Tough Guy”. For “Paul Revere”, they had the lights turned up and encouraged everybody, “if you know the words, please sing along”. Before the new tune, “Super Disco Breakin’”, they used the intro from “Check Your Head” where the singer for Cheap Trick announced, “This is the 1st song on our new album!”. They played mostly the same stuff both nights, though this show we got “Egg Man”, “Beastie Boys”, and a couple punk songs I still don’t know, but the second night got “Alright Hear This”, “Egg Raid On Mojo”, “The Maestro”, and the new songs, “Putting The Game To Shame” and “Unite”. MCA made a plea for non-violence before “Something’s Got To Give” and dedicated it to such peacemakers as Ghandi.
After ending their set with “So Whatcha’ Want?”, they returned to the stage via trap doors below, rising up hydraulically before launching into “Intergalactic”. While they performed, the center of their stage rotated slowly like a turntable, spinning the entire band around, a little trick they were obviously saving for the encore. But the night ended with what had become their signature showstopper, “Sabotage”, ending with confetti cannons blasting out streams of multi-colored, paper ribbons high and low. Funny that I had just seen another show, They Might Be Giants at The Fillmore, with confetti, but this was at least five times bigger. The clean up must have taken forever and I even found some pieces around the Arena when I returned two days later for Tori Amos. My good friend John was with me at that show and it would be over nine years until we’d both see them play again, one final time for me at The Warfield in 2007. But I’m glad I caught them there, having been out of town when they played Bill Graham Civic in 2004, since that would be the last tour before MCA would succumb to cancer five years afterwards. I was lucky to see them as many times as I did and this Oakland show was unforgettable.
My Life With The Thrill Kill Kult, Cirrus, Beatmistress, Maritime Hall, SF, Sat., September 12, 1998
SETLIST : And This Is What The Devil Does, The International Sin Set, Mr. & Mrs. Bottomless Pit, Fangs Of Love, Dope Doll Jungle, Disko Flesh Pot, Blue Buddah, Final Blindness, Kooler Than Jesus, After The Flesh, Ride The Mindway, Sexy Sucker, (encore), Rivers Of Blood, Days Of Swine & Roses, Lucifer’s Flowers
This was already my fifth show in a row and I had more to go the following night with the Beastie Boys in Oakland, but it’s never a dull moment with the Thrill Kill Kult. I remember seeing them with The Lords Of Acid at The Warfield three years before for the “Sextacy Ball” and let’s just say, that was one I still can’t forget. But this time I was recording them and getting to know them up close and personal. I was pleasantly surprised that their singer and leader, Groovie Mann, was not only amenable to us taping him, but he was downright nice to me. Strange how some of the members of musical acts that people would find the most disturbing to watch are some of the kindest and above all most professional people you meet in this business. He did however warn me not to turn up the vocals for the female singer in his band, saying that she was suffering from a sore throat. I obliged him, leaving her off the monitor mix, but kept her vocals on the ADAT masters just in case, though they never used anything we recorded that night for an official release. I soloed her vocal during their set, and he was correct. She sounded like hell, but she kept a smile on her face and danced anyway, swishing about her see-through shawl like Stevie Nicks.
The Kult had been around for about ten years by this time, joining an impressive roster of talent in Chicago on the Wax Trax! Record label, including such notable industrial acts as Ministry, KMFDM, and Front 242, the last one had just played back to back shows at the Hall that July. Groovie Mann and Buzz McCoy had been touring members of Ministry before striking out on their own and in those years had a whirlwind rotation of weirdos coming and going from the band’s line up. In fact, one of their old singers, Shawn Christopher, had just played at the Hall the month before, recently having joined the Chicago soul band, Sonia Dada. The Thrill Kill Kult had been also steadily making a name for themselves pissing off all the right people including the PMRC, led by Tipper Gore, the vice president’s wife, fruitlessly trying to censor popular music. I guess they had objections to the Thrill Kill Kult’s shall we say attitude towards Satan, Jesus, sex, and well… the various combinations of those things, which they would refer to in their songs. Didn’t harm their career, though. Despite the nay sayers, the band had been touring non stop, releasing their seventh studio album, “A Crime For All Seasons” the year before, and even landing songs on the film soundtracks of such mainstream movies as “Cool World”, “The Crow”, “Showgirls”, and believe it or not… “The Flintstones”.
Opening that night was a side project by the Thrill Kill Kult’s drummer Linda LeSabre called Beatmistress and following them was another band called Cirrus. The Thrill Kill Kult was one of those rare bands that had brought their own lighting gear with them on the road and it was pretty sophisticated stuff for the time. Computerized controlled lights were still in their infancy back then and it made a big difference, especially because of the Maritime’s primitive in comparison array of old school par cans and such. We at least had Steve and Chris upstairs with their hippie oil projections and the big video screen stuff to compensate. Speaking of video, I laughed watching their set again, seeing at the beginning of it my friend Dan taking a lighter in front of the balcony cam and illuminating a piece of paper with the words, “Hi Nick!” on it. Put a smile on my face.
They had a fun set and there was plenty of boogying on and off stage, strobe lights flashing, and copious clouds from the fog machine. With all the hoopla and burlesque antics of the band, people sometimes overlook how good they were musically. Their songs were catchy, danceable, and the samples they mixed in were clever. I loved during “Disko Flesh Pot” when they dropped in lines from that MILF lady in the middle of the film “Midnight Cowboy” going off, “In case you didn’t notice it, I’m one hell of a gorgeous chick!” Funny, both Ministry and Faith No More do great covers of the theme song from that film as well. And for the classical music enthusiasts out there, the Thrill Kill Kult used a few bars from the climax of Orff’s “Camina Burana” for their tune, “Ride The Mindway”. Alas, this would be the last time I’d see them play, though God knows I’ve probably seen any number of their former members in various other musical projects since then. They have more ex-members than Menudo.
Machinehead, Spike 1000, Under, Spineshank, Maritime Hall, SF, Fri., September 11, 1998
SETLIST : Ave Santari Intro, Struck A Nerve, Take My Scars, A Thousand Lies, Nothing Left, Roots Bloody Roots, Ten Ton Hammer, The Frontlines, Old, The Trooper, Devil With The King’s Card, A Nation On Fire, Davidian, (encore), Negative Creep, Block
I had gotten to know Machinehead a little, having seen them play the Hall a couple times already the previous year, once headlining and once opening for Corrosion Of Conformity, but they were branching out and trying new stuff by this time. The singer Robb Flynn’s looks reflected that change with his new cropped, dyed blonde haircut and jumpsuit attire, making him sort of look a little like Chino from The Deftones. They were also taking a few new musical left turns that would garner them further commercial and critical success, but alienate a few of their hardcore fans. Their next album, “The Burning Red”, wouldn’t be released until the following July, but they dropped a couple new tunes at this show, “Nothing Left” and “Devil With The King’s Card”. Guess the old fans didn’t appreciate the one song on the album with the disco beat, Robb’s attempt at crooning, and their cover of “Message In A Bottle” by The Police. But one can’t blame them for trying something new and after this night, one attending surely wouldn’t accuse them of going soft, even if they might have “sold out” in some fans opinion.
Opening the night was Spineshank from L.A., who were pretty new and were just about to release their first album, “Strictly Diesel” eleven days after this show. I wouldn’t have to wait long to see them again since they would return to the Hall with Fear Factory in January then again with Sepultura less than six weeks after that. Speaking of Sepultura, the founder of that band, Max Cavalera, had just played the Hall a few months before with his new band Soulfly and was touring with Logan Maher, Machinehead’s old guitarist. Maher had quit the band after developing a meth habit amongst some other bad behavior, and was recently replaced by Ahrue Luster. This show at the Maritime would be only the second time Luster had performed with Machinehead live. During their set, Robb made a not so subtle dig at Maher after they covered Sepultura’s song, “Roots Bloody Roots”, joking “too bad the guitar player for Soulfly can’t play it that good!” He shrugged and then said that he didn’t “know where that came from… I’ve got Tourette’s”. Maher wouldn’t last long with Soulfly either, leaving that band in January after only eight months with them.
I don’t remember the band Under, but I did enjoy Spike 1000. They had a female singer named Jen who had a deep, but strong voice. They’d relocated to the bay area recently, originally from Stockton, then Bakersfield, and been playing together since 1990. Machinehead is a tough act to open for and they held their own. But the crowd went bananas when Robb and the boys took the stage, introduced over the P.A. with the theme from the horror film “The Omen”, “Ave Santari”, always a hit with the metal crowd. Incidentally, the score from that movie was the only one that composer Jerry Goldsmith won an Oscar for, though he had been nominated a whopping 18 times! Most folks remember best his theme song for “Star Trek : The Next Generation”. Anyway, can’t say if Jerry was a fan of Machinehead, but I’m sure he’d have been flattered.
Being from Oakland, Machinehead had a packed house of local, die hard fans who would tear up the mosh pit and stage dive left right and center all night, keeping the security guys on stage busy. Robb would praise the crowd’s rowdiness throughout their set between songs, including before “A Thousand Lies”. He described that one as a “long song” that they “can probably drink two beers” while they played, introducing it as “A Thousand Beers!” The levity continued after that song as Robb did a little rendition of the theme from “South Park” by Primus, which had just began it’s second season that year, substituting one line with “goin’ down to Frisco to have myself a time”. One fan yelled out later for them to play “Bodies On Bodies”, one of the earliest songs from Robb’s old band, Vio-lence, recorded on their first album ten years before this show. Robb laughed, “I don’t even know who the hell that’s by!” Coincidentally, the only time I ever saw Vio-lence was with Primus at the Omni, also the only show I ever saw at that venue.
He went on a bit of a rant later against an unnamed heavy metal magazine that was questioning if heavy metal was dead, citing that Skid Row wasn’t doing so good anymore. Well, as you might imagine, that got a bit of a groan from the audience who agreed as Robb basically went on to say that Skid Row wasn’t exactly the best band to gauge the overall health of the genre. He growled that whoever wrote it, that “this dumb motherfucker never been to a Machinehead show” and seen these “rowdy sons of bitches” with “fire burning in their eyes”. Robb then egged the crowd on yelling, “If you’re alive and well, yell Fuck You!”. That was a pretty loud “Fuck You” in response. Machinehead surprised us a little later with a few bars of “The Trooper” by Iron Maiden, but gave up after a while, Robb claiming that he didn’t know the rest of the words. Maiden was supposed to play the Hall in July, but cancelled, so perhaps he thought it as an homage or a way to compensate for them. They did one final cover that night for their encore, “Negative Creep” by Nirvana, which is probably the most metal song Cobain and them ever did, top three at least. Though this would be the last time I’d see Machinehead at the Hall, I’d see them play The Fillmore four years later. Sadly, upon doing research for this, I just learned that their drummer Tony Costanza died last year in his sleep from unknown causes at the all too young age of 52.
They Might Be Giants, Michael Shelley, Fill., SF, Thur., September 10, 1998
(MICHAEL SHELLEY) : The Pill, (unknown), Baby’s In A Bad Mood, Tonight (Could Be The Night), Think With Your Heart, Going To L.A., Surfer Joan, That Kind Of Girl
(THEY MIGHT BE GIANTS) : Whistling In The Dark, Doctor Worm, She’s Actual Size, Twisting, She’s An Angel, Working Undercover For The Man, I Palindrome I, Battle For The Planet Of The Apes, Absolutely Bill’s Mood, They Got Lost, I Am Not Your Broom, Why Does The Sun Shine? (The Sun Is A Mass Of Incandescent Gas), James K. Polk, Window, Your Racist Friend, S-E-X-X-Y, Birdhouse In Your Soul, Mr. Tambourine Man, The Guitar (The Lion Sleeps Tonight), No One Knows My Plan, Mammal, Particle Man, The Famous Polka, New York City, (encore) Exquisite Dead Guy, Spy, Lie Still Little Bottle, Istanbul (Not Constantinople), (encore), Shoehorn With Teeth, Don’t Let Start
It had been nearly four years since I saw the dynamic duo of John’s Linnell and Flansburgh, far too long for a fan like myself. I do have to admit, that the intervening years found me distracted all too much by work and other musical acts that I’d lost track of them. To my shame, I hadn’t bought any of their recent albums since “Flood” and seeing them this night was a bit of a refresher course for me. Incidentally, they used the emblem of my stagehands union, I.A.T.S.E., for their cover of “Flood”, a five sided crest sometimes referred to as “the bug”. They hadn’t released any new material themselves in a couple years and they had recently released their first (mostly) live album, “Severe Tire Damage” a day shy of a month before this show. That album did however have the single “Dr. Worm”, a new song which would become a hit and one of my favorites. Also, Flansburgh had made an appearance on the season 4 finale of “Space Ghost : Coast To Coast” earlier that year and Linnell strangely enough got nominated presumably by a few thousand of his fans to the People magazine poll for “The Most Beautiful People Of 1998”, garnering him 9th place between Madonna and Sarah Michelle Gellar. To be fair, Linnell is a fairly handsome man in my opinion, tall and slender with thick dark hair, though it’s understandable that Leonardo DiCaprio would get the top prize that year. “Titanic” had just swept the Oscars.
As luck would have it, singer-songwriter Michael Shelley was opening that night, who I had just seen only a few weeks before opening for Shonen Knife at the Maritime. Though I didn’t have the recording of his set that first time, I enjoyed listening to his stuff from this one. Funny guy, Michael, a good opener for the Giants. Michael did get intoa sort of playful back and forth with one member in the audience that night. Apparently, the guy in the crowd lost at least one of his shoes and asked Michael if he could have one of his. Michael said, “Yeah, I’ll give you my shoes for $25… I’ll even autograph them for you… Or you can just bend over, I’ll give you one of my shoes temporarily… Ok, $30”. They crowd jeered, then he quipped, “Well, they turn on you in San Francisco pretty fast… My shoes might be smelly”.
Between sets, house manager Dave Repp came out as usual to make announcements, promoting new shows coming up and he made a point to mention the band 008, who were going to open for Meters’ bassist George Porter, Jr. The drummer of 008 was a fellow named Morgan who had been working hard his way up the ranks of BGP and coincidentally had been the one time roommate of my friend Kenny, a gentle giant of a man who I’d gone to school with when I did a semester in London back in 1992. I miss Kenny, nice guy. I would get to record 008 when they opened for Indigo Swing at the Maritime the following year and I remember they were quite good actually. I’ll never forget that Morgan described our video recordings as “German Television”, which I thought was quite astute. David also mentioned that they were raffling a poster that night, which they usually did, helmed by usher and now my neighbor, Raffle Box Annie. She’s an easy one to spot, her station parked by the merchandise booth and Rock Med people, she adorned with her head of long, red hair and always dressed in a harlequinesque hippie outfit. I was disappointed to learn that the show that night didn’t have a poster of its own and they were actually auctioning off a signed copy of the poster from their Fillmore show in 1994. Those are the breaks.
The Giants got on stage soon enough, opening with an instrumental intro that morphed into “Whistling In The Dark”, followed promptly by “Dr. Worm”. Flansburgh joked that “we have a nice, long show for you. It might go on forever”. He pointed out the copious, fragrant clouds being ehhaled by their fans calling it “a different kind of smoke” than they were used to at shows and was concerned that it might be misconstrued as a “performance enhancing drug”. The Giants were touring with a full band again, the three “Dans”, Dan Hickey on drums, Weinkauf on bass, and Miller on guitar. Miller busted out some excellent slide guitar work during “She’s An Angel”. Additionally, they had a trumpet and trombone player which added an extra layer of complexity and sophistication to their songs. After I was relieved from ushering, I went down to the dance floor to enjoy myself with the other fans and they were doing their usual amount of comedic banter between songs. Flansburgh introduced one of their newer tunes, “Working Undercover For The Man” as it being a “story about a band that goes on tour and makes records. There’s something that happens in their past and they had to make a deal with the cops like ‘The Mod Squad’”. That band would go on “infiltrating illegal activities among youth culture” and that John was worried that they’d be found out, but felt it was his duty to tell the truth and wrote that song about them.
Later, they did a funny bit where they did the song “Battle Of The Planet Of The Apes”, one in a series of songs they did of the whole Apes saga on the new live album, each of those songs improvised. For this one, Linnell had the audience split up, half of them pumping their fists in the air chanting, “Apes! Apes! Apes” and then the other half following them, chanting “People! People! People!” For another one of their newer songs, “They Got Lost”, Flanburgh first suggested to the band that they “play it too fast then slow down in the middle”. Linnell then shouted to crowd quickly, “How many people want us to play it too fast then slow down in the middle again!?!?” They crowd cheered, then Flansburgh looked at the other members on stage and said, “I didn’t hear anyone in the band cheering, John… For some reason, the band was silent. I don’t know what to do, please the audience or please the band”. Linnell responded, “I say compromise and please no one”. Flansburgh later praised his road crew as the “sexiest kind of road crew” and dedicated “S-E-X-X-Y” to them.
They did a few covers that night, the first being “Why Does The Sun Shine? (The Sun Is A Mass Of Incandescent Gas)”, which being such a funny and whimsical tune, I and probably most others presumed it was one of theirs. But that song actually had been written by a guy named Tom Glazer years before for a series of educational albums for kids, called “Ballads For The Age Of Science”. That one is on the “Space Songs” album. I could see why they liked it though, sounds like one of their songs as was “Istanbul”, a song original written by a group called The Four Lads. Speaking of educational songs, they did a historical one of their own, “James K. Polk”, about the 19th century American president and Linnell introduced it saying that “the next song features a confetti cannon… If there’s one last thing you see this year, let it be the confetti cannon”. Fun as they are, the maintenance guys at concert venues despise confetti. Those little bits of paper get everywhere and take forever to clean up. I’ve found confetti bits from New Year’s shows months after they happened.
One cover they did that everybody assuredly knew wasn’t theirs was “Mr. Tambourine Man”. Flanburgh said it wasn’t on the setlist and claimed that he and the band were discussing playing it earlier, but he was lying since I got the setlist and it was listed there as “Tambo”, though the songs were out of order. But I’ll forgive him. As Mark “Chopper” Read so eloquently said, “Don’t let the truth get in the way of a good yarn”, or maybe he didn’t know. Being the Fillmore, it was an appropriate place to cover the Bob Dylan hippie anthem, but they being They Might Be Giants, they might have just as easily been honoring William Shatner’s version of it. They followed that song with a lengthy version of “The Guitar (The Lion Sleeps Tonight)”, which included a very impressive bass solo. Linnell goaded the crowd to form a conga line to the calypso beat, even singing to the beat, “I’m not fucking kidding… audience conga… everybody conga… put your hands on the hips of a stranger… go out the fire exit… until you can’t hear the band anymore…” They audience did it for a while, though I didn’t join in, having to maintain my duty recording the set.
Afterwards, Flansbugh praised the Fillmore saying, “we play a lot of stages, most stages are pretty sticky. They’re covered in stuff and you don’t know what kind of stuff it is, but it sticks to your shoes. The great thing about being here is that you can walk around like a civilized human being instead of the itinerant, loser musician that you really are.” The band then played “Particle Man”, the horns and accordion making it reminiscent of a Zydeco, Mardi Gras song from a second line New Orleans troupe. They ended their set with one final cover, “New York City”, by Canadian “cuddlecore” band, Cub. When they came back on stage for the encore, they began curiously by having two puppet dopplegangers singing their parts for the song “Exquisite Dead Guy”, something weird even for them. It reminded me a bit of The Residents. They did a noisy instrumental breakdown for the song “Spy”, but then mellowed out again with the cool, jazzy “Lie Still, Little Bottle”. The horn guys were especially handy for those songs as well as adding the extra swing for “Istanbul (Not Constantinople)” which they finished the first encore with after giving it an extra long instrumental intro, but their fans cheered for more. They obliged them and gave them a couple songs for the second encore being “Shoehorn With Teeth” and a rocking version of “Don’t Let Start”. Luckily, I wouldn’t have to wait another four years to see them again and they would return to play the Warfield the following year.
As an epilogue, I wanted to include a memory of something that happened recently as an homage to their then newborn song, “Dr. Worm”. Just as the coronavirus was taking hold of the planet last year, my wife, her parents, and I were in a middle of a vacation in New Zealand. My beloved Emily and I were visiting a cave in the south island that had iridescent glow worms in their water logged caves and we stopped by to visit. Halfway down, the tour stopped us in a cave that had a high, concave ceiling that would resonate singing with unique acoustics. The tour guide talked about how many famous people including Adele had come down into that cave to sing a song and asked if anyone in this tour wanted to sing a song and… yes, being the obnoxious nerd I was, I stepped forward. I sang, “Dr. Worm”, or at least the first verse of it, the best I could. Doing it spontaneously, I learned quickly that it isn’t that easy to sing, hats off to Linnell. After I was done, my wife as you might image was mortified, but eventually got over it. I wonder if Adele ever heard that song.
Culture, Pato Banton, Dani Spencer, Maritime Hall, SF, Wed., September 9, 1998
It was a foregone conclusion that Pete would record this show, Culture being one of the greatest reggae acts touring back then, but I was really hoping I’d get to do Pato. Ever since I saw him at Slim’s in 1994, I loved his music, his positivity, and his stage presence. No such luck, but I was glad to be part of it all the same. Besides, Pete would mix it better as always and both acts certainly deserved it. Culture was a few years behind Bob Marley and the other founders in the genre, but like acts such as Third World, Black Uhuru, and Inner Circle, they were carrying on the torch and doing it admirably. By this time, Culture had been around over twenty years and Pato well over fifteen, so they were no amateurs. The opener, Dani Spencer had talent too, having collaborated with many great artists like the Twinkle Brothers. Dani would come back and play the Hall again the following October for the Peter Tosh birthday celebration show with Bunny Wailer and Peter’s son, Andrew. I wished that Culture could have made an album from the set they made that night or that I had kept a copy of it, but I’m happy to say that Pato came back to the Hall the following February and we used the set he performed on that occasion opening for Eek-A Mouse to make a live album, one of my favorites. Culture did a magnificent set, that I do remember, playing hits like “Jah Rastafari” and “The International Herb”. And like all reggae shows at the Hall with Pete, there were plenty of joints passed between us that night.
Whiskeytown, Dean Del Martin, Maki, Fill., SF, Tues., September 8, 1998
There are rare occasions for folks who see as many shows as I do, to witness a real train wreck, be it boorish, drunk, and or drug fueled behavior, a colossally shitty set musically, and in some cases, downright hostility and danger. The time Whiskeytown played The Fillmore is one such show which was all of these things. When something like this happens, it becomes impossible for one to separate the trauma from the artist for all time. The good news is shows like this, you never forget, even when you’re rapidly on the mental decline as I am. Yep, this one’s going to my grave and probably to all the others who witnessed it.
Now, nobody died and in fact, nobody even injured, so this might seem melodramatic, but Ryan Adams, the frontman for this band had a reputation that proceeded him by then, even in his then young career. He was part of the so-called Alt Country movement back in those years, joining acts like Uncle Tupelo, Wilco, Son Volt, and such. They had played Bottom Of The Hill the previous year, but I hadn’t heard of them by then. Whiskeytown had already gone to pieces once between then and this show, breaking up after playing The Hurricane in Kansas City the year before. During that tour his own guitarist Phil Wanderscher, once hovered around menacingly and threw beer bottles at Ryan on stage during their set in Arlington, Virginia. Later on the tour, a heckler even threw tomatoes at them in Lansing, Michigan. After the break up, Ryan completed the gigs as an acoustic duo with his partner, Caitlan Cary. They reformed with new people for this leg of touring and it had become such a joke that they had so many ex members in such a short period of time, that they actually printed T-Shirts saying “I Played In Whiskeytown & All I Got Was This Lousy Goddamn Shirt”.
Ryan was clearly a sensitive artist and a bit of a sad drunk, so touring brought out the worst of him. The name Whiskeytown actually comes from an expression in his native Raleigh, North Carolina which as you can guess means really drunk. He was just a few weeks shy of his 24th birthday, making him two years younger than me. I feel that one starts truly becoming an adult when the new rock stars around are younger than you. Despite his brilliance as a songwriter, clearly Ryan hadn’t developed the mental fortitude for life on the road. He was contractually obligated by his record company, Geffen, to finish this three weeks of touring for their major label debut, “Stranger Almanac”, and Ryan was taking it out on everybody and everything. At the show they did a few days before this in Vancouver, he had smashed a valuable 1964 Gibson Firebird guitar on stage. His manager, Thomas O’Keefe, actually kept the wrecked remains and eventually sold it on line for $1,302.77. Now by the time they took the stage, I knew nothing of this saga of mayhem, other than Ryan was a bit of a handful.
Opening that night was a band from Richmond, Virginia named Maki who I thought were really good. They had members from all sorts of mid-Atlantic acts including Sparklehorse who I saw open for Cracker on that same stage a couple years before and liked them very much. Maki had almost a shoe gazer quality to their Alt Country sound and hearing them again left me no impression of the turbulence to follow. They seemed happy and upbeat to be there, though the house was barely sold at all, maybe 200-250 people tops. You know it’s a poorly sold show coming in when you see that the house guys set up cocktail round tables and chairs down on the dance floor in an effort to make it look more well sold. Between sets, Dean Del Ray was up performing solo with his acoustic guitar and harmonica in the poster room. I was able to catch one of his songs on a coffee break. Funny guy, he’d go on to have a modest career as an actor and comedian in L.A. When house manager Dave Rep made the traditional announcements between sets, telling people to check out Dean, he said that “every other song will be dedicated to Mark McGwire”. Mark had just broken the record for home runs in a single season hitting his 62nd that very day and would on to set the record that year with 70, beating out Sammy Sosa’s 66. Though both of their records would be broken by Barry Bonds three years later with 73, all of them would be tainted by accusations of steroid use afterwards.
When Whiskeytown’s set began, they were already having trouble with the monitors on stage, hitting a few bad patches of high frequency feedback. I don’t know who The Fillmore had up there this gig, but clearly they were having a bad night sound-wise, a very rare occasion for the skilled audio folks that work there. They were only a song or two in before Ryan started complaining about it and complained even more bitterly that he was not allowed to smoke cigarettes while playing. Somebody in the crowd shouted, “We can’t hear you!” for which Ryan replied, “We can’t either!” Caitlan tried to smooth things over and asked the lighting guys to turn the chandeliers back up saying that they “were so pretty”. She sweetly joked, that was of “another midset” and “you can get more bees with honey than vinegar”. There was a moment of levity when they wished band member Mike Henley a happy birthday, Caitlan laughing that he was just turning 17. I couldn’t figure out their whole set, but I know for certain they played, “Piss On Your Grave”, “Bar Lights”, and “Don’t Wanna Know Why”. Caitlan described the song “I Don’t Care What You Think About Me” saying, “this one sounds like Moby Grape combined with U2”. The first song of the encore started with “My Heart Is Broken” with Ryan first creating a lot of static plugging in his acoustic guitar, then he laughed it off saying, “Yes, that’s the sound of real punk rock” and a couple songs later they played “Houses On The Hill”. One would think hearing such a sentimental, beautiful, and very un-punk acoustic duet like “My Heart Is Broken”, that the man who wrote it would be capable of such obnoxiousness. He defied the house guys and took out a cigarette, taunting them by asking a member of the crowd up front to light it for him. Ryan had become so incensed by the end of the encore, he shoved his monitor off stage sending in thumping loudly to the dance floor, startling everybody. Thankfully, it didn’t land on anybody’s foot. The long suffering monitor engineer leapt into action and jumped on Ryan before he could knock over a second one. Multi-instrumentalist Mike Daly grabbed the monitor guy and Ryan got free, and then stormed off stage yelling, “Fuck this place!”, and that was that.
The crowd and I were understandably put off by this, some even booed, but quickly were all on our way. When a show has such few attendees and there’s no poster to be given out later, slowing people down as they are handed out at the door, the house empties quickly. So, what happened to Ryan next was something I didn’t witness personally, but was corroborated in detail by his manager Thomas O’Keefe in his book, “Waiting To Derail : Ryan Adams, Whiskeytown’s Brilliant Train Wreck”. After retreating from the stage, Ryan locked himself in his dressing room with Thomas and his drummer Steve Terry, pursued by angry Fillmore stagehands who pounded at his dressing room door demanding satisfaction. Thomas had them wait a bit until the pounding stopped and the house cleared out and then they bolted out of their dressing room and made a B-line for the side exit with the metal staircase where ushers and staff would come in at the beginning of the show. The offended stagehands caught sight of their escape attempt and gave chase, but Thomas braced his arms across the exit door holding the stagehands back as Ryan and Steve made their way down the staircase and across the street.
One of the stagehands protested loudly yelling at Ryan, “Hey man! That was bullshit what you just did!” for which Ryan retorted, “Fuck You!” Ryan and Steve went across the street to a bar to wait it out as Thomas went back inside to try to smooth things over. In spite of Ryan’s defiling of this sacred venue, Dave Rep was surprisingly gracious about it all, but did deny them their $1500 for playing that night, saying he’d take whatever the repair costs to the monitor would be out of it and mail them the remainder. Thomas found Ryan across the street later smoking a cigarette outside as the band’s gear was being loaded out, I imagine reluctantly and not with the greatest of care. He joked that when they got to their gig in L.A. they next day, he was going to buy Ryan two guns. Ryan asked why and he replied, “So you can shoot yourself in both feet at the same time”.
Suffice to say, Whiskeytown never played The Fillmore again, but the band was finished after the tour ended anyway, playing only a handful of gigs in 2000 before splitting up permanently, though they did have a brief reunion in 2005. Ryan’s rough patch continued with his subsequent split with his long time girlfriend, music publicist Amy Lombardi, and even rumored later to having a brief affair with Winona Ryder. The good news is that in the years to come, Ryan would grow up a little and have a successful solo career soon afterwards starting with channelling his grief into his first solo album, “Heartbreaker” in 2000, then releasing an even more successful one with “Gold” in 2001 which would earn him three Grammy nominations. Friend and former roommate Adam Duritz of the Counting Crows would help sing back up vocals on that album. His new efforts would earn him respect and admiration from new and old fans alike, even from the Grateful Dead’s Phil Lesh. He would go on to tour and play with Phil with Ryan’s new band, The Cardinals, and I’m happy to say would find redemption playing the Fillmore years later with them in 2001, 2004, and 2008. Didn’t see any of those though.
One final story of Ryan’s bad behavior, he would further his infamous stage persona in 2002 at the Ryman Auditorium in Nashville when one of the presumably drunk patrons yelled out, “Summer of ’69!” between songs, a reference to the hit song from Canadian rocker Bryan Adams. Well, Ryan quickly got off stage, found the heckler, gave him the $30 it cost him to get in, and insisted that security throw him out, saying he wouldn’t play another note until they did. Eventually, Ryan would meet his Canadian doppleganger and they would become friends and as an olive branch gesture to those he might have offended, in 2015, Ryan actually played that song at that venue in Nashville. Ryan has since developed Meniere’s disease making him sensitive to flash photography and at his shows now, they post flyers in the first few rows of seats forbidding it. Though he has reformed from his wayward antics, I would advise anybody to do their best to get along with him and comply.
Masta Ace, Zion-I, Nameless & Faceless, Business Mergers, Metabasin, Maritime Hall, SF, Sat., September 5, 1998
This show was billed as the second part of the “Back To School Hip Hop Celebration” on the monthly poster, though they hadn’t had any shows called this in the previous years or the years after. I wasn’t at the first day or could even tell you who played on the bill, if even if that show ever occurred, me being at Foreigner at The Warfield on that night. To me, it was always heresy to miss a show if you can make it, but Pete had been around the block to know that if there’s no money at stake, then professionally, it’s ok to let it go. Pete didn’t care about rap shows anyway and by then was leaving them all to me. Still, I was adamant and made every single one that I possibly could, except for when Zero played after this, but that’s a whole other story.
I hadn’t heard Masta Ace before and I’m ashamed that I had listed his name earlier in my records as “Master Ace”. On the surface, it doesn’t feel like a goof, but my misspelling made it synonymous with “Master Race”, which is a phrase I don’t want and I’m sure Ace wouldn’t want to be associated with. The rapper in question here was very talented and I regret that this was the only time I saw him. Masta Ace came out of Brooklyn and sort of got into rap gradually after graduating with a marketing degree at the University Of Rhode Island in the late 80’s. He got big when he was paired with Craig G, Kool G Rap, and Big Daddy Kane to make the hit single “The Symphony”, calling themselves the Juice Crew Posse. His first solo two albums, “SlaughtaHouse” in 1993 and “Sittin’ On Chrome” two years later, would influence a lot of rappers including Eminem, who played at the Hall just nine days after this show at the Lyricist Lounge with De La Soul and the Black Eyed Peas. Ace also collaborated to make the title track for the Spike Lee film, “Crooklyn”, back in 1994, which I consider one of Spike’s more underrated works. But by this show, Ace was becoming disillusioned with the music industry and had a falling out with his musical partners in his crew, the I.N.C., Lord Digga and Paula Perry. They would part ways, Perry having modest success with her following solo career, releasing her debut album, “Tales From Fort Knox” that year as well. She remains one of the more under appreciated female pioneers in rap. Shortly after this show, Ace made an effort to shift his attention to producing and put rap on hold for a while.
But another one of the reasons he sort of dropped out of sight after this show was that he was diagnosed with multiple sclerosis two years later, claiming he contracted it when his medical syringes and vials were exposed during a police stop in the Czech Republic. Though that short tour in Europe in 2000 left him ill, it was a surprising critical and commercial success and it got him back into rapping again. Though I never saw Ace perform after this show, this would be the first time I had the pleasure of seeing Zion-I and it wouldn’t be the last. The Oakland hip hop crew were just getting started then and wouldn’t release their first album, “Mind Over Matter” until two years later, but I was impressed with their skills that night.
Foreigner, Dixie Star, War., SF, Fri., September 4, 1998
SETLIST : Long Long Way From Home, Double Vision, Head Games, The Modern Day, Blue Morning Blue Day, Waiting For A Girl Like You, Women, Starrider, Cold As Ice, Feels Like The First Time, Urgent, Juke Box Hero (w/ Whole Lotta Love), (encore), Dirty White Boy, I Want To Know What Love Is, Hot Blooded
This had to have been one of the guiltiest of guilty pleasure shows I’d ever attend. We all have to face the fact that we all know the songs and probably slow danced to one or more of the sentimental numbers they did at a junior high or high school dance. Yes, Foreigner was in town and I was working all night clearing one of the main aisles during their set. I’d been getting to work all night more and more as the years went on ushering and though the money always helped, I still preferred to volunteer, so I could get let go during the main act, have a beer or two, and relax. Even during the easiest crowd, I never can quite focus entirely on the band, having to be distracted watching the herd. But this one wasn’t too hard, as crowds go.
The news with the band was the recent recovery of their singer, Lou Gramm, from surgery to remove a brain tumor the year before. The docs injured his pituitary gland taking it out and he spend years recovering from it. He clearly had gained weight and would suffer from fatigue until he finally left the band altogether in 2003. But that night he was all smiles and grateful to be performing. After the opening song, he laughed, “San Francisco! Seems like we haven’t seen you in a long time! Has it been that long? Well listen. Let’s get to know each other again!” Being the first time I was seeing them, I couldn’t say how long it had been, but it had been four years since their last album, “Mr. Moonlight”. They wouldn’t release another album of original songs until 2009.
Before they played “Starrider”, which Lou described as “kind of a cosmic song”, he recalled the first time Foreigner played in San Francisco, being the opener on the bill at the Day On The Green show in 1977. They played bright and early at 10 AM, later to be followed by Heart, Steve Miller, and The Eagles. He mistakenly said it was at Candlestick Park, though all the Day On The Green shows took place at Oakland Coliseum. We forgive him. It was a long time ago and like I said, he was recovering from brain surgery. There was a lot of love in the room for Lou that night, one could easily sense that and he felt it too, saying, “it’s nice to come home sometimes”. Speaking of blasts from the past, Foreigner did a few bars of Led Zeppelin’s “Whole Lotta Love” in the middle of “Juke Box Hero”, the last song of their set. For the encore, Lou got a handful of yeah shouts in after “Dirty White Boy” and had the entire house singing the chorus of “I Want To Know What Love Is”, myself and the other ushers included. There were plenty of lighters in the air for that one, I can tell you, and Lou praised our “mighty voices”. They wrapped it up with “Hot Blooded” and for a brief time that evening, we all partied like it was 1979.
Cannibal Corpse, Angel Corpse, Sadus, Vile, Maritime Hall, SF, Sat., August 30, 1998
SETLIST : I Will Kill You, Stripped Raped & Strangled, I Cum Blood, Fucked With A Knife, Puncture Wound Massacre, Meat Hook Sodomy, Gallery Of Suicide, Perverse Suffering, Born In A Casket, Dismembered & Molested, Covered With Sores, Headless, Monolith, Staring Through The Eyes Of The Dead, Disposal Of The Body, (encore), Devoured By Vermin, A Skull Full Of Maggots, Hammer Smashed Face
It doesn’t get much more brutal than this. Yes, one needs to look no further than the titles of Cannibal Corpse’s albums and songs to get the picture. I saw these fellow freaks from Buffalo, who had the sense or non-sense to relocate to Tampa, open for The Misfits at The Fillmore back in 1996, but this time they were back, headlining their own show on tour with their sixth studio album called, “Gallery Of Suicide”. This also would be their first tour with their new guitarist Pat O’Brien, poached from the metal band Nevermore. They still had George “Corpsegrinder” Fisher singing for them, but in a strange coincidence, the former singer, Chris Barnes, had just played at the Hall less than two weeks earlier with his new band, Six Feet Under. I couldn’t do that show since I was seeing the first of two shows of Bauhaus at The Warfield that night. Since I last saw them, Cannibal Corpse had been making a bit of a name for themselves, their albums getting banned from both Australia and Germany. Both of those bans would ultimately be lifted in 2006. Also, doomed GOP presidential candidate lost the metal vote that year declaring that Cannibal Corse amongst other musical acts was undermining the national character of the United States. That might have just cost Dole Florida.
Anyway, two of the three opening acts were local, Vile from Concord, and Sadus from Antioch. Vile, even though they been around for a only a couple years, caught the attention of Cannibal Corpse, who became big fans, even wearing their T-shirts around. They would frequent the Maritime again soon, opening for fellow purveyors of the devil’s music, Deicide in November and Morbid Angel the following March. Sadus had been around considerably longer than Vile, having formed in 1985, but this was the first time I’d be seeing either of them. Speaking of Angel bands and Corpse bands for that matter, the penultimate band that night would be Angel Corpse, who like Cannibal Corpse, escaped their native Kansas City, Missouri to the greater hell hole of Tampa. It figures that these Corpses would get along and tour with each other eventually.
I learned a couple interesting tidbits about Cannibal Corpse while putting this together, first and foremost, their appearance in the Jim Carrey breakthrough comedy film, “Ace Ventura : Pet Detective”. God help me, I had seen that movie at least once, but totally forgot about their appearance in it. Apparently, Jim Carrey was a big fan of theirs and other metal acts like Napalm Death and asked for them specifically to be in his movie. At first, once they confirmed that it wasn’t a practical joke, they had to decline since they had already booked themselves for touring during the time they were to shoot. But Jim was adamant and even rescheduled the shooting of their scene to accommodate them. It was a short, but funny scene with Jim crowd floating during one of their shows while they played “Hammer Smashed Face”, pursued by bad guys who also crowd floated, but there was also a deleted scene with them where Jim actually sang with the band. Check out YouTube sometime. It’s pretty funny.
Secondly, I learned “Corpsegrinder” was the inspiration for the singer of Dethklok, Nathan Explosion, on the Adult Swim cartoon “Metalocalypse”. One needs only to watch Corpsegrinder swing his long head of hair around with that massively muscular neck of his and hear his cookie monster growl to know that they are practically twins. Finally, was the bizarre story of Pat O’Brien’s run afoul with the law recently. Two years ago, Pat broke into a house in Tampa, pushed some lady down, and hid in their backyard. When the cops came, he charged one of the deputies with a knife and was put down with a taser gun. Then it gets weird. Immediately before this, Pat had set fire to a house he was renting and when the fire was put out, the authorities found a truly impressive arsenal of weapons inside of it. For starters, he had not one but TWO flamethrowers. Now, one can understand wanting to own one flamethrower, but when you feel the need for an extra, that should be a red flag. Then for the main course, there were 50, count em’, 50 shotguns, 10 assault rifles, 2 Uzis, 20 handguns, thousands upon thousands of bullets, and for dessert… 3 human skulls. But, it being Tampa, he was given only 150 hours of community service and 5 years probation. They probably wouldn’t have been so lenient in Buffalo.
Any-who, back to the show. It was loud and rowdy as one might expect. There is a half decent video recording form the crowd on YouTube of their set. Somebody threw something on stage early on and Corpsegrinder, wearing a “Stalker Wear” T-shirt, scolded whoever did it yelling, “Don’t be fuckin’ throwin’ shit at me! If ya’ see people throwin’, bust their ass!” There were no shortage of stage divers and Little Boot, the stage manager had his hands full trying to keep up snagging them and dragging them off into the wings with the other security guys. For the encore, the crowd chanted, “More Corpse! More Corpse! More Corpse!”.
But the strangest event of the evening was something I actually didn’t witness unfortunately. The folks working upstairs swear that this happened, but in the middle of Cannibal Corpse’s set, an attractive young, Asian woman emerged from the women’s bathroom and strolled onto the dance floor… stark naked. Of all the shows to do this at, this woman chose this one. Sheesh… Perhaps she had some macabre fantasy about being tackled, raped, and torn to bloody pieces by a horde of sweaty, long haired, muscle bound heshers, but they weren’t having any of it. Maybe they were just stunned in disbelief, but the security guys scooped her up pretty fast and that was the end of it. I’ve seen my share of naked folks at places like the Folsom Street Fair, but it’s sort of expected there, even kind of obligatory. Well, I can safely say that I’ve never seen or even heard of some fine lady pulling a Lady Godiva at any metal show since, or any other kind of show for that matter.
Yellowman, The Congos, Maritime Hall, SF, Fri., August 29, 1998
Pete and I had already recorded Yellowman a few times at the Hall and the live album we made was in stores by the time he came to play this one, so why we recorded him again, I can’t say, but it was a good thing we recorded The Congos. Between this show and the one they did opening for The Abyssinians the following March, the Maritime was able to release a live album from their sets in 2000, though I can’t say precisely which songs from which shows or both were used for that album. I’ve said it a million times, it frustrates me no end when live albums are released and there’s little to no information in the liner notes about the recordings. Half the time, one would be lucky just to get the year or city it was taped. So, just in case, I’m including the images from The Congos album this time. As for the show itself, I can once again report that it was a safe bet that plenty of joints were smoked between me and my partner and Pete’s mix was perfect as all his reggae mixes were. I do know for a fact that we didn’t have a video crew that night, so they were spared the nauseating task of tracking their shots of Yellowman as he would incessantly pace back and forth across the stage while he sang. Many a poor cameraman over the years had to endure the land based equivalent of sea sickness trying to stay with him. This would, however, be the final time I’d see Yellowman myself, though having seen and recorded him three times at the Hall and having the live DVD and CD of his under my belt, gives me the satisfaction, pride, and bragging rights that I maintain to this day. He turns 65 years old this year. Wherever he is, I wish him well and hope he is enjoying a well deserved sit down.
Brian Jonestown Massacre, Dura Delinquent, Maritime Hall, SF, Thurs., August 28, 1998
This is sort of a Bermuda Triangle kind of show, since both these bands had played the Hall the previous November. Not having the recordings handy of this time around makes me even question my memory of it happening. I have always feared something like this occurring which is why I have been so steadfast of late to get these “confessions” down pat before my grey matter finally and inevitably turns to mulch. One would think that seeing a band like BJM would stick in your mental craw, considering their frontman, Anton’s, penchant for hair brained idiocy on stage, but I can only assume that he was good behavior that night. Same goes for Dura Delinquent, who’s behavior was equally as wild, though funnier and less antagonistic than the headliner here. The show was a bargain anyway, the tickets being only $7, a steal even by 1990’s dollars. Whether of not this show actually occurred, I saw it, recorded it or not, I can say for sure that I’ve neither band since. The Maritime’s monthly poster and my personal list of shows taped there confirm that this one did happen, so I’m a little stumped. Sorry to all my readers. I want to be the most reliable narrator I can be and want to resist the temptation to, you know, just make stuff up. So, let’s move on.
Alpha Blondy & The Solar System, Boukman Eksperyans, Majek Fashek, Maritime Hall, SF, Thurs., August 21, 1998
It is a distant memory, that of seeing Alpha Blondy for the first time amongst so many other artists at the Reggae Sunsplash at the Greek in Berkeley. I can’t even say exactly what year that was, though I’m sure it was in the early 90’s, but I do remember the Ivory Coast reggae superstar making an impression, enough that I went out and bought both his “Best Of” album and the “Live Au Zenith” one. I’ve always considered the Zenith album one of the best live albums I would ever own, so I was delighted at the prospect of helping record him at the Hall, especially since he hadn’t toured in over 5 years. He took some time off apparently to hang out with his family and he would need to, having sired 7 kids with 7 different women. That would keep anyone busy. Seriously, the more I look into the reggae artists I saw back in these days, the more I’m astounded at their promiscuity, even from Bob Marley. The Wailers’ bass player, the appropriately nicknamed, Aston “Family Man” Barrett, had 41, count em’, 41 kids, and one can safely deduce that they all didn’t come from the same mother. Anyway, I digress.
But Alpha was back and touring again, having just released his new album on his own record label, “Yitzhak Rabin”, named after the Israeli leader assassinated three years prior to this show. Speaking of the promiscuous Bob again, Alpha was able to employ two of the three of Bob Marley’s original I-Three’s singers, his ex Rita Marley and Judy Mowatt, for the project, though they didn’t tour with him for this one. I was disappointed to say the least that Alpha Blondy didn’t want us to record. I came into the recording room to find Boots and Pete talking to a pleasant, young woman wearing African clothes and they broke the news to me. Impulsively, I lividly protested asking that we make sure to talk it over with Alpha’s manager, but was embarrassed to be informed that she was indeed his manager. She was gracious about it and I eventually cooled off. Actually, I was surprised Boots didn’t chew me out later from my reaction, but he didn’t and was uncharacteristically all smiles. God knows why. Maybe he was just grateful that they were there in the first place and didn’t cancel. Regardless, the show went on, we got to record the opening acts, and I had the consolation of the pleasure of going upstairs for Alpha’s set and enjoying it.
The first opening act that night was singer/songwriter/guitarist Majek Fashek from Nigeria. Sadly, this would be the last time I’d see him, having just found out that he died a year ago in London from a battle with esophageal cancer at the age of 57. Following him was Boukman Eksperyans from Haiti, who I had seen once before at The Fillmore in 1995 opening for Baaba Maal who coincidentally had just headlined at the Maritime less than two weeks before this show. Small world, eh? Boukman Eksperyans were still in exile from their native country, fearing the military who they had criticized with their music before the fall of Aristide in 1991. Both openers were great and recording them helped ease the sting of losing my chance to record Alpha. Though I didn’t have enough time to run home and grab my own tape deck to get Alpha’s set myself, I would at least redeem the loss five years later when he returned to play in San Francisco at the Avalon Ballroom.
Bauhaus, War., SF, Mon., August 17, 1998
Bauhaus, War., SF, Tues., August 18, 1998
(MONDAY) : Double Dare, In The Flat Field, A God In An Alcove, In Fear Of Fear, Hollow Hills, Terror Couple Kill Colonel, Silent Hedges, The Passion Of Lovers, Severance, Boys, The Sanity Assassin, She’s In Parties, Kick In The Eye, Telegram Sam, Ziggy Stardust, Burning From The Inside, Bela Legosi’s Dead
(TUESDAY) : Double Dare, In The Flat Field, A God In An Alcove, In Fear Of Fear, Hollow Hills, Terror Couple Kill Colonel, Silent Hedges, Severance, Boys, The Sanity Assassin, She’s In Parties, The Passion Of Lovers, Dark Entries, Telegram Sam, Ziggy Stardust, All We Ever Wanted Was Everything, Spirit, Bela Legosi’s Dead
I was still a neophyte to the Goth scene, though I was a huge fan of The Damned, but I knew that these shows were important. Most Goth people would cite Bauhaus as clearly one of the founders of the genre, if not the well spring from which it was born entirely. From their humble beginnings in London, the brothers Haskins, Kevin and David J on drums and bass respectively, formed the group with Daniel Ash on guitar. He had been attending art school at the time and was friends with vampire-to-be Peter Murphy who he convinced to leave his job at the printing factory and join them. After only five short but intense years, they split up, Peter moved to Istanbul with his Turkish wife and pursued his solo career and the others with their new band Love & Rockets. They all had modest success with their endeavors, critically and commercially. Love & Rockets would also reform again and I would have the honor of recording them at the Maritime the following March.
It had been 15 long years since they had toured together as Bauhaus and were calling it appropriately enough, the “Resurrection Tour”. This would be the end of a long stretch of shows for me 5 in 6 days, though technically it was 6, since I did two shows in one day on the 15th, but who’s counting? On a funny side note, the first night was on the same day President Clinton admitted publicly to the Monica Lewinsky affair. Though as I wrote before, Monica was a fan of Sarah McLachlan who I’d recently seen at the second Lilith Fair, I can’t say whether either her or Clinton had ever heard Bauhaus. Still, impeachment for Bill must have been a real “Kick In The Eye”. (Ba-dum-boom!) Both shows were sold out and spookily spectacular. There was no shortage of fog machines those shows, that’s for sure. Like Tricky, who played there the night before, Bauhaus pretty much made up their genre from scratch and though it might not be the most complex music in the world, it is unique stylistically and their songs likewise improved as the years progressed. I was able to find a great bootleg of the first night on YouTube. That show I had an usher badge, so I worked all night clearing aisles, but I was just a volunteer for the second night, so I was let go shortly after Bauhaus got on and was able to have a beer or two and enjoy myself. My friend Dan was there ushering with me for at least one of those nights.
The sets between days were mostly the same, though they jumbled up the order a little and switched out a few songs between them. The first day got, “Kick In The Eye” and “Burning From The Inside”, the second got “Dark Entries”, “All I Ever Wanted Was Everything”, and “Spirit”. Both nights, they did versions of T. Rex’s “Telegram Sam”, “Severance” by Dead Can Dance, and “Ziggy Stardust”, the Bowie cover that was one of the main reasons they were famous. The other was for the seminal Goth anthem, “Bela Legosi’s Dead” which they ended both nights with, extending their live rendition well over twelve minutes. I’ll never forget the nightmarish sight of Peter swaying about in the fog, swirling his black cape around, and crooning out like he was Dracula announcing loudly, “Children of the night! What music they make!”. Pity neither of these shows were on Halloween. Bauhaus would in fact play at The Fillmore on Halloween in 2005, but I saw Jello Biafra play with The Melvins at the Great American that night. Tough choice, but I know I made right one. I’m happy to report that these nights got a well deserved poster and an excellent one at that.
I made it a habit to go up to the balcony for the encores at Warfield show to hover behind the front of house sound board, seeing what kind of gear they were using, as well as to enjoy the view. The sound is always best up there naturally and at the end of the encore, I would be in prime position to ask the sound guy for a setlist, schedule, or stage plot if they were amenable. These nights, I couldn’t help but notice they were recording, having two stacks of three ADAT machines, recording 24 tracks, 8 on each machine, seamlessly starting on stack after the other, so they wouldn’t lose any songs. This is the same set up we did at the Maritime. Unfortunately for the sound guy on the second night, he launched his second stack of ADATs and forgot to format his ADAT tapes ahead of time. ADAT tapes, you see, have a leader space at the beginning of them that have to be formatted at first for a couple minutes before, so they can sync up together, and this guy launched his second stack and had to wait at the encore for the leader to run its course, losing the first minute or so of “Bela Legosi’s Dead”. He knew his goof and I had the good sense not to point it out to him.
I can’t say if this goof cost the shows at The Warfield the distinction of being the ones used for the “Gotham” live double album they released the following year. They used the songs from their shows at the Hammersmith Ballroom in New York City that they performed there just three weeks later. Still, the setlist was the same, they played just as well, and I have these precious, melancholy memories to sustain me during my moments of ennui. It was a good thing I caught both shows because I would have to wait until late October 2005, a full seven years later, for Bauhaus to get back together and tour again, once more playing back to back shows at The Warfield. Those nights made up for my missing them at the aforementioned Halloween show at the Fillmore they played a a couple days afterwards. But I would be lucky enough to see Peter Murphy three more times touring solo between those years and then once more at a rare small club show at Bottom Of The Hill in 2011, though I had stopped bootlegging by then. But Mr. Murphy carries on to this day and continues to inspire his legions of Goth fans. On a side note, during the season 5 premiere of “Rick & Morty” that was just aired this week, I couldn’t help that Peter bared a strong resemblance to Mr. Nimbus. I’ll let you be the judge.
Tricky, DJ Pollywog, War., SF, Sun., August 16, 1998
It had been exactly a year to the day since I had last seen Tricky. I don’t think that has ever happened before or since. Yeah, last time he did his thing in my presence, he was on the Main Stage at the last Lollapalooza tour and now I was seeing him headline for the first time at The Warfield. Despite it being the fourth time seeing him in just three years and that I would see him quite a few more times in the future, I have always had a hard time following his music, even to this day listening to the tape again. It’s hard enough to understand anything the female singers are saying, but everything out of his mouth is practically indecipherable. Still, that doesn’t mean I don’t like him or his music, I do. Tricky is one of a kind, partially because he is mostly self taught. Bands like him, Bauhaus, who played the following two nights there, and U2 might not be the most technically proficient musicians in the world, but when you’re making it up as you go along in the beginning, you sometimes make something unique that’s actually good. He was highly prolific, and naturally got better, more sophisticated as the years passed.
Anyway, in a strange coincidence, the night before, Tricky’s old band, Massive Attack, was supposed to perform at the Bill Graham Civic opening for The Verve, but they didn’t show up. They got fed up with The Verve’s shenanigans and bolted to headline their own tour and were replaced by some mystery DJ at the last minute. And speaking of mystery DJ’s, Tricky had renowned rave veteran DJ Pollywog spinning records before he and his band came on. She’s an easy one to spot, tall and always dressed extravagantly, not to mention a hell of a DJ. I was ushering as usual and could actually hear somebody complaining during her set, “That was my spot a little while ago!”. Tough luck for her. It was a pretty full house, the biggest crowd I would ever see for Tricky for one of his own shows.
Like I said, I still really didn’t know his songs, at least not by name, but after some research and close listening, I at least determined that they started with “Bury The Evidence”. They then did “Christiansands”, a song he recently landed on the soundtrack for the hit John Woo action film, “Face/Off” with John Travolta and Nicolas Cage. And though I don’t recall the order or any songs in between, also played “Angels With Dirty Faces”, “Anti Histamine”, “The Moment I Feared”, “Tear Out My Eyes”, Carriage From Two”, and “Bad Dreams”. For the encore, he did “Vent”. This would be the first time I’d be seeing Tricky without his siren collaborator Martine Topley-Bird. Though they’d been together from the start and had a three year old daughter by then, things went sour and they went their separate ways. To fill in for the female parts, he now had Carmen Ejogo and Denis Ellington, who performed admirably. It wouldn’t be long until I saw Tricky again at Fillmore, returning to town just four months later. At least that show got a poster. To this day, whenever I think of him, the soundbite from the Playstation snowboarding game “SSX Tricky” whenever you score a on a complex trick, “TRICKY – TRICKY – TRICKY!” pops in my head. I miss that game. Spent a lot of hours on that one.
The ONE Festival : Toots & The Maytals, Burning Spear, Long Beach Dub All Stars, Young Dubliners, The Congos, Pier 30/32, SF, Sat. August 15, 1998
The Verve, BG Civic, SF, Sat., August 15, 1998
SETLIST : Space & Time, Sonnet, This Time, On Your Own, Weeping Willow, The Drugs Don’t Work, Lucky Man, History, One Day, Velvet Morning, Come On, See You In The Next One (Have A Good Time), (encore), So Sister, Bittersweet Symphony
This was one of those rare occasions where I did two shows in a single day, the first being The One Festival out at Pier 30/32, just down the hill from the Maritime. Boots, the svengali of this operation, was expanding his horizons, or more accurately trying stop the steady bleeding of money he was experiencing at the time by throwing this wing ding. I helped Pete put together a mobile recording station in the back of a box truck and parked it next to the stage, running our mic snake to the monitor board and patching in. We had the Mackie sound board, ADATs, the works, and luckily everything was functioning normally, being a bit concerned that the ADATs would seize up from the heat. Though it wasn’t sold out, maybe around three or four thousand folks out there, and probably just broke even financially, I have to give Boots credit for pulling it off. I liked seeing shows down at that pier, it having a spectacular view of the bay and the Bay Bridge stretching beside it. I’d go on to see a few shows there in the years to come, mostly the Van’s Warped Tour. There were plenty of food and craft venders, a Sony Playstation exhibit, and a couple DJ tents to entertain the kids as well, but Pete and I had our hands too full to enjoy them.
The line up that day was an impressive, though familiar one to the Maritime folks. Both Toots & The Maytals and Burning Spear had performed twice at the Hall in 1997, and the Long Beach Dub All Stars and The Congos had performed once that year as well. The only newbies were the second act of the day, The Young Dubliners, a Celtic rock band based out of L.A. They had just released a live album of their own that February called, “Alive Alive O’”, so they wouldn’t be interested in our stuff anyway. Likewise, Burning Spear had already used a couple songs for their “A(live)” double album and The Congos would eventually put out a live album from stuff we recorded at the Hall, so Pete and my efforts that day proved to be just wishful thinking. Still, always a pleasure to hear all these guys, especially Toots. That guy could get a paralyzed person to dance again with his music. I do regret that I had to bail on Pete for the aftermath of the show, but I gave plenty at the office that day. The Verve wouldn’t wait and I had to get across town to catch them in time.
The Verve were playing at Bill Graham Civic and I high tailed it up Market Street once Toots wrapped up his set at 6, grabbed a quick bite, and made it in on time. I and assuredly everybody else at that show were disappointed to discover that the opening act, trip hop pioneers Massive Attack, weren’t there to perform. Apparently, they got fed up with The Verve’s in fighting and split during that tour to headline their own tour leaving us to hear a last minute DJ replacement open the show. Guitarist Nick McCabe had left The Verve just two months prior in Germany after getting into a fight with singer Richard Ashcroft. McCabe broke his hand slugging him in the jaw and would have to be replaced with veteran slide guitarist and session player, B.J. Cole. Being 52 years old at the time, B.J. was probably the oldest person in the house that night, well, who wasn’t a stagehand anyway. Coincidentally, he had just finished touring with John Cale from the Velvet Underground who had just played two nights with The Creatures at the Maritime that June. Though The Verve were riding at the height of the popularity with their new album, “Urban Hymns” and the smash hit 90’s anthem “Bittersweet Symphony”, they would play their last gig just two weeks later at Slane Castle in Ireland. Speaking of Ireland or rather Northern Ireland, it was a somber occasion that day after hearing news of the infamous bombing in Omagh. Thankfully, the horror of that tragedy was the impetus for the Brits and the Irish to finally say enough was enough and make peace.
Certainly the news of what had happened in Omagh had added a additional weight to the emotional stress The Verve were experiencing at the time, but their set that night was a downer for sure. I mean, like most of their shoe gazer brethren, they were a melancholy bunch to begin with, but one couldn’t help but feel like their hearts were just just not in this, especially for Ashcroft. It was quite an emotional downturn from the uplifting set from Toots I had heard only hours earlier. I’d seen The Verve headline The Warfield only nine months before and I could tell the difference in their demeanor. It was almost if they were already saying goodbye to us all. Before they came out, they played a bit of a recording of Jimmy Cliff’s “Many River To Cross” adding to the funeral like feel of the night. Still, all the songs were beautiful as always and having Cole on slide guitar added an extra wrinkle to tunes like “The Drugs Don’t Work”. Between songs, Ashcroft dedicated the earlier tunes to “the old fans, the people who’ve stuck with us from the beginning” which I took pride being one of them.
Piling on to the sadness, the last song of the set, the eerily appropriate “See You In The Next One (Have A Good Time)”, was played acoustically as was “So Sister”, the first song of the encore. At least they went out with a bit of a bang, playing an extended version of “Bittersweet Symphony”, which Ashcroft introduced as “one of the greatest songs of all time”. During the explosive guitar jam near the end, he kept shouting, “California Soul!”. But that was it. The Verve were finito. They would reunite in 2008 playing a handful of festivals, including Coachella, but this would be the last time for me. Guitarists Simon Jones and Simon Tong would go on to play with the Gorillaz and drummer Peter Salisbury would do work with the Black Rebel Motorcycle Club and Charlatans UK. Ashcroft had a respectable solo career of his own, releasing his first effort, “Alone With Everybody” a couple years later, but would never achieve the level of success he had with The Verve. Sad to see them go the way they did, but like the song says, “I know I’ll see your face again”.
Shonen Knife, Michael Shelley, Maritime Hall, SF, Sun., August 14, 1998
SETLIST : Konnichiwa, Banana Chips, Flying Jelly Bean Attack, Lazybone, Catch Your Bus, Cookie Day, Riding The Rocket, Ice Cream City, Gyoza, Sushi Bar, Daydream Believer, Twist Barbie, Frogphobia, Antonio Baka Guy, One Week, (encore), Kappa Ex., Bear Up Bison, (encore), E.S.P.
Years before K-Pop swept the nation and the world, J-Pop was having its time in the sun and Shonen Knife were one of the bands leading the movement. It was a long time coming since they’d been playing since 1981, but most Americans like myself would eventually hear about them first from Nirvana’s love affair with their music ten years later. Kurt and and the gang fell under their ultra-cute spell and took them on their tour of the U.K. They would teach Kurt how to play “Twist Barbie”, a song he’d play at secret shows and Dave Grohl even helped them set up their drums on that tour. I’d first see them in person in 1994 on the side stage at Lollapalooza, but this time they were playing the Hall and I had the honor of recording them. I do remember being miffed at Beavis & Butthead for their not-so-kind review of their video, “Tomato Head”, one of the few times I didn’t agree with them, other than their cruel criticism of King Diamond, who coincidentally had just played the Hall with his band old Mercyful Fate eleven days before this show.
Opening that night was New York City singer-songwriter, Michael Shelley, who recently had members of Belle & Sebastian collaborate with him on his latest album, “Too Many Movies”. This would be the last tour bassist and founding member Michie Nakatani would be on with Shonen Knife, she leaving the band the following year. The band was arguably at the height of their popularity in America at the time, touring with their latest album, “Happy Hour”, and recently contributing a cover of “Top Of The World” by The Carpenters for the recent film remake of “The Parent Trap”. The show at the Maritime was probably about half sold, but the crowd was twice as enthusiastic as any, more than making up for it. I know it sounds like a wise crack, but Japanese shows always seem less sold because their bodies are smaller, (Sumo wrestlers notwithstanding), same goes for kids shows. Seriously, as an usher, I know, you can fit more small people on the dance floor. Obviously, the opposite is true for overfed older crowds like blues people and hippies.
The audience erupted in applause as they took the stage in their colorful, custom made outfits and played the appropriately titled, “Konnichiwa”. Early on between songs, somebody up front in the crowd handed singer-guitarist Naoko Yamano a stuffed animal. She thanked them for the “cute present”, though was unsure if it was a “lion or monkey”. Then she asked if anybody out there about the new album, asking, “Have you listened?”. They applauded loudly and she praised them saying, “You are genius!”, and then launched into their new song, “Catch Your Bus”. The new album had all sorts of songs about food items, such as banana chips, hot chocolate, gyoza, cookies, and sushi. For the “Sushi Bar Song”, Naoko first instructed the crowd how to clap for the chorus and they did loudly, very loudly in fact and kept going to the point where she said, “You are genius! Can you stop… please?” To this day, whenever I eat a cookie, I get that “Cookie Day” chorus of “Cookie Day! Cookie Day! It’s a beautiful Cookie Day!” stuck in my head. They also did a cute cover of The Monkee’s hit song, “Daydream Believer”.
Like the members of Shonen Knife, their songs were all short and sweet, leaving their set, just under an hour long. For both of their encores, the crowd’s clapping and chanting of their name was deafening. Naoko thanked them both times with a charming, “Domo arigato”. For the second encore, she told them about their merchandise booth in the back and their new book, “Shonen Knife Land”, that included amongst pictures of them, cooking recipes, how to make their custom clothes, and an original science fiction cartoon. She cracked us up, complaining that the books were “very, very heavy to carry from Japan” and pleaded for them to relieve her of some of the weight. I know I saw them at least one more time years later at Bottom Of The Hill, but it was after I stopped bootlegging, so I can’t say exactly when that was, probably in 2010. But they are still around to this day and are actually celebrating their 40th anniversary as a band this year.
Baaba Maal, Zaoli West African Drum & Dance, Telefunken, Maritime Hall, SF, Sat., August 8, 1998
I’ll never forget this show for a number of reasons, but for one in particular, which happened to be totally unrelated to Baaba Maal. I knew that Pete was going to be recording that night, so I took up an invitation from my friend Matt Riggs to see a movie under the influence of LSD early on in the day. What possessed me to do this for a screening of “Saving Private Ryan”, I can’t really say. Call it a lapse in judgement. It had just been released in the theaters two weeks before and I had seen it once already, so at least I would have been caught in there unawares of the horrific violence it contained, especially during the opening scene at the invasion of Omaha Beach. If I was to be punished for such a weird and disturbing thing to do, it came early when I met Matt before we went into the theater and he informed me that he changed his mind and decided not to dose for the movie. I had already dropped mine and was well on my way. At least I had Matt as my wingman.
Contrary to what you might imagine, I wasn’t scarred for life. In my experience, watching movies on LSD isn’t that strange. I tend to forget about it actually, becoming totally immersed in the film experience. Part of me was a little like Lance in “Apocalypse Now” when he was on acid and was watching the nighttime fighting at the scene at the bridge around the middle act of that movie. The most disorientating part of seeing a movie on LSD is actually when the movie ends and the lights come on again. Still, like anyone who has seen that war film on a big screen, upon leaving the AMC theater on Van Ness, I sort of had to regain my composure, mentally and physically. I mean, I wasn’t tripping balls by the time I left Matt and made my way downtown and up Rincon Hill to the Maritime, but I was still feeling it to be sure.
When I got to the recording studio, I did my best to act normally and concentrate on the task at hand. I labeled the tapes as always and helped Pete patch things in, but I was uncharacteristically quiet and I could tell Pete was wondering what was up with me a bit. When I thought we had everything well in hand, I confessed to Pete what I had done and he laughed about it. He knew something was up and laughed, “Wow… Nick is triiiiiiping…” By the time the show started, it pretty much had worn off and I had a couple beers to calm my nerves. I actually had seen Baaba once before in 1995 at The Fillmore, so I knew what I was in for and knowing it would be a fun and uplifting show, also helped me come down. Don’t remember much about Telefunken, named after the German radio and television company, but I as well as the crowd were impressed by the Zaoli dancers and drummers.
Baaba was a star in his home country of Senegal, but was continuing to make a name for himself in America and the rest of international stage. He had just released the “Nomad Soul” album, co-produced by Brian Eno that year as well as another album called “Djam Leeli : The Adventures”. Also, he had contributed a song called “Bess, You Is My Woman Now” to the “Red Hot + Rhapsody : The Gershwin Groove” album, raising money for AIDS research and awareness. Senegal and all of West Africa had been horrifically decimated by the AIDS virus in the 90’s, so one can appreciate his intention to help in the effort. As always, I had hoped Baaba would release some of the stuff we recorded at the Maritime, but as luck would have it, he had just recorded a live album in London called “Live At The Royal Festival Hall”. Strangely enough, KFJC, the radio station helping promote this show, also sponsored the Mercyful Fate show the week before, a musical experience different on a number of levels.
As he did when I saw him three years before at The Fillmore, Baaba brought along a band of virtuosos with him. Along with a drummer, guitar, bass, keys, and a couple horn players, he had a handful of guys with various percussion instruments, including one up on the front corner of the stage surrounded by an array of at least 7 or 8 congas on stands. They opened the show with one of them rhythmically hitting a simple beat with a stick on stage and Baaba joined him wearing a cymbal shaped straw hat, clapping along, then accompanying him with his hand drum, followed by the rest of the band. Once everybody was in playing, altogether, these guys were very tight, brilliant, and energetic. Baaba and his percussion playing back up singers all wore colorful traditional African clothes and danced skillfully throughout the set. These guys had their moves down cold, acrobatically jumping and prancing about with their lean, lanky bodies under their flowing robes, all while smiling widely. I was particularly blown away once again by the intense sound and power of Baaba’s voice.
He sang in a language called Pulaar, native to the Podor region where he was born and raised, but he did ask the crowd in English about a half hour into the set, “San Francisco! Do you feel alright!?!” Of course, they responded in the positive. He also introduced on stage between songs the legendary Jamaican guitarist and songwriter, Ernest Ranglin, who joined him and a few members for a couple acoustic songs. Pete knew about Ernest, having played with well, basically every reggae and ska artist ever, but I hadn’t heard of him before that night, though I had obliviously heard his work with others plenty. Soon be floored by his masterful skills picking his wide body guitar. During the second song Ernest played with him, Baaba put a Fez-like hat on his head during one of his guitar solos.
After Ernest left, Baaba sat in a chair in the center of the front of the stage and had his back up guys sit indian style on the floor, two each beside him, like he was telling a story to the village. The song picked up and then they all got up eventually and continued dancing as they sang. After, he did a bit of call and response with one of his drummers, singing a line and the drummer replicating it, before the rest of the band joined in full swing. The revelry would continue for nearly two hours in total, ending the night with the encore, a song about Dakar, the capitol of Senegal. Though this would be the last time I’d see Baaba perform live, but his voice would be immortalized worldwide twenty years later in Ludwig Goransson’s score for the seminal comic book film, “Black Panther”.
Mercyful Fate, Mr. Sinister, Old Grandad, The Council, Maritime Hall, SF, Sun., August 3, 1998
It had only been since April since I had my first and unforgettable audience with King Diamond at the Maritime and he was already back again, this time with his old band, Mercyful Fate. Formed way back in 1981, they had broken up and reformed twice already by this time and were touring with their latest album, “Dead Again”. Original guitarist Michael Denner had been recently replaced by another Mike, Mike Wead from Sweden. Wead would continue to tour with Kind Diamond for years to come. Hank Shermann, the other original guitarist was there and in fact had made surprise cameo to King Diamond’s show at the Hall, helping him play the Mercyful Fate song, “Come To The Sabbath” for his encore, which they played that night as well. This gig was being sponsored by radio station KFJC, who were also sponsoring the Baaba Maal show the following weekend. One could hardly come up with two more different bands in style and appearance, but good for KFJC for having eclectic taste, and good taste at that.
There had been a show at the Hall the night before with Blink 182, but knowing in advance that we weren’t being allowed to record, resigned me accepting that I had the night off. In hindsight, I should have shown up just to watch the show, but back then I had no idea who they were and was working so much that I actually wanted a night to rest. I would see them soon enough at The Warfield in 2001 and elsewhere in the future. Boots had made a first time joint effort with the production company Goldenvoice to put it on. I suppose they both considered joining forces would be mutually beneficial in their competition with BGP, who were still in flux structurally after the death of Bill Graham. Live 105 and Miller beer were there too promoting it. But back to the show at hand.
I can’t remember much about The Council, but I did recall liking local act Old Grandad immensely and made a point to see them again, once on New Year’s Eve in 2004 at a very small club in the Outer Mission called Sadie’s. They were a very, heavy-heavy metal group, much in the vein of Sabbath, Fu Manchu, or The Melvins, sludgy and dark as can be. I can’t recall Mr. Sinister either, though I do know that they are named after a Marvel super-villain who occasionally tussled with the X-Men. I’m sure they’re gone the way of the Dodo now, but there now is a different hair metal band with the same name out of Omaha, Nebraska that formed in 2011.
Though I didn’t save the recording of Mercyful Fate, I did enjoy the show and appreciated the fact that they walked on stage to one of the bits from the soundtrack of “The Omen”. I think it was from the part where David Warner got his head cut off, but it might of been the bit from “The Omen II” where that guy got crushed between train cars. Either way, it was creepy and thus perfectly appropriate for the evening. Like last April, the King once again donned his top hat and ghoulish make up, singing his unmistakable siren song of Satan through his bone cross microphone thingy. Likewise, there was again no shortage of devil hand sings elevated on high in the crowd and swinging full heads of long hair on stage from King’s fellow bandmates. Though this would be the only time I’d see Mercyful Fate perform, I would have the pleasure of seeing the King a few more times in the years to come.
Sonia Dada, Maritime Hall, SF, Fri., August 1, 1998
For some mysterious reason, Sonia Dada’s show was postponed a couple weeks along with a string of cancellations in July a