Dec
09
2007

My Tempe Music History

Sunday, December 9, 2007 - 10:11:17 pm
(Posted Under: Tempe Music Scene Tempe Music Scene, Tempe)
It's a story I've told many times over the years, and years ago someone suggested I should make a blog article about it (long before I even had a blog), so here goes...

This is a cronological look at how I got into the Tempe scene, and my introduction into the bands that I listen to on a daily basis.

Gin Blossoms (Dec, 1993)
It all started in December 1993, late one night listening to American Top 40, which I used to do back in those days - back when it used to exist back in those days. From memory, it finished after 25 years in 1994 - y'know, the Kasey Kasum / Shadow Stevens one.

This was back when Fox FM had moved it from 6pm Sunday to 12am, and on that December night leading up to Christmas, I heard a song from this new band called "The Jin Blossoms (as I thought at the time), which just immediately spoke to me - every line of Hey Jealousy was the song I should have written, but didn't. Immediately I knew that I had to tune in next week to get the song on tape.

Ironically enough, this was at the time when Hey Jealousy was making it's way down the chart, and Found Out About You was making it's s climb up. and as such I got a double dose of the Blossoms back to back, Hey Jealousy at 36, and Found Out About You at 35. The chorus of Found Out About You also painted such a great mental image. I pretty much couldn't wait until the next week to get these songs on tape. I really liked that also, and was particularly taken by the lyrics, and the main riff of the song, but "geez, relax on the arpeggios" I thought.

The next week, I tuned in anxiously tuned into to AT40, which was the annual Christmas show, and as it turns out, Jealousy had dropped to #40. Not being prepared for it to be the first song, I never got the start of the song on tape. (I actually dug out the tape recently, and was suprised, because I'd forgotten just how much of the song I didn't have - the recording started somewhere through the second verse). I did however manage to get the majority of it, and Found Out About You, which I played to ridiculous porportions over the next week. I think it was this week, that I heard that the guitarist of the band had been kicked out. I was 15, and a firm believer that any songs, by default, were written by the guitarist. They just were. (As it turned out, with Hey Jealousy and Found Out About You, they actually were). I clearly remember thinking "I've finally found this awesome band, and they've kicked out the fucking lead guitarist! Why did it have to be the lead guitarist?!?", which was partially based on my 15 year old perceptions of how rock n' roll worked, and also based somewhat on reality - such as the brilliance behind the main Found Out About You riff, which was clearly the work of the band's lead guitarist. I was of course later vindicated, finding out that lead guitarist Doug Hopkins was the driving force behind both those songs. ("I KNEW it!").

I had kind of immediately become a Hopkins fan, as much as a Gin Blossoms fan, within about 3 weeks, still not knowing that much of the band. I actually remember fairly clearly thinking that someone with the talent of Hopkins would probably show up in another band on the airwaves. Of course, I think by the third week I heard (all through AT40) that this wouldn't actually eventuate - Doug Hopkins had committed suicide. Ironically enough, his death was either the weekend of, or the weekend after I first heard Hey Jealousy.

Having just come off years and years of glam rock (Poison, Motley Crue, Skid Row etc.), the one thing that this band lacked, was the soring guitar solos. I think my initial assessment was "Awesome songs, not much of a lead guitarist though", based on the solos of Hey Jealousy and Found Out About You, which were vastly different to what I'd been listening to since first getting into Poison in 1988. Though, by Jan, and especially after picking up the tab for Hey Jealousy in Guitar World, I started to slowly see the brilliance in Hopkins' style. What started out to me sounding hacky and kinda amateurish, turned into actually having a lot of intracies. In reality, it only took a couple of months to come around to Doug's way of thinking.

All the while, I kept listening to AT40, particularly to hear any info on the Gin Blossoms. Which back then, was my only source of information. After a while Until I Fall Away was released, and still nothing on the Australian airwaves, and I started to give up hope on ever getting to hear the intro of Hey Jealousy again (which I'd never gotten on tape). It's actually funny to think how much larger the world seemed in 1994, and the impossibility of getting your hands on music that wasn't domestically released. To my suprise, I heard an Australian DJ forward announce a new track by the Gin Blossoms was coming up. I almost fell off my seat, and expected it to be Found Out About You, but no, a few moments later the chords of Hey Jealousy rang out. Finally I got to hear the intro again! Pretty much immediately I went out and found the cassette single, and put the album New Miserable Experience, which hadn't hit the stores yet, on order. So, as it turned out, while we were a good 7 months behind the US, the Blossoms' music made it to Australia. I can't count the number of times I heard them on the radio after that.

The reason I listen to every other band listed here, and for even writing this comes down to one thing - Doug Hopkins.

The Refreshments (1996)
The Refreshments were all the buzz in the Blossoms's fan camp throughout 1996, in no small part to them opening for the Blossoms on the west coast leg of their Congratulations tour. I first received a tape of Fizzy Fuzzy Big And Buzzy, early to mid 1996. On the first listen I wasn't moved. This really have as much to do with The Refreshments as it did the fact that I'd received my first copy of Dusted the same day. Listening to Dusted was really exciting, Fizzy was okay, but I undoubtedly just couldn't wait to listen to Dusted again. Later that night I listened to Fizzy again, and - well, that was that. Immediately I identified with Blush's big guitar, which was immediately recognizable as Hopkins influenced. I don't think that at the time I explicitly knew that Brian was the world's biggest Doug Hopkins fan (behind maybe Bill Leen) - not surprising at all. It didn't take long to come to appreciate the touch in check lyrics, and desert imagery, but it was certainly Blush's guitar that first took me in.

Fizzy Fuzzy Big And Buzzy remains one of the quintessential Tempe music albums, comparable with New Miserable Experience.

September 1996
In writing this, it dawns on me that the next four tapes is really what changed it from a Gin Blossoms (and Refreshments) thing to a Tempe thing. Everything after that was actually a no brainer - either following the split off projects, or swallowing up new Tempe bands. The Tempe music thing has definitely grown, and widened in terms of bands and is still worthwhile mentioning them all, but September 1996 really was the turning point, and the definable time that I really became into the Tempe scene.

Dead Hot Workshop (Sept, 1996)
Until getting on the internet in 1996, I'd known of Dead Hot Workshop, but had always thought Dead Hot was the Gin Blossoms rehearsal studio - based on the photo inside the New Miserable Experience original liners. It was pretty cool to find out that they were actually a fellow Tempe band. With that, the references in the Refreshments songs, I was pretty anxious to get 1001. I did around September 1996 - and didn't like it. This was in no part through lack of wanting to. I just didn't get Dead Hot. I guess at the time it was just a bit too alternative, or just not what I was expecting based on the Blossoms and Refreshments, who admittedly they were quite often likened to.

I gave 1001 several times over the following 3 months, hoping that something would change, which was always in vein. Eventually I just resided to the fact that Dead Hot wasn't for me. Around that time, I gave 1001 what was going to be the last time, and amazingly on that listen, the Dead Hot Workshop thing clicked!

On so many levels, Dead Hot is the most respectable band of the Tempe scene, and music overall. If you're looking for the best band that you've never heard before, look no further than Dead Hot Workshop.

Chimeras (Sept, 1996)
The Chimeras was the second of four albums I got in Sep 1996, and like Dead Hot were much anticipated, in no small part being that they were formed by Doug Hopkins, even though I was well aware that Mistaken For Granted was completely post Hopkins era. Unlike Dead Hot Workshop, I immediately loved The Chimeras. Probably different than I expected, and more rootsy, but immediately became a favorite album for me.

Still to this day I maintain that Mistaken For Granted is the best record the Zubia's have done post Hopkins. It doesn't really get a good wrap in general, but for mine, Mistaken is a quintessential Tempe album.

The Piersons (Sept, 1996)
Jim! Ya ha! I first got a copy of Humbucker with this batch of tapes. I hadn't heard much about the band at the time, other than hearing their name along with others regularly on the Long Wongs weekly schedule. Just like Mistaken For Granted, I immediately loved The Piersons. Unadulterated cow punk rock 'n roll at it's best! Much like Dead Hot Workshop, a great band for being true to the essence of rock 'n roll and never selling out.

Satellite (Sept, 1996)
Satellite's self titled album was the fourth tape I received in the batch with the others. And was the one that was like 1001 for me - I didn't get the appeal. Which in no doubt was due to Stephen Ashbrook's voice, and seemingly perverted psyche - "Watch You Through Your Window", .

Unlike 1001, I never actually came around to Satellite. The last time I listened to the album was probably sometime in 1997. Years later I got a copy of the CD release party for Stephen Ashbrook's new CD American B-Sides. I particular got this for The Pistoleros opening set, but was encouraged to get Stephen's sets. I only really did for the sake of completeness of the recording, but on listening to it, surprisingly my whole outlook on Stephen Ashbrook and Satellite changed. It only took me 6 years, to understand what the big deal about Stephen Ashbrook was, but I eventually did. I dusted off my Satellite cassette, which prompted got chewed, which prompted me to buy Satellite, Navigator and American B-Sides. Despite not liking it at the time, I can't listen to Satellite enough these days, classic Tempe album.

Roger Clyne & The Peacemakers (June, 1998)
1997 and 1998 was a bad year for loosing the best bands - the Gin Blossoms called it quits, soon followed by The Refreshments. Getting into The Peacemakers was an obvious thing, just following Roger & PH's movements after the Refreshments breakup. And as it progressed, Steve Larson and Scott Johnson joining the ranks, even more of an obvious thing.

Initially while following the band closely, they were a little more country for my liking, which was really no doubt "a little more country that The Refreshments" more than anything. It was the release (slash the lead up to the release) of Sonoran Hope & Madness that really got me on board with the Peacemakers thing.

Storyline (1998)
Storyline was particular great, from the outset, to hear Brian Blush was in music news. Albeit, that was somewhat short lived (only playing on the initial song, It's Only A Matter Of Time) before disappearing off the face of the earth, Storyline turned into a great who's who of Tempe music, and like with the Peacemakers, was an obvious project to follow right from the outset.

Ghetto Cowgirl (April, 2005)
I'd actually heard of Ghetto was back 1998, and had downloaded To The Point and Excuses For Losers (either from azcentral, or mp3.com) back in the day, but had never paid that much attention to them. I actually picked up both the albums in at Zia Records on Katie's recommendation in 2005, and saw them in Phoenix probably the next week. Immediately I wondered why I hadn't paid attention to Ghetto before this.

Loretta (2005)
Loretta is a band that I was supposed to see in April 2005 (not that I'd ever heard of them before), but didn't get to, for reasons that aren't that clear in my mind. Probably just from being so busy.

Despite this, I got a live recording from Katie a couple of months later. And promptly cursed and yelled about not getting to see live! Loretta's songs are just perfectly crafted, period.

It's almost painful that most of these songs will probably just disappear in the ether. Not much happened with Loretta, and for all extents and purposes seemed to quietly dissappear in mid 2006. And absolute shame, because a Loretta album would have been awesome.

Charmers Green / The Black Moods (April, 2005)
My first exposure to The Black Moods (at the time Charmers Green) was - well, the only true way to experience The Black Moods - live and in the flesh. In Tempe, Katie had said how I probably wouldn't overly be into their songs, but had to see them for Josh Kennedy's guitar work. She could not be more correct about that. I wasn't typically into their Led Zepplin influenced originals, but completely worth the ticket price to see the long haired, shirtless, "rock is fuckin' dead, right?" Josh Kennedy. In addition, while their music wasn't my "thing" beyond Josh's blistering guitar solos, their pure energy was enough to make the show great, and easy to stay through their entire two sets (filling in for Velvet Elvis who didn't play). Rock 'n fucking roll!

A few months later, back at home, Creamy Radio broadcast their Laurel Canyon CD release party of the internet. Admitadly I was tuned in primarily for Scott Johnson's opening set, but listened to, and thankfully recorded the Black Mood's set also. As it happened I enjoyed it, and over the following month became a big fan of The Black Moods. It didn't take long to see influences from bands I was into in the music that I initially thought wasn't my thing.

The more I played the show, the more I dug the band, and it became obvious to me, that if there was going to be a next big thing out of Tempe to make it, it was going to be The Black Moods. Awesome tunes, and a larger than life rock 'n roll guitarist Josh Kennedy. It was cool too, that there was a Tempe band that you were into, invariably on the cusp of hitting something big. About 6 months after Kevin Prier left the band, the band broke up, which really signalled the Tempe scene loosing such a great band. While maybe it's only a small consulation, as I still miss them, I did at least get to see one of their last shows (@ Last Exit's 3rd Anniversary Bash).

Tramps & Thieves (October 2005)
Credit for being into Tramps goes to Creamy Radio. I'd certainly heard of the band throughout 2005, and certainly while in Tempe, but hadn't heard them (aside from seeing Emmitt at a musicians showcase show @ Yucca Tap) until listening to some shows broadcast on Creamy Radio.

Tramps were a band that somewhat slowly grew on me, and had only listened to the Creamy Radio shows - well, because I could. Over time, and certainly 2006, they'd really grown on me. I picked up their Mill Aveneue Cowboys E.P in Tempe, and got to see them at the Circus Mexicus Pre Party at Last Exit. One thing I can say about Tramps - while they're fairly country on record, they're very rock on stage.

Mink Rebellion (October 2005)
I hate myspace, but I have to credit it with getting into Mink Rebellion. This came from screwing around on myspace, basically checking out whatever music I could after getting back from my first trip to Arizona. It all started from seeing the video for Along For The Ride. Catch song, and I immediately got into it. I didn't mind the other stuff that they had up on myspace (Concrete Lake, Hitchhicker and Book Of Reasons, despite they were a lot "younger" than stuff that I typically listen to. At some point both Concrete Lake and Book Of Reasons really grew on me.

Ironically, by this time, Mink Rebellion were falling apart, and at this stage billed Mink Rebellion shows were basically Bobby Scott and Josh Kennedy (The Black Moods) together on stage. That's my understanding anyway, and was certainly true come 2006. By the time of my second trip to the desert, I was definitely into the band, and was quite glad to find the Along For Ride E.P. Up until this point I'd only heard the four songs from myspace - the rest on the E.P didn't disappoint.

The same can be said about their earlier self titled E.P, which I got this year. Kinda sucks that, given how much I dig the band, that they broke up. But with Mink Rebellion and The Black Moods morphing into Violet Wild, not all is lost.

Beat Angels (June, 2006)
Years ago Shireen Liane had recommended checking out Beat Angels records for Brian Smith's lyrical references to Doug. At one of my assults on Zia Records I came across a second hand copy of Unhappy Hour. Standing there at the back corner of Zia, CD in hand, I tosssed up on whether to inflict further pain to my credit card, all the while with Shireen's recommednation playing through my head. The indecision is kinda odd now, in highsensight, since I'd always enjoyed Terminal Love from Scotti-Stock. Though it no doubt came from having not heard anything from it, and the huge stack of CD's already in my hands.

At the end of the day, after putting the CD back onto the shelf once, Shireen's recommendation won out. I wanted to get to hear the album years ago, and really, how can I pass up a potential Hopkins reference - after all, I'm standing in Tempe, CD in hand - it doesn't get much easier. So I added it to the stack. After all, if it sucks, what have I lost? 8 bucks.

It wasn't until I got back home that I listened to Unhappy Hour. Too much to do out in the desert, including dealing with a broken shoulder. It took about two weeks to break into it, and wasn't one of the first CD's I opened up. Once I did, I was interested to see whether it was worth buying. Hopkins references didn't immediate jump out immediately per se, but by the end of the CD I already knew that this was without a doubt a CD I had to pick up. Phoenix rock 'n roll, which also harks back to my regular listening trends of Motley Crue and Gun N' Roses (both Beat Angels albums are produced by Gilby Clarke) before my collection was changed the night I heard Hey Jealousy).

It's criminal that it took me 10 years to discover the Beat Angels. I'd heard of them back in 1996 and really should have been listening to them since then. But I guess, I have made up for lost time, the album has been my 4th played album in both 2006 and 2007, and certainly the most played from that assult on Zia.

The Beat Angels sit with The Piersons - just no bullshit rock 'n roll - at it's finest!

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