Lucy's Fur Coat in the U-T

Lucy's Fur Coat set to rock the house again

By Chris Nixon
For the San Diego Union-Tribune
May 19, 2005

On Sept. 21, 1991, Nirvana released its seminal recording "Nevermind," sending shock waves throughout the music industry. The subsequent explosion of bands hailing from the Northwest sent music company executives scurrying for "the next Seattle."

Desperate to catch wind of young bands, the eyes of the music world for one brief moment turned to San Diego. Local groups (Rocket From the Crypt, fluf and Uncle Joe's Big Ol' Driver) garnered interest from major labels. Expectations ran high for local scenesters.

San Diego's Lucy's Fur Coat found itself swept up in the frenzy, its brand of gritty riffs and melodic choruses convinced record execs at Sony to pen a deal with the band. For a band that just wanted to play live and rock crowds, the attention was welcomed and a little odd at the same time.

"We were a bar band," says lead singer Charles O. Ware, speaking via phone from his home in San Diego. "We were trying to say: 'Sweat, rock 'n' roll, have some drinks, shake your (butt).' That's all we ever wanted to say."

The five guys in Lucy's Fur Coat saw the band as a fun diversion to their "real" careers, which lay in waiting as the group toured the United States and released a couple of albums.

"We all had different career paths laid out for us that we were able to fall back on," recalls Ware. "We had these careers that we didn't want to partake in yet. We were young. We could afford to act out our rock 'n' roll fantasy and not be losers at the end of the day.

"(Bassist) Rob (Brown) and (guitarist) Tony (Sanfilippo) were full computer heads. Rob, if I recall, was working at Solar Turbines running a CAD program. Tony had just gotten his computer science degree. (Guitarist) Mike (Santos) was studying for his CPA exam. I was in law school at the time."

So Lucy's Fur Coat put the serious jobs on hold to jam at bars and carouse rock-star style. In 1994, the band released "Jaundice" on Relativity Records and distributed by Sony.

The album's 12 tracks document the band's ability to strip down guitar riffs to simple, earnest rock. Ware howls and croons, the guitars rage and the songs rock but are catchy, too. The pressure of producing a hit record and the constant touring made what was once a fun ride into the kind of job they were trying to escape from in the first place.

"The touring with Lucy's became such a grind," says Ware. "The first two weeks is boy's club rock 'n' roll party. Three months later, the same scratch you have from climbing on the bus the first day of the tour hasn't healed. It doesn't matter how much money you have in your pocket: you're in Lubbock, Texas, on a Tuesday night and there's nothing good to eat. Three out of five of us were married, and it just becomes a grind."

After getting off the road, the band released one more album – 1998's "How to Survive an Aircrash" – before calling it quits for good. The band has reunited for a few shows since the late-'90s, but Ware and the rest of guys resumed the lives they put on hold to be in the band.

Ware eventually left his work as a lawyer, and now works as a lifeguard on San Diego's beautiful beaches. Brown worked for MP3 before his present gig with Napster. The rest of the band is pursuing their lives after Lucy's Fur Coat.

But this weekend they get back together for three shows three nights at the Casbah and Brick By Brick.

"I think we play (rock) with more sweat and energy and altruism maybe than some other bands," admits Ware. "We're all pleasantly surprised that people want to come and desire to be a part of it."

"I can't personally look at it like a reunion. We're friends. We don't having burning desires to be stars or to be who we once were. I just love rock 'n' roll and I know we can still bring it."

Chris Nixon is a San Diego music writer.

J.E.W.: Investing in 'Futures'

Jimmy Eat World changed producers for new work, new approach

By Chris Nixon
For the San Diego Union-Tribune
May 12, 2005

Talking via cell phone, Jimmy Eat World drummer Zach Lind sounds exhausted, bored and frustrated with his job. The Mesa, Ariz.-based quartet is slogging through three months of touring in support of its new album, "Futures." He graciously answers questions about the record and the band and the tour. But he really lights up when we start talking about San Diego bands.

Given Jimmy Eat World's long association with the San Diego music scene, it's suggested that Lind's band is a de facto member of the San Diego scene. "That's probably the biggest compliment I'm going to hear today," Lind says.

Growing up in Arizona with no local indie-rock scene to connect with, the guys in Jimmy Eat World felt closest with the San Diego bands in the 1990s. Groups like Tanner and Drive Like Jehu helped mold Jimmy Eat World's sound, and Jehu's drummer Mark Trombino would go on to produce the majority of the band's albums.

"It's tough to answer questions about the (Phoenix) music scene when you're talking to someone who is kicking it in San Diego," says Lind on a recent tour stop at James Madison University in Harrisonburg, Va. "You guys are spoiled, man."

With the help of Trombino, Jimmy Eat World crossed over from indie rock band to mainstream success. Lind – along with Jim Adkins (vocals, guitar), Tom Linton (vocals, guitar) and Rick Burch (bass) – scored huge with their self-titled 2001 album. Originally titled "Bleed American" (but changed after 9/11), the band's fourth full-length studio disc produced singles "The Middle," "Bleed American" and "Sweetness."

Such radio stations as 91X and FM 94/9 seemed to press repeat on Jimmy Eat World's songs, playing the tunes incessantly throughout 2002. After cycling through a few major label deals, the sudden success created a complete change of scenery for the young band. Since 2001, Lind and his band have learned tough lessons about "the culture of the music business" and "the expectations of the music industry."

"Overall, just in terms of being a band, it just becomes more complicated more than anything," laments Lind. "The positive is that we don't have to work second jobs and we can focus on making music all the time. It's all about playing good shows and making good albums, that's the beginning and the end of it. So I think we're trying to learn that again. It's just a totally (messed up) business."

Jimmy Eat World
The lineup:

Jim Adkins – voice, guitar
Tom Linton – voice, guitar
Rick Burch – bass
Zach Lind – drums

DISCOGRAPHY:

"Futures" (Interscope, 2004)
"Jimmy Eat World" (Dreamworks, 2001)
"Singles" (Big Wheel Receration, 2000)
"Clarity" (Capitol, 1999)
"Static Prevails" (Capitol, 1996)
"Jimmy Eat World" (Wooden Blue Records, 1994)

Now signed with Interscope, Jimmy Eat World worked with highly respected Pixies producer Gil Norton for "Futures." After working with Trombino for so many years, the band wanted to try something different.

"Gil is really great at arrangements," Lind reflects. "If you listen to any of the Pixies albums, you can tell. There is not one dead arrangement on any of those albums."

The main difference between Trombino and Norton came down to their characters: "Personality-wise, they are polar opposites. Mark is reserved and a little bit more introverted. Gil is an extrovert and he really communicates a lot. In terms of approach as far as making an album, it's not that much different."

Despite the pressure of following up the successful 2001 release, "Futures" continues Jimmy Eat World's legacy of multilayered, accessible rock songs complete with nice harmonies and well-crafted tunes.

"I think there always is (pressure)," admits Lind. "We tried to ignore it. But there always is, whether there is pressure from outward (sources) or from within the band to make a really good record.

"It was definitely harder for us on this record," says Lind, who plays Sunday at Cox Arena along with Taking Back Sunday and Mates of State. "I'm hoping we learned how to make a record in our circumstances of being a band that's well known. Hopefully, the next record will be really easy to make."

Chris Nixon is a San Diego music writer.


JIMMY EAT WORLD'S TOP 5 SAN DIEGO BANDS
Jimmy Eat World drummer Zach Lind has worked and toured with a lot of San Diego bands, musicians and producers. So the Arizona band's close association with our music scene raised the question: Who are your Top 5 San Diego bands? Lind's picks were:

Rocket From the Crypt: Probably the best San Diego band ever. Period. Full-on horn section. Suave showman John Reis on vocals. Amazing live shows. The band still plays live (the next being 94/9's Independence Jam on June 18) and records sporadically, but many folks feel their chance at mainstream success has come and gone. It doesn't matter: there is more Rocket for San Diego.

Drive Like Jehu: The aforementioned Reis teamed with Tanner drummer Mark Trombino (who would later produce Jimmy Eat World, blink-182 and No Knife and a cast of thousands) in this classic San Diego band. You'll hear a lot of people name-dropping Jehu, and for good reason. Its brand of angry, sweaty indie rock influenced a huge group of smart punk rockers nationwide who later would start their own bands.

Tanner: Singer-guitarist Gar Wood, bassist Matt Ohlin and drummer Prescott (also of No Knife) teamed with Drive Like Jehu drummer Trombino (the producer) to produce vicious, intelligent rock. Wood would later play with Reis in the Hot Snakes and produce the lion's share of good San Diego releases in the last five years. Are you starting to see an incestuous theme here?

No Knife: San Diego's No Knife takes a more calculated approach compared to Drive Like Jehu and Tanner. Instead of thrashing about, Mitch Wilson (guitar and vocals), Ryan Ferguson (guitar and vocals), Brian Desjean (bass) and Chris Prescott (drums) choose more sharp, crystalline guitar lines over fuzzy punk-rock tones. The quartet re-emerged after a long absence with 2002's excellent "Riot for Romance!" Jimmy Eat World has toured with No Knife several times.

Jejune: After years of wondering, this reporter looked up the word "jejune" in the dictionary. It's a real word: "Lacking in nutritive value, or displaying or suggesting a lack of maturity; childish." Question answered. Guitarist-singer Joseph Guevara, drummer Christopher Mendez Vanacore and bassist-singer Arabella Harrison created pretty indie rock with boy-girl harmonies before disbanding before the release of their final disc in 2000 "R.I.P." Jimmy Eat World and Jejune did a split 7-inch (each contributing two songs), recorded in 1997.

– CHRIS NIXON

P.B. Block Party: Robert Walter

CENTERPIECE
Put an extra fish taco on the barbie for him

The 30th incarnation of the P.B. Block Party should be a nice homecoming for Robert Walter

By Chris Nixon
For the San Diego Union-Tribune
May 12, 2005

As a founding member of the San Diego-based Greyboy Allstars, Robert Walter helped establish the acid-jazz mainstay as one of the best jam bands in the country. Now, with his 20th Congress, Walter returns to San Diego from his new home in New Orleans for a performance at this year's P.B. Block Party.

Say you have to move away from San Diego. Housing prices are high. You can't find enough work to get by. What's the one thing you'll miss the most? The beach? The sun? The Mexican food?

"I miss the Mexican food for sure," says former San Diegan and jazz-funk organist Robert Walter from his new home in New Orleans. "There's nothing even close here, although there is a lot of great food. I was raised on taco shop food and Mexican restaurants in San Diego."

This Saturday, Pacific Beach will offer its typical charms – the beach, the sun and the Mexican food – at the 30th annual Block Party. But P.B. also will present Robert Walter's 20th Congress and more than 40 other bands – both local and nationally recognized acts – for free. So you can enjoy the beach, the sun, a great plate of tacos and great music.

The line of musicians who developed their style here before moving on to other locales and greater notoriety is long and illustrious: Jewel, Jason Mraz, jazz pianist Bill Mays and DJ Greyboy. Walter hopes to add his name to the list.

Before migrating with his family to NOLA last July, Walter had co-founded the Greyboy Allstars with Karl Denson, then headed out on his own with Robert Walter's 20th Congress. As Walter describes it, the relative seclusion of San Diego allowed the Greyboy Allstars and other musicians to develop their own sound.

"It's never been a real thriving scene to the point where everyone is looking over their shoulder and trying to compete," Walter says about his days in the local music scene. "It's a good place to develop your own ideas and your own identity because you're in your own world. We developed our own little scene with the Greyboy Allstars and everything coming out of the Casbah, Black Heart Procession and all that stuff. The music gets to develop in its own world and be different."

The Greyboy Allstars, Karl Denson's Tiny Universe and Robert Walter's 20th Congress forged their own version of jazzy funk sounds. Inspired by James Brown's Horny Horns and 1960s and '70s improvisational funk, these San Diego bands updated the sound to create dance-floor jazz.

But without steady work at home, Walter and his cohorts felt they had to go out on the road to spread the good word.

"The blessing of San Diego for me was it forced me to get out on the road and create a national presence to get my career going. I had to leave to make a living," says Walter. "Had I been in a city with more local music, I might have never left. I might have been playing in bar bands for the rest of my life. If you really want to have longevity in your career as a musician, you need to get out there and tour."

With the move to New Orleans, Walter continually creates new music with new collaborators. He's currently touring with Frequinox, consisting of members from Galactic, the Headhunters and T.J. Kirk. The organist will release a new album in late summer titled "Super Heavy Organ" with the help of New Orleans funk pioneers past and present.

For the upcoming 30th annual Pacific Beach Block Party, Walter will take the stage with longtime 20th Congress collaborator Cochemea Gastelum on sax and Greyboy Allstars drummer Zak Najor.

One of the knocks on the local music scene is the "fair-weather fan" syndrome: "It's beautiful out all day and everyone goes to the beach during the day and goes home at night. So it's a difficult town as far as getting a real nightlife scene going. It's always had creative people. It's difficult to get people to come out."

Chris Nixon is a San Diego music writer.


BEST BETS *
BENEVENTO-RUSSO DUO (Karl Strauss Stage, 1:45-2:25 p.m.): Drummer Joe Russo and organist Marco Benevento manage to create a joyful cacophony. Embraced by the jam-band crowd, this duo combines elements of jazz and funk in a prog-rock package.

TRUCKEE BROTHERS (Mojo Sounds Acoustic Stage, 2:10-2:50 p.m.): Self-dubbed as "evil Everly Brothers," Peat Truckee (Patrick Dennis) and Cady Truckee (Christopher Hoffee) have taken the local scene by storm since their six-song 2004 EP "Wall to Wall." The band's 2005 release, "It Came From the Speakers," ranges from dirty rock 'n' roll ("Billy Club") to loungy 1960s pop (title track).

HOLIDAY & THE ADVENTURE POP COLLECTIVE (Mojo Sounds Acoustic Stage, 12:05-12:35 p.m.): Strumming guitars, singing strings and twangy pedal steel fill the music of Derric Oliver (vocals, violin, strings) and Louis Caverly (acoustic guitar, trumpet, tuba), aka Holiday & the Adventure Pop Collective. The Encinitas-based band recorded their excellent debut "Become" at Big Fish Studios in 2004.

STEVE RILEY & THE MAMOU PLAYBOYS (Sycuan Mardi Gras Stage, 2-3:30 p.m.): It's not Mardi Gras and we're not on the bayou, but Steve Riley will serenade P.B. with the sweet sounds of Cajun music. Hailing from Mamou, La., in Evangeline Parish, Riley and his band play old-timey Cajun music like it should be played.

YOUNG DUBLINERS (San Diego CityBeat Stage, 4:20-5:30): Grounded in both Irish traditions and mellow contemporary rock, the Young Dubs have grown a devout audience here in San Diego. This Los Angeles quintet is less punk than Flogging Molly and not quite as traditional as the Chieftains.

– CHRIS NIXON