Reviving San Diego's Rock Renaissance
Our ancestral stomping grounds recently suffered a theft. Dave Fleminger notes this August 7 notice on Craigslist, posted by the Che Cafe Collective:
“The Che Cafe … was broken into sometime between August 3 and August 5. ALL of our mics, xlr cables, direct in boxes, monitors, the sound board itself, ALL of it has been STOLEN. We’re looking at 8 to 10 thousand dollars worth of equipment gone.
(Wallflower David Rinck introduces a new project by old friends.)
Here’s our new record. As far as we know, this is the latest project by musicians associated with the Che Underground.
We wrote the music over the Internet, since we now live in various far-flung corners of the globe (Africa in my case). One of us would write a riff and a few lines of lyrics and then send it on. Pretty soon it added up to a song, and then the eight on the record (actually more, but we could only record eight ’cause of time limitations).
But we all used to be in bands in San Diego and play shows together, so we were used to working together, and the distances were easily overcome.
Now it can be told: When we concocted the idea of the Che Games for May reunion show at San Diego’s Casbah Club, I was very apprehensive about what it would sound like.
After all, we were bringing together bands that for the most part hadn’t played together since the mid-’80s. Plus, we were asking these folks to practice more or less on the fly. The Che Underground diaspora dispersed us geographically for many years; for most of the acts, opportunities for full rehearsals were few and far between.
I was amazed by the results: The bands were so tight, and I daresay many of the musicians are better now than they were in 1984!
It makes me want to learn more about how all our players keep themselves musically active — not just the people who performed at the Casbah, but the rest of the musicians on the blog.
For those who missed Che Games for May in San Diego May 29-30 or just want to relive the magic: Good news! Thanks to modern technology, the event was captured from every angle in photographs, audio and video.
Exhibit A: The original San Diego Wallflowers raise the roof of San Diego’s Casbah with “Funland,” the band’s hypnotic paean to the city’s seamy underbelly, now lost to gentrification. (For memories of the original Funland, check out Kristen Tobiason’s “Then and now” feature.)
The May 30 performance marks the Wallflowers debut of Rockin’ Dog Dave Ellison and features original Wallflowers David Rinck on vocals, Paul Howland on bass and Matt Johnson on drums. (Che Underground jack-of-all-trades Dave Fleminger added keyboard stylings to the set.)
(Bart Mendoza of Manual Scan and the Shambles counts off drummers he’s worked with.)
No doubt about it: Kevin Donaker-Ring and I have worked with a lot of drummers over the decades, keeping in mind that we first began our team-up in 1976.
Here are a few of the incredible musicians who have spent time behind a drum kit with Manual Scan or the Shambles over the past 30-plus years. Not pictured: Paul Brewin, Morgan Young, Terry Moore, Rob Wilson, Trace Smith, Brad Kiser. … There’s a future post there.
1) “I was a Shambles drummer” pin. People have sat in with the band for one song to obtain one of these.
(Bart Mendoza of Manual Scan and the Shambles talks about how he got from there to here.)
Of course the various members of the Shambles knew each other for years before the band’s formation, but I can put down the beginnings of the band to two events.
In the late ’80s, Kevin Donaker-Ring co-produced Manual Scan’s “Days & Maybes” EP with Ray Brandes (side note: humorous liners by Mike Stax), and we were all part of a group of musicians that frequented Megalopolis on Fairmount Ave., often playing round-robin style — David Moye and Jon Kanis amongst the round-robiners who didn’t end up in the band (though we did back up Kanis on a compilation-album track).
(Tell-Tale Heart/Town Crier Ray Brandes lays the table for May’s audio feast.)
The Che Underground Weekend Showcase:
Celebrating more than 25 years of San Diego’s underground music history
An incredible opportunity to reconnect, reminisce and rediscover will unfold as 25 years and thousands of miles of distance disappear in a single weekend — May 29 and 30 at the Casbah in San Diego.
The lineups have been set, the bands are rehearsing, and the drinks are on ice. Here’s what to expect:
(Answers and Mirrors co-founder Dave Fleminger talks transitions.)
Blue: The Mirrors live at the Che Cafe, Spring 1984
“This one’s called ‘Blue,’ and we’re gonna make it up … ”
Sometime in late May 1984 the Mirrors played our last performance in San Diego at UCSD’s Che Cafe. The band had formed in late ’83 after the fall of the Answers and in March recorded an as-yet-unreleased album of songs entitled “Have No Mercy.” In June I moved to NYC, but we would continue to record sporadically over the next couple years.
(Dave Fleminger recalls this performance from Noise 292’s April 25, 1984, appearance at UCSD’s Center for Music Experiment.)
I strongly remember this show, and especially this song. It was one of the last shows I saw before I left San Diego. Noise 292’s set was solid and focused, and unrelenting. This song, the last one in the set, struck me especially in its cold and alienating embrace.
The vocals and the high melody lock together into a single statement that shatters by the end into a mass of confusion and disjointed thought. Like so many great songs, it was easy to relate to it as a manifestation of my own mixed feelings — in this case about leaving home, my friends, this amazing music scene, everything familiar.
(Excerpts from Ray Brandes’ epic account of San Diego’s first major-label band since Iron Butterfly. Read the full version in Che Underground’s Related Bands section.)
Anyone who had the opportunity to see the Unknowns play had an unforgettable experience. Crisp, staccato drumming and the dripping-wet reverberation of Mosrite guitars through Fender amplifiers was punctuated by the yips and howls of the legendary melodramatic lead singer, Bruce Joyner, who sang from a chair or aided by a cane, looking every bit like a down-home Barnabas Collins in search of fresh blood.
Their tight and powerful act upstaged every band with whom they played, including the Go-Gos, Madness, the Blasters, the Plimsouls, Wall Of Voodoo, the Romantics, Joe King Carrasco, Romeo Void, the Textones, the Suburban Lawns, Missing Persons and scores of others.
At times the band members themselves have lamented that their place amongst their peers seems to have been forgotten over the years, yet they were the first San Diego band signed to a major label since the Iron Butterfly in 1967. They were named one of the top four bands in California by the Los Angeles Times in the early ‘80s. They were the first band from the San Diego scene to perform live on a major syndicated television show, Peter Ivers’ “New Wave Theater,” which was picked up by Armed Forces Television and the USA Network’s “Night Flight.” And their Sire album “Dream Sequence” has sold nearly 100,000 copies to date.
