Volume 4, Issue 11
May 30, 2002 - June 12, 2002
By Alex Neth
Photos by Bootsy Holler Photography
Fresh from the cool reaches of the Pacific Northwest comes a cover band that eviscerates the term cover band . This is not a novelty act, a cheap giggle before the main event --these are five women who play AC/DC songs and, to paraphrase noted rock critic Wesley Willis, seriously whip a camel's ass.
Rock? Isn't rock gone? Vanished, the way of the dodo? Aren't we all supposed to be staring at our expensive shoes and nodding dreamily to some wispy little pop number? Evidently not, judging by the reception the Belles have received from fans and critics alike . their first show, at the OK Hotel in Seattle, has rapidly become the stuff of legend, and Malcolm Young himself wants the band to open AC/DC's upcoming Australian tour. But why?
"Me and a girlfriend, Amy Stolzenbach (the band's Angus Young, who recently left the group) wanted to be in a band together," Om Johari, the group's Bon Scott/Brian Johnson, said. "It was her idea to have an all-female AC/DC cover band. She spread word out to her friends, but the women she was looking at all flaked. I was able to call in some girls to fill the slots."
The band formed in mid-June of '99 and had their first gig together a month later. That first show, opening for two other groups, let the ladies know that this was a good idea. "We knew the buzz was on," Johari said. "That first show, there were like 450 people there. We played, and right after we played, everyone left."
The door receipts for that gig, unfortunately, did not reflect the audience's favor. "That first show, we got shafted. There was a 20-40-40 split, and the other two groups could have thought, "well, since they all came to see them, maybe we could hook them up." But instead they just took all the money. I was like, this is the first and last time this is going to happen."
Afterward, Johari took over the business side of the operation, until Hell's Belles finally out- grew her care. "When we started getting big, I hired a management company. Now we're exploring merchandising."
The notion that would be Hell's Belles found a special place in Johari's heart immediately after Stolzenbach suggested it. In 1979, she saw AC/DC and the doomed Bon Scott at her very first rock show, and at that point knew what she wanted to do with the rest of her life. "The irony was, when she said it, for me, she couldn't have picked a better band," Johari said. "There are only two artists in my life who have made that kind of impact, and Bon Scott was one."
The other was Tina Turner, whose influence many critics detect in Johari's singing. Johari, for her part, has spent a lifetime in music, from singing in gospel choruses at a child to conservatory training to touring Europe with a jazz band. The rock experience, while not new, is substantially different. "The work ethic is totally different," she said. "In jazz and classical, musicians can read music. In the rock scene, everyone knows their chords, but usually no one knows how to read music. (The band) is learning a lot about what it takes to be pro musicians."
The current Belles are Johari, bassist Mandy Reed, new Angus Adrian Conner, rhythm guitarist Lisa Brisbois and drummer Steffanie Skolik. The band's lineup has been in flux since Stolzenbach's departure, which Johari chalks up to the grind of being a touring musician. "Real touring is grueling," she said. "We do tour like a normal band. A lot of women are not the touring type. It takes a particular type of female musician to be a part of this band." "There aren't a whole lot of women--well, there are, but the ones that exist are already in a band."
When Hell's Belles hit the stage, audiences can expect to hear a wide variety of AC/DC tunes, not just the usual suspects. And they freely swing between the Scott/Johnson eras. "It's a total blast. AC/DC is one of those bands, where the casual fan, they end up forgetting how many songs they do know. . . we try to keep a mix. Every time we tour, we make a list of the most requested songs we have not played, and then we make a point to learn those songs."
While Hell's Belles can't exactly take the same road to stardom that other groups do--since their entire ouevre is the work of another--they do plan on releasing an album soon, but they don't know what to call it. Yet. "We are torn between using humor or being straight about it," Johari said. "We'll probably pick names out of a hat and then obsess about them."
Whatever it ends up being called, one thing is certain--it will rock.
Paul Galaxy is an old fashioned guy--just take one look at him: the black leather jacket and cuffed blue jeans, the 1955 Olds he drives, the hollow-body Gretsch guitar he plays. Even his well-oiled pompadour makes you think you walked onto the set of Hot Rod Gang, circa 1958. If you go see him and his band, The Galactix, play, you'll think you got sucked into some kind of an alternate, sock hop universe. But beyond the retro sheen of faux leopard collars and vintage cars, there are some good reasons why Paul Galaxy and the Galactix are the musical kings of Denver' s cultish rockabilly scene.
Denver-based trio Paul Galaxy and the Galactix have been steadily playing and recording for the past six years. The current lineup has Paul Galaxy leading the band on guitar and vocals. As the sole guitarist in the band, Paul does a great job of alternating between atmospheric rhythm playing and some damn fine lead picking. Chris "Chopper" Cordoba slaps the upright bass and sings backing vocals. Chopper got thusly dubbed from his penchant for pork chops and a deep love for his Harley. When he isn't working on model trains, "Mad Dog" Mike Minnick rounds out the sound on drums and backing vocals.
A dogged touring schedule that includes over 150 dates per year has turned these guys into a sharp three-piece band with impressive dynamics. They know how to go from a moody wash to a full roar in the space of a single song. Easily one of Denver's hardest working acts, they are beginning to see some well-deserved recognition. Their most recent album, entitled Cross The Line , was recorded in Las Vegas on Ronny Weiser's Rollin' Rock label --the result of the boys beating out the top 10 rockabilly bands from across the country at Weiser's annual battle of the bands contest. Cross The Line was recorded mostly live and has fourteen tunes that range from straight-ahead rockabilly ("Pretty Kitty," "Bad Girl," "Cross The Line") to instrumental surf rock ("Tailfin," "Orbit"), to a western song ("Desert Air") and even a re-tooled cover of Queen's "Fat Bottom Girls" that would make a skinny Elvis proud.
All that road time has also given Paul plenty of time to think about what makes this music such a passion for him and other fans of rockabilly. Galaxy's philosophy could best be described as "It was better back in the '50s." In fact, Galaxy ascribes the retro obsession of rockabilly purists to a general longing for a simpler, post war America that got lost right around the adoption of the bell bottom and peasant smock as America's favorite pants-shirt combination. "The rockabilly culture is a family that's hard to explain. It's all about mid-century America, which has been called the Golden age, when America was the best. It was a world leader. Morals were different," Galaxy explains.
"These songs aren't going to change the world. They're about drinkin', girls, and cars," Galaxy admits. True enough. At first listen, the band might strike you as another off-the-shelf rockabilly group. But dig a little deeper and things like Galaxy' s guitar craftsmanship, clever arrangements and old-school tones start to shine through. In the church of rockabilly, these guys are the real deal: purists who live the life, have the look and cop the attitude because they mean it.
Aside from the music, I suppose that's what makes a Paul Galaxy and The Galactix show so fun. It's Leave It To Beaver, Father Knows Best , Happy Days and a smidge of the Jetsons all rolled up into one big version of "My Favorite America (That Never Was)." Maybe a little nostalgia isn't so bad these days. How about a cold beer, your favorite girl and some hot rockabilly on a Saturday night? Any takers?
If you like Brian Setzer and The Stray Cats, Elvis' early stuff or Buddy Holly, give Paul Galaxy and The Galactix a try. Their next gig in Denver is Sunday, June 2 at the Capitol Hill People's Fair at 6 pm on the main stage. Visit them on the web at www.paulgalaxy.com.
Three Degrees of Freedom presents its debut self-titled CD, and there is a lot to talk about. Although this record is technically an EP (seven songs), the choice of tracks shows the talent of the songwriters and the lyricist/singer Paul Cox. A few tunes stand out that bring Three Degrees to the top of the bouncy, pop-rock heap. "Beloved Me" has a heavy, heavy Dave Matthews thing going on, but it works. And that's important. It isn't hard to sound like Dave, but it's hard to sound like Dave and still sound original. The track opens like an acoustic ballad (with cello to boot), soft and sad, but soon picks it up and rocks through the rest. Nice.
"Retold" is especially strong, quicker and more festive with a Blues Traveler flavor. The melody is interesting with a solid guitar hook. "Mexican Blanket" is airy, a dreamy song for sitting under the stars on, well, a Mexican blanket, perhaps. Here, Matt McClain's guitar betrays a psychedelic/country influence, maybe from the Grateful Dead or Allman Brothers with a truly inspired solo in the middle.
This is a seriously promising debut from a local band that is out there working the live circuit. Even though these songs have hints of other "big name" acts, that shouldn't be all that's said about Three Degrees of Freedom. After all, if a band chooses to follow a well-trodden route, it better have its own map. TDF are on the right road. Find more at www.threedegreesoffreedom.com . --Pearl
"You kissed me on the mouth/and I've been sick ever since." Yaaaahoo! No band around mixes '50s rockabilly, country sap, and drinkin', drinkin', drinkin', better than Marty Jones and the Pork Boilin' Poor Boys. And the new record, Full Boar (released just a few weeks ago), presents this famed local quartet in all of it its twang glory.
Chock full of sad livin', giddy country blues and several hog references, the Boys celebrate a segment of cowboy culture that is slowly losing acreage among the condos and lofty pursuits of cellular urbanites. Bring the whiskey, bring your checkered kerchief, and hunker down for a wild ride on the alt-country express.
Bring your sense of humor, too. The players on the record are terrific, and Jones'
vocals have the rough-and-tumble grit to hold up doozies like "I Got Over You (When You
Got Under Him)." Jones' powerful vibrato adds more than authenticity to his music --it
adds the bravado and earnest emotion needed to sing the songs of the outlaws. Even
Aerosmith's "Sweet Emotion" is fair game on Full Boar, and it is simply a moment when
we should all smile and, with a little encouragement from the Boys, start "Drinkin' in
Every Bar in Town."
Find more at www.martyjones.net.
--Judy B.
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