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LA TIMES - Orange County Section
11-2-98
Pop Music Review
In Santa Ana, Dickies Don't but the Crowd Does
By POP MUSIC REVIEW JOHN ROOS, Special to The Times
 

For one exhilarating half-hour Friday night, the explosive spirit of old-school punk rock reigned over a half-full Galaxy Concert Theatre in Santa Ana. But it wasn't courtesy of the evening's headliners, veteran L.A. band the Dickies. No, they could muster only a mixed bag of lighthearted, Ramones-inspired tunes.
     Tearing up the joint instead was the Crowd, credited as Orange County's first true punk band. It's been nearly 20 years since the Huntington Beach-based group was featured on the influential punk compilation "Beach Blvd."
     The quintet plays only occasionally these days--its core members have honest-to-goodness careers in finance, construction and mail delivery. Before the show, one might have wondered if a respectable group of men nearing 40 would still be able to deliver the goods. Could vintage songs of both youthful alienation and independence still ring true?
     The answer Friday was yes.
     Although the Crowd released a fine album ("Letter Bomb") just two years ago, there was no mistaking the nostalgia factor at work during its way-too-brief performance. But work it did.
     With skills undiminished by time, lead guitarist Jim Kaa, singer Jim Decker and drummer Dennis Walsh (plus former Humpers guitarist Mark Lee and bassist Jeff Milucky) played with plenty of uplifting gusto. You simply had to admire the relentless sound and fury that zoomed from the opening song, "Living in Madrid," and climaxed with a blistering, set-closing version of the Avengers' "The American in Me."
     Along the way, the group offered a variety of compelling, crisply played selections, mostly written by Kaa and Decker. A pre-Halloween treat named "And Her Curse Is Her Kiss" offered an eerie tale of venomous lust and seduction. The careening, Clash-like "Politics" lashed out at distrustful leaders as lead singer Decker snapped: "Idiots in power tell me what to do / They never tell a lie and they never tell the truth."
     The material turned inward during "Enemy," an emotionally charged, complex look at betrayal, heartbreak and possible reconciliation. Here, a protagonist balances his bitterness over a romantic breakup with a slowly emerging positive outlook: "One day we'll say / We didn't give it all away."
     The most inspirational selection belonged to "Dig Yourself," a joyous, catchy anthem of self-determination. Espousing a no-one-can-stop-us-now attitude, this three-minute ode to self-empowerment should be required listening for anyone lacking self-esteem--a definite pick-me-up.

* * *
     What makes the Crowd so appealing is its marriage of punk and pop sensibilities. Much like contemporary pop-punkers One Hit Wonder and Supernovice, the group weaves strong melody lines and hooks into a predominantly aggressive sonic tapestry. The result is a high-octane punk 'n' roll package that is more playful than angst-ridden, tuneful yet immediate.
     Since becoming the first punk act to sign with a major label, in 1978, the San Fernando Valley-based Dickies have made a career out of playing just about everything for sheer kicks. And why not? As a refreshing alternative to the angry, often violent tendencies of L.A. punkers such as Black Flag and Bad Religion, these good-natured goofballs can be a hoot.
     How can you not chuckle--or at least smile--when hearing twisted covers (Black Sabbath's "Paranoid," Gene Pitney's "Town Without Pity") or silly originals ("You Drive Me Ape [You Big Gorilla]") and "[I'm Stuck in a Pagoda With] Tritia Toyota")?
* * *
     Moreover, it's not often that one sees (presumably) grown men with arms outstretched and fists pumping while singing a speed-metal version of the "Gigantor" cartoon theme. Now that's a sight to behold, friends.
     The problem with the Dickies' 70-minute show is that the endearing wackiness was in short supply. When the quintet--still featuring original members Leonard G. Phillips on vocals and Stan Lee on lead guitar--played it straight, the results were far less satisfying.
     For instance, mimicking a Ramones tendency, the group rarely varied the tempo, shifting now and then from fast to faster. More often than not, Lee and second guitarist Little Dave Teague unleashed a flurry of shapeless notes that did little to support the songs.
     Phillips' thin vocals were frequently buried in the murky sound mix--perhaps not a major flaw because the few decipherable selections ("I'm OK, You're Okay," "Waterslide" and "I'm on Crack") revealed lyrics with little to say.
* * *
     It's hard to imagine knocking the Dickies for taking themselves too seriously. Still, when you peel away the layer of humor, their artistic deficiencies are exposed. They are far more fun when butchering pop classics such as the Moody Blues' "Nights in White Satin" or singing their own "Stuck in a Condo With Marlon Brando," neither of which, unfortunately, made an appearance Friday night.
     (There is some good news. The Dickies' forthcoming album on Triple X Records, "Dogs From the Hare That Bit Us," will feature covers of originals by the Hollies, Uriah Heep, Donovan, the Weirdos and the Knack, among others. Now that sounds interesting.)
* * *
     Rounding out the four-act punk bill, local talent the Pushers and the Hiders did nothing to distinguish themselves from the pack of anonymous, one-note bashers. Not even the presence of the Pushers' lead ax man Roger Ramjet--formerly of X Members, ADZ and the Humpers--was enough to make you forget the tired cliches spewing from front man Ricky Burns.


Last Updated: 11/98 - CN
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