Madigan Shive, the singer for Bonfire Madigan recently announced at Tipitina’s, “We’d like to thank Ovary Action for opening for us. I saw their name and thought, ‘That’s a good name.’ Then I said it and thought, ‘That’s a great name.’”
Not only is it a great name, but it’s also a name showing up more and more on bills around town as the New Orleans underground experiences a venue reduction. “There was more of an underground scene,” bassist Sarah Brooks points out, but smaller gigs have been replaced by higher profile gigs at the Shim Sham Club, the Mermaid and the “Girls Rock” day at the Howlin’ Wolf. “A few years ago, who’d have thought of punk shows at Tipitina’s?” guitarist Dana Ysaguire asks.
Ovary Action is a punk band, but perhaps because of the riot grrrl moment and bands like Bikini Kill and Bratmobile, “people expect us to be more in your face,” Ysaguire says. For the band, punk “is in punk ethics, and in what we say,” explains drummer Erin Dwyer. As an openly queer band, they’re “about being out there for the women,” Ysaguire says, pointing out that New Orleans has not had “a very women-oriented scene.” Of course, America has not had a very woman-oriented scene either, so women discussing their sexuality—gay or straight—and making a loud, uncouth rock ‘n’ roll noise are still considered novelties. Fortunately, as shows like “Girls Rock” demonstrated, there are a lot more women making rock ‘n’ roll than people realize; for the band, the show had other benefits. “We made some contacts at that show,” Ysaguire said, so even though they have yet to play much outside New Orleans, “we may be able to set some things up.”
The appeal of Ovary Action is not simply theoretical. Their sound is not confrontational, though their cover of Madonna’s “Dress You Up in My Love” is fast, hard and trashy. More often, their songs are melodic, poppy and surf-inflected in an ’80s way (“’80s pop was definitely an influence,” Dwyer points out). Periodically though, their songs find a whole new charm beyond the words or tune. Ysaguire, who shares the vocal duties with Erin Dwyer, is reminiscent of Sleater-Kinney’s Corin Tucker in her ability to sound as if everything depends on her ability to express herself, so the words become more than just vehicles for ideas; they sound like biological extensions of her, and the things she wants or needs sound as crucial as blood. Though they don’t have any plans to record any time soon, they should have cassettes of some of their live shows available soon.
Demo-nstrations and Demo-litions
The Orange Eye–Bent Over Velvet–Everyone who has heard this e.p. has liked it. When I told them I was reviewing it this month, they told me how great it is and how great they are live. Me, I’m not sure about “great,” but there’s definitely something good going on here. The songs have an early Wire-like tension to them—a big plus in my books—and a distinct sonic personality, but I eventually get impatient with this disc, possibly because I need the tension to resolve or release at some point. If that happens onstage, then they probably are great live.
Mark Mullins and Bonerama–Bonerama (“huhhuhhuh . . . he said ‘boner’”) is fronted by five trombones, and anywhere but New Orleans that would sound like one of Dante’s more insidious levels of Hell, but here it seems as natural as any other brass configuration. This e.p.—recorded live at the Old Point Bar in Algiers—is a nice showcase, but what causes this column to take note is the version of the Edgar Winter Group’s “Frankenstein.” Not only is it an appropriate take on classic rock on so many levels, but it also showcases the band at its most distinctive. It’s almost enough to get away from the bar to scuffle around a bit on the dance floor . . . almost.
Where the Rubber Meets the Road
A fan of Metairie’s Focus 21 lobbied me to pay attention to the band, writing, “When I see Focus 21 play I can hear their feelings. I can relate to the music. It’s like watching the soundtrack to their lives. They just make me feel good after the show is over.” At a recent show at the Howlin’ Wolf, I could see what he meant, even if I didn’t feel as good as he did. Focus 21 plays “modern rock”—what does that mean, anyway?—with the kind of sincerity and honesty that made people believe in Pearl Jam and Creed. I found the arrangements a little fussy—it seemed to dissipate the sonic weight a bit—but I can see why their fans encouraged me to see them.
Our Hobby
As y’all suspected, we at OffBeat spend our every waking hour whining and kvetching over who is and who isn’t invited to Jazz Fest. Rather than wait for the last minute, this year I’m starting my carrying-on early by lobbying for Dave Alvin. His show last month at the Howlin’ Wolf made it irrefutably clear he understands American roots music as well as anyone making music today. As a guitarist, he showed he could Stevie Ray if he really wanted to; as a songwriter, he showed he could make blues, folk, rhythm and blues and pop attractive and affecting. On his new album, Public Domain, Alvin plays folk songs like “Shenandoah” and “Don’t Let Your Deal Go Down” the way people once played them at socials, where people once danced, cried and fell in love to them. If he were booked for a mid-afternoon set, it would be the show that made everybody ask, “Did you see . . . ?”
Other Stuff
Supagroup is currently touring America with Nashville Pussy. You know a tour like that will result in many wonderful stories, most of which will not be fit to print in these pages.
Sorry to hear that the Violent Era is going through personal changes. According to singer Misty Belmonte, they are currently breaking in a new bass player and will soon be back on the boards.
Boo LaCrosse’s new album, The Stolen Lives Of Luther Lecroix, is due out next month. According to LaCrosse, “the songs are tied together with a conceptual storyline and photographs.” Those who can’t wait to discover that conceptual storyline or look at the pictures can check them out now at his website, www.boolacrosse.com.
This Month
The North Mississippi All-Stars w. Quintron & Miss Pussycat on Halloween at Tipitina’s–Memphis singer/piano player/producer/career eccentric Jim Dickinson’s sons play a post-modern southern boogie that should be well worthwhile, but I’ll be there to dance to Quintron’s spooky soul/punk organ stylings.
The Rock*a*Teens and the Dirty Knives November 15 at the Howlin’ Wolf – One promo blurb on the Rock*a*Teens says they’re “A twitchy, trashy, off-kilter, lo-fi, three guitar, no bass blend of noisy x-like punk, ’60’s garage-rock caterwaul, crazed girl group harmonies, and echoing, Cramps-like surf/rock a billy roar” just like everybody else. I’m looking forward to the Dirty Knives, who claim to be able to rock and play ballads. They promise “You won’t see a stage show with more happy-to-be-here, no-parking-on-the dance-floor energy than the DKs.” How can you miss something like that?
Dick Dale November 16 at the Howlin’ Wolf—Everyone must see Dick Dale at least once. This is not a suggestion; it’s a law. There is nothing like watching a guy melt guitar picks as he saws them over the strings, and his surf is not some wimpy Frankie Avalon surf; live he brings punk energy and power.
If you have news or info I ought to know about, write me at [email protected].
