A good night at the Ponderosa Stomp. I heard from a few sources that I missed a classic Stomp moment with opening band, the Green Fuz. Their great moment, the song “Green Fuz” that was later covered by the Cramps, was a monument to ineptitude, with production that makes the song sound like it’s on a distant radio station coming through the static, and on the label, the band’s name was misspelled “Fzu.” By all accounts, they were perfectly average – the garage bands usually fare poorly at the Stomp because the appeal of their records had so much to do with their sound – and when they finished with “Green Fuz,” they incorporated band introductions. I’m told organizer/face of the Stomp Dr. Ike came out and asked them to do it again, this time without the introductions.

First thing I saw was blues man Little Freddie King, who seems to have found a new assurance and power because he sounds great these days. He hits a chord and a groove and works them relentlessly. There wasn’t much news in the set; what I saw were the songs that have been staples of his set for awhile – “Chicken Dance,” “Crackhead Joe” and “Boogie Children.”

Back in the House of Blues’ Main Room, Davell Crawford was accompanying his grandfather, James “Sugarboy” Crawford. Those who expected to see him sing “Jock-a-mo” (me, for example, and I suspect anyone who knew who Crawford is) were surprised to get a gospel set. They finished with a spiritual set to the tune of “Danny Boy” called “He Overlooked My Faults and Gave Me What I Need,” and it typified what’s great about the Stomp. Crawford’s voice was big and dramatic, while Davell put on a clinic on the piano. At the same time, it was brilliantly odd because Davell was so busy, so over the top, and putting on such a show that it seemed like his grandfather was accompanying him.

Ronnie Spector was next up, and people flowed into the room from all doors including backstage. Her people cleared it before she dashed from the car the stage door with her jacked over her head (I’m told). The first half of the show was all about star power with songs that referred sonically to her Ronettes days without being as catchy, then she played the hits including a cover of Johnny Thunders’ “You Can’t Put Your Arms Around a Memory” – a nice touch.

Roky Erickson followed and was solid. He seemed more together than a year ago and the set was a little less predictable, but his band is unquestionably hard and the songs rock. I wasn’t as connected to it as I was last year, partially because I really passed through my Roky phase 20 or so years ago, and because last time was history; this time, it was another show. Others I talked to were a little underwhelmed, expecting more, but I that’s more a product of the tendency to write about Stomp-type artists – unsung heroes with great, semi-obscure records for particular tastes – in such extreme language that none of them can live up to it. No one was “mind-blowing” or “out of control” (though Davell was close), and the need to talk about them in such terms is probably subject for further consideration.

By the end of Roky, it was 1:30 and time to go home, though the Stomp was nowhere near done.