Here’s a few bands that played Scorgies. If your band played Scorgies and you have a promo shot from those days, send it along. We’ll post it here.

Projectiles promo photo

Eric Nelson sent this photo of the Targets. That’s Robert Slide on the left, former bass player with New Math, Sue Mattraw, Tim Roberts who also played drums with 2nd Division and Trisha Knight on the right.

The Rumbles featured Lanay DePalma on guitar, Jim Huie on drums and Dee Wearne on bass and vocals.

Bahama Mama

Tom Kohn found this Bahama Mama promo photo in his archives. After Jim Kraut left, the surviving members went on to form the Majestics.

The Chesterfield Kings – Andy Babiuk (bass), Doug Meech (drums, RIP), Greg Prevost (vocals), Orest Gurin (keyboards) and Rick Kona (guitar).

L-R, Gary Trainer, Dale Solo, Paul Dodd, Robert Slide, & Kevin Patrick in front.

This photo was shot in the hallway at the Cox bldg around the corner from their second rehearsal room. Dale plucked the inspection tag off the fire extinguisher & hung it on his shirt. Back then Gary played guitar, as did Dale. Paul played drums, Robert played bass & Kevin sang.

They played shows that were months apart in those early days. Clubs didnt want them, they wanted Foreigner cover bands. The early version of the band with Paul Armstrong and Mark Schwarz was called White Riot, after the Clash single that was just out. They played one show in the hall of a dorm at R.I.T. that I recall being great, raw & raucus.

The first real New Math show was played in their rehearsal room. They played all 35 mins of what they knew in front of about 40-50 people for a show recorded & then played on WITR. (Anyone out there got that?) I still remember during the show Kevin calling out “Dale… Solo Lead guitar” at the solo of one song, as a cue.  And thats when Dale Mincey became Solo. Patti Smith was into her boxing phase so she was always talking about her “Trainer”. Gary taught Robert how to play bass, so Kevin used to put on his Patti Smith voice & say “thats his trainer…” Thats how Gary Tomaselli got named Trainer. Don’t recall the story about Robert getting Slide.

Before Scorgies, with its house sound & lights, you had to hump your PA & lights in & out of these clubs. The tiny elevator at the Cox used to close early, and so that meant carrying it all down & then back up 4 or 5 flights of narrow stairs. I don’t miss that. For sound, we had started with an amp hooked up to someone’s Bose living-room speakers and a 6 channel Teac tape recorder mixer, but then upgraded to heavy bass cabinets with horns that sat on top. In fact, looking at the photo above, I realize that it was lit with the stage lighting rig that Paul & I made in his basement.  5 floodlight sockets, nailed to a long board, with 5 wires running 50 ft to a little switchboard.  The club owners used to laugh at it when we set it up. It looks like we laid that socket board down in the hall & turned it on, resulting in those multi shadows growing behind them on the wall.

Scorgies was the only place to play, once that all got going. Those other clubs were something to get away from as soon as we could. Orange Monkey, yeeech! Penny Arcade? Who needed that? Big Daddy’s was a sort of mob disco, not a rock club at all.  They had a few shows, the Human Switchboard played 2 great nites there, with New Math opening. Electric Circus tried for a bit, having New Math a few times & also bringing in an early Pere Ubu show that was incredible.

Duane

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I grew up in Rochester but left for awhile. When I returned, I put a small ad on the wall of Record Archive which at the time was located in a small area next door to the Village Green on Monroe Avenue. I was looking for someone to play drums with and Gary Trainer and Kevin Patrick found my ad. The earliest version of New Math had Mark Schwartz on keys and Paul Armstrong on guitar. That lasted for a few gigs and the lineup changed. Gary and Kevin were always in charge.

New Math "Die Trying" cover - click for enlargement

New Math "Die Trying" cover - click photo for enlargement

The New Math single, “Die Trying”, got a lot of play on the Scorgie’s juke box. It was released on at least three labels and the photo above shows artwork for the 7 inch vinyl that was never used on any of the releases. If you click on the photo above you can can see a comp with the artwork pasted on a forty five. The double lines that arc over the hole created an optical illusion when it spun on the turntable. Without drugs you could see colors in the black and white label! I think you actually had to spin it faster than 78 to see the colors and maybe that’s why it was never used.

I was working as a graphic artist at Multigraphics (in the same block where KrudCo now is) so the artwork for the single fell into my lap. I think Kevin found the design that we used for the front cover in an old art book and I recreated it. In the photo you can see Robert Slide and someone else in one of the small photos on the desktop. I was thinking that Robert took this photo but it may have been Corrinne.

The back cover of the sleeve went through a few revisions and someone had the idea to have each person in the band contribute a two inch square piece of art. I seem to remember Dale never getting around to submitting his piece so Gary suggested that I put a zero in there. I could have that all wrong. Maybe someone else remembers.

The first release was on Reliable Records in England. Howard Thompson produced this single with Dwight Glodell engineering at PCI studios, across the street from East High. Howard went under the name “Howard le Canard” for the deed and he was instrumental in getting it released on this London label.

I had already decided to quit New Math before going into the studio but I waited until the recording was made before announcing my intentions. The same night we recorded these songs Peggi was at Max’s Kansas City for the Cramps and I really wanted to be there. Bryan Gregory was still in the band and we were crazy about them. All we had were two purple and green Vengeance singles (both produced by Alex Chilton) that we had picked up at the House of Guitars. The HOG kept the import and underground US singles in a locked cabinet upstairs in the hallway and you had to get Greg from the Chesterfield Kings to unlock it if you wanted to paw through the offerings. I remember picking up three early Pere Ubu singles and an early Devo version of Mongoloid and all sorts of great stuff .

I met Kevin for lunch and a Heineken at the old Manhattan restaurant near Midtown and told him I was jumping ship. I had a great time in this band but I wanted to do something different – like make music with my wife (you know what I mean). Peggi sings, plays sax and keys and we formed the Hi-Techs not long afterward but that is another story.

New Math Die Trying covers

New Math Die Trying covers

Die Trying was re-released on CBS in England with the same b side, “Angela”, and eventually Dick Storms released it in the US on Archive Records. This last sleeve was designed by Duane Sherwood and it had a different b side, a Dale Mincey song called “(I) Can’t Get Off The Ground”. New Math did a gig with Human Switchboard and Dale eventually married their keyboard player, Myrna.

New Math at the Orange Monkey 1978. Robert Slide - bass, Gary Trainer, guitar, Paul Dodd - drums, Kevin Patrick - vocals, Dale Mincey - lead guitar.

New Math at the Orange Monkey 1978. Robert Slide - bass, Gary Trainer, guitar, Paul Dodd - drums, Kevin Patrick - vocals, Dale Mincey - lead guitar.

A few weeks ago I was talking to Gary Trainer at the Village Gate Courtyard between Margaret Explosion sets and he was saying how lucky we were to have a place like Scorgies. We were trying to recall some of the places we played before Scorgies opened. The rock clubs mostly had commercial hard rock bands at the time and you needed a manager or booking agent to get you into the clubs. We worked with Jim Armstrong and even gave him credit on the single. He had some rock solid advice that stuck with me like “don’t let the crowd hear you tuning up (or playing anything for that matter) before you hit the stage because it spoils the performance”. NRBQ did this better than anyone by running on stage and starting as soon as they touched their instruments. Howie from Six String sales booked some club along the river and we did business with him too. Pelican booked bands at the time and Penny Arcade would book an original band but then have the bartenders wear t-shirts that said, “Punk Rock Sucks” or some such nonsense. Like they would know. They were in cahoots with the ultra conservative, formerly “underground” WCMF at the time and they did everything they could to hold back change eventually giving in to playing such “adventurous” new music as the Cars or the Pretenders.

New Math at the Electric Circus on Dewey Avenue in Rochester, NY

New Math at the Electric Circus on Dewey Avenue in Rochester, NY

We played the Orange Monkey out in Henrietta and the Electric Circus on Dewey and Big Daddy’s on Lyell and some place that Howie booked along the river. Scorgies was better than all these places by a mile. They had their own sound system and lights. All you need are these two things, an empty room and a bar and you have the perfect rock and roll club. I played with New Math for a year and a half and but had already left the band before they played Scorgies. The Hi-Tech and Personal Effects played there many times with New Math and we are all still friends today.

New Math got along fine without me. Bobby “Bam Bam” McCarthy played drums for a while and then Roy Stein joined. They released many more records and eventually changed their name to Jet Black Berries. When I saw Gary, he had a bunch of old New Math posters that he was giving Tom Kohn to scan for the Scorgies site. They should be up here soon.

Listen to Die Trying
[audio:http://scorgies.com/blog/mp3s/NewMathDieTrying.mp3]

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Jim Malley (of Mercury Posters) is putting together a band flier show at the Record Archive, opening September 4th. While going though my archives, I found this New Math handout; it dates back to the release party for New Math’s “They Walk Among You” on March 12th, 1982.

I guess if the reunion had actually happened I would have had to cut the coupon out of the bottom half. If I had actually put this in my wallet, it would have disintegrated!

Coupon passed out at Record Release Party for "They Walk Among You"

Coupon passed out at Record Release Party

And Duane, you’ll have to confirm this bit of trivia… wasn’t the video for “They Walk Among You” shot on the Pittsford Sutherland High School stage using the set from “Bye Bye Birdie?”

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Pete Presstone at Abilene in 2008

Pete Presstone at Abilene in 2008 - photo by Stan the Man

One of my favorite bands from the Scorgies days was The Press Tones. Judging by the pile of old posters we rounded up, they were the first band we (Hi-Techs) asked to play with us at Scorgies. Our first show together would have been Friday June 10, 1980.

We missed their reunion at Abilene but we’re planning on catching them at the next reunion at the German House in November. It did seem sort of odd, a reunion before the reunion, but Tom Kohn said it only wet the whistle or primed the pump or one of those things. My extended family was calling a yearly picnic that we used to do, a “reunion”. And Peggi said, “You can’t call it a reunion if you do it every year”. I suspect the Press Tones never really broke up and that is their excuse. Everyone we know that saw them at Abilene said they sounded great. Bob Martin told us they were “really great”, in a way that implied that we better get our act together before we (Personal Effects) play with them. Here we’ve been spending all these years trying to get loose and now I feel some sort of pressure to get tight or least have a rehearsal.

This Friday we (Margaret Explosion) are playing at Village Gate and Ken Frank is on vacation so Bernie Heveron will be sitting in on bass. This could technically be a Personal Effects reunion because it would be an intact lineup. We might do a PE song. We’ll have to see what happens.

We got the Press Tones 45 out this morning and took it for a spin. I had forgotten that Dwight Glodell produced this thing and that it was on Dick Storm’s Archive Records. “Treat it like a Scar” sounded really good. They had a sort of dark pop guitar rock sound and this single captures it perfectly. Pete Presstone writes some great songs and Scott Presstone has a really good voice. Didn’t Scott used to play drums in the Bowery Boys or am I all mixed up?

Jim Frieze, lead singer with the Press Tones

Jim Frieze, lead singer with the Press Tones

Jim Frieze brought this photo of himself to me when I lived over by East High. He wanted me to do a poster for a gig the Press Tones were doing with the Chesterfield Kings at Scorgies. Jim was the lead vocalist for the Press Tones for a while but I can’t remember if that was before or after Scott. Maybe Scott went to Florida for a while. And it seems like Pete sang when neither one of them was in the band. Didn’t Mick Sarubbi play bass with them too in the early days? Maybe Tony Brown was still going to East High. Somebody has to help me out on the details. Anyway I hear the classic lineup is back and they sound better than ever. I’m looking forward to their Scorgies Reunion performance.

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Deep Sleep

Paul Szp of Paper Faces at Scorgies

Paul Szp of Paper Faces at Scorgies. Photos by Paul Dodd. (Click on photos for enlargements.)

One of my favorite bands from the Scorgies days was Paper Faces. They were technically from Kenmore, outside of Buffalo, but they seemed like they were from another world or Europe at least. The two main guys were brothers, Paul and Brian Szpakowski or Szp for short. Paul played keyboard and Brian guitar but the whole band seemed to always be switching instruments. Dave McCreery played a tight rhythmic guitar and George played a loose limbed bass or guitar. Bill Moore played drums like a drum machine, not a big muscular beat but a detached, mechano style that seemed very cool. There is a new band out there called Paper Faces but don’t be fooled. These guys own that name. We met Paper Faces at the Hi-Techs’ first gig in Buffalo. Debra Lary booked the show. We had met Debra when she brought The Vores to a show in WCMF’s back room. The Dictators played the back room and Robert Fripp did his Fripatronics thing there too. Both were outstanding shows. I don’t know why they don’t do that sort thing anymore.

Paul Szp and Dave McCreery of Paper Faces at Scorgies

Paul Szp and Dave McCreery of Paper Faces at Scorgies

The place we played in Buffalo was called the Masthead and it was tiny. It was us, Paper Faces and a handful of patrons. Late in their set George started making up lyrics about the spots on the floor of the bar. He had us all looking down as he described this overlooked universe. We were sold on these guys and booked a gig for them at Scorgie’s with the Hi-Techs. We must have played ten times with them at Scorgies (judging from the Posters section) and many more in Buffalo at the Continental, McVans and the Schuper House. Buffalo seemed so much tougher than Rochester. The bars were open til four so the night was long. Hookers roamed the streets outside the Continental and people said Bud, who managed the place, ran around in a Nazi uniform. All I know is, we had to ask him to shovel off the stage before we set up our equipment because the German Shepards he kept in there shit on it. They had a dj and a dance floor upstairs so the bands had to compete with that crap. It was all worth it. We went back to to Paper Faces’ rehearsal place one night and partied til the sun came up. We met Mark Freeland and Tony Biloni through the Faces and Toni took us to a party with Tony Conrad from the pre VU days.

George Scherer of Paper Faces at Scorgies

George Scherer of Paper Faces at Scorgies

Paper Faces released a killer 45 with a beautiful sleeve of their popular song, “Riding A Bomb”. “In the distance I see people praying. Give us what we need, carbonated liquids. We all need each other’s company.” and the refrain, “I’ll be hungry in the morning. I’ll be hungry in the morning.” David Kane produced it. Margaret Explosion did a gig with his “Them Jazzbeards” a few years back. I liked the b-side, “Deep Sleep”. We played it tonight. I wish I had one of those Crosley turntables so I could rip singles like Kevin Patrick does. Paper Faces have been in a deep sleep long enough. I wish they would come back.

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Here’s my memory of the first Cramps show. I was in high school at the time, and after interning at WRUR during the school year, I had my own show in the summer. Now, I don’t remember every detail, but somehow I got assigned to escort the Cramps from Scorgies to WRUR so Rock ‘n’ Roll Joel could interview them on his popular “New Wave” show on Sunday night. I showed up at the club, and went to the back alley way and found the tour manager to help him find his way to the radio station. After the sound check, we loaded up the van and headed first to their motel, and then to the station.

The first stop was the motel, the Travelodge on South Avenue. No one in the band was very talkative, except for Lux, who seemed pretty nice. I’m sure they wanted nothing to do with me, them being the dressed-in-black, pre-goth rockers, and me being a pretty nerdy looking teenager. They pulled up to the motel, and Lux and the tour manager got out to check in. The rest of the band stayed in the van with me, and after a long period of uncomfortable silence, Lux returned with keys. He was eager to retell his exchange with the desk clerk, trying bargain for rooms. “We just want something nice,” Lux said. The clerk shot back: “Well, they’re ALL nice!” I laughed, but the band just sat there stoically. Then, Lux and the manager and I motored on toward the U of R to the station.

Roll Joel at the Record Archive with Dick Storms - photo by Paul Dodd

Rock 'n Roll Joel at the Record Archive with Dick Storms - photo by Paul Dodd

Joel Rosenthal was waiting for us at the station. While there were those who were still stuck in the Grateful Dead/Traffic/album rock thing, Joel was our punk rock ring leader. He knew the path to glory… and we followed him gladly. The interview was conducted in the news studio,and I was in the booth with another dj who was manning the board. Joel asked him about their recent experiences in London, and Lux replied: “London is shit. Can I say that, shit?” Joel seemed unfazed. “You can say it,” he said, “but I can’t.” “Oh no he can’t!” screamed back the engineer.

On the way back downtown, the manager dropped Lux at the hotel, then went back to the club. I told him that I was underage, but he gave me a wristband, and let me back in the club later. I tried to stay out the way, not wanting to get caught. I was only 17 at the time(the legal age at the time was 18), but I looked about 12. I stayed safely on the side of the stage for the whole show, then trouble: Lux started punching the ceiling tiles. I was right in back of Don. I could see him fuming from behind. Finally, he threw his beer bottle against the wall and went up on stage and grabbed Lux by the neck. Terrified, I backed away from my safe area, and fled the scene. That was the end of the show anyway.


Probably My Favorite Show – Marianne Faithfull, October 1, 1983

When Marianne Faithfull played the sold out 500 capacity packed basement of Scorgies in the fall of 1983, it was during a tour for the album “A Childs Adventure”. Don Scorgie was looking forward to the show based on his memories of her from the 1960’s when she was Mick Jaggers girlfriend. He probably expected something closer to a socialite fashion model than the chain smoking junkie dressed in thrift store cast-offs that showed up.

They were literally thrift store cast-offs, as Marianne had gotten on the tour bus in Manhattan the night before without a stitch of clothing beyond what was on her back. She had spent part of the afternoon prowling the downtown Rochester thrift stores looking for things to wear.

The rest of the tour had been booked into small & mid-sized theaters, and this was the only club date. As a result, Marianne was really nervous as the show started. She was making her way towards the stage from the back of the club, during the intro to Broken English, when she suddenly ran into the Mens Room to hide. In the recording below, Don Scorgie can be clearly heard yelling “Marianne… We’re over here!”

Once on stage however the jitters soon left and she delivered a tight & intense set, rolling around on the stagefloor, knocking over drinks in complete abandon. She played a handful of songs from her new album plus faves like Guilt, and Lucy Jordan. She delivered a great version of John Lennon’s Working Class Hero, and ended it all with a fiery version of Why’d Ya Do It?.

After the show, out on the tour bus, she held court with the few fans lucky enough to get aboard. She had 2 joints and a cigarette in-between the fingers of one hand, taking turns smoking off them. I got my “Sister Morphine” single sleeve autographed. She had never seen it before.

Years later, Kevin Patrick became her A&R rep at Island so he & I got to know her pretty well. At one point Kevin said, “You know Marianne, I met you first in Rochester when you played a little club there called Scorgies. Do you remember that?”

Marianne thought for a moment & then, rather wide eyed, answered “Noooo…”

Check out the first 2 songs of the show: Broken English & Times Sq

Duane

Marianne Faithfull Live at Scorgies

[audio:http://www.click2vu.com/scorgieMp3s/BrokenEnglish_TimesSq.mp3]
Tom Kohn's shot of Marianne at Scorgies

Tom Kohn's shot of Marianne at Scorgies

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Two of My Favorite Shows – The Cramps – Summer 1980, & Summer 1981

(above – stage plot & set list from Summer 1980 show)

The Cramps played Scorgies twice. In the summer of 1980 after their first album Songs the Lord Taught Us came out, and a year or so later for their 2nd album, Psychedelic Jungle.

Several weeks before the 1st show, their fuzz-lead guitarist Bryan Gregory had backed a truck up, loaded all the equipment into it, and disappeared into the night to join a cult in San Francisco. I think it was a long time before they saw him again.

They replaced their equipment and recruited a woman guitarist for the tour named Julian Griensnatch. The Scorgies show was her second gig in the band. The set list is reproduced here, along with the stage plot for their equipment. You’ll notice that the name of the lead guitarist is left blank, she probably wasnt hired yet when they drew it out.

New Math opened the show. Once the Cramps hit the stage, they lived up to all the rumors that had preceded them. Wild & furious, they played songs from the album as well as their Gravest Hits EP & indie singles.

At one point I yelled out a request, “Surfin Bird…!!”

“Surfin Bird??!” Lux immediately shouted back, “I’ll show you a Surfin Bird!!” and with that he pulled out his dick & swung it around for a second before tucking it back into his stretch pants. Pretty much shut me up from requesting anything else that nite.

Don Scorgie had just recently hung a new suspended ceiling in the whole club. Onstage however, the new ceiling was within striking distance of anyone raising their hands above their head. Lux punched straight up into the air once, and his fist went straight thru the ceiling, breaking a tile. That was all the invitation Lux needed & he began slowly pulling sections of it down by its thin metal frame while he sang.

Don stood at the side of the stage turning red with anger. He began punching the brick back wall of the club with his bare hands. The Cramps ended their show & Don bounded up onto the stage with fists clenched, daring anyone to applaud. Then he started punching the Cramps tom tom drums, trying to put his fists thru them. There was no encore.

Shortly after, Don removed the section of the suspended ceiling over the stage, which made it easier to hide the front stage lights.

That nite, Kevin & Gary from New Math invited the Cramps back to the house they had apts in on Merriman St. True to the Cramps legend, a bat flew into the apt while they were there. Lux caught it & humanely released it out the kitchen window. True story.

Eric Nelson got in touch after reading this, & emailed me the following great pic from the show. He reminded me that Lux had smashed 2 beer bottles together, shattering them & cutting himself on the chest. I remembered it immediately, and even recalled asking Ivy after the show if Lux was alright, with her replying “oh, he does that stuff all the time…” Thanks Eric.

Eric Nelson's Cramps pic 1980

Eric Nelson

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The second show, a year later in 1981, was another crazy event. I think the way it happened was Danny had originally booked the Cramps into some bar restaurant out in Henrietta that was starting to have bands. Something happened at the last minute and that place cancelled. Danny moved the show to Scorgies (I think he was also booking Scorgies at the time). Don wasnt very happy about The Cramps coming back to his club. The Cliches opened that show.

Having met them the year earlier, Kevin & I went down to Scorgies in the afternoon to see them soundcheck. They had arrived & their equipment was set up but the band was nowhere to be found. We stood in front of the club trying to decide what to do when the funniest site emerged. The Cramps had been up the hill & over on St Paul, so they were walking back to the club. During the Psychedelic Jungle tour, Lux wore his jet black hair combed & sprayed straight up like a voodoo god from a 1930s horror movie. It stood up over a foot above his scalp. The first thing we saw, looking up the hill from Scorgies, was Lux’s hair bopping up & down as they crossed St Paul. Everything else was out of view. We stared at it for a few seconds as the rest of Lux & the band appeared.

Their new guitarist was Kid Congo Powers, and he was sick. Not only in the Cramps sicko-rockabilly way, but intestinally as well. The stage was covered with fake cobwebs, burning votive candles, and deep green & blue light. There were skulls sprinkled around the drum kit. The brightest thing on the stage, tho, was Kid Congos bottle of Pepto-Bismal which was glowing bright pink as it sat on his amp. He was swigging it all nite.

The show was great, with that heavy druggy “Sit right down and make yourself uncomfortable” swamp vibe. Lux’s hair standing straight up & Kids hair standing straight out. Both effects courtesy of the case of industrial beauty parlor spray I saw in the dressing room. Big cans, like spray paint, totally toxic looking with a generic gray label. Ivy said they found them in a beauty supply wholesale place in the south.

They opened with Don’t Eat Stuff off the Sidewalk, and played most of Psychedelic Jungle, including The Natives are Restless, which they never play anymore. They did Drug Train, & a lot of earlier stuff.

That second show was also not without incident. Someone stole the bands new digital guitar tuner, and then their next day transportation plans to Ohio (the next gig) evaporated, leaving the band stranded in Rochester. Kevin let them use his credit card to rent a car and I took them shopping at a 1950s interior furnishings store I knew down by Bulls Head. That day cemented what became a long term friendship that resulted in Kevin signing The Cramps to his Medicine Label at Warner Records, when I worked there with him in the early 90s. We made the album Flamejob with them.

If anyone has great pix from this show, email one to me at info@click2vu.com & I’ll post it here.

Duane

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