Dallas Observer
Geoff Johnston's Best of 2006
Aside from an Adventure Club appearance and a handful of shows in late spring and early summer, 2006 was kind of a quiet year for American Werewolf Academy. We suppose that's what happens when you share a drummer with the Drams. But their sophomore album still makes it onto this year's list, albeit on a technicality of sorts. The band got the CDs back from the pressing plant in December 2005, but they didn't get copies out to most reviewers and critics till early '06, after all the "Best Of" and year-end lists had been tallied, announced and then promptly forgotten. We suppose that makes this the best record of 2006 to come out in 2005. But this is rock 'n' roll, not quarterly fiscal reports. AWA's sophomore release is an efficient assemblage of no-frills guitar-rock anthems that demand to be sung on high, be it from the backseat of your uncle's restored muscle car or while violently upchucking in the back alley of your favorite dive bar. Clocking in at well less than a half-hour, Tell Them Right Now begs to be played again and again, if only because you missed a few songs when you went to the bathroom.
fufkin.com
American Werewolf Academy -- Tell Them Right Now! (self-released): Ten songs in 20 minutes! Hooray for brevity! The AWA is back with the rock and roll equivalent of a stack of Dixie Riddle cups (which no longer exist, but now we have Pringles with riddles printed on them), with silly lyrics and punchy garage rock riffing. Aaron Thedford's slightly raspy voice is perfect for this music that is two parts ‘60s inspired and one part in the vein of early Too Much Joy, exemplified by inspired song titles like "Gang of Inadequates". The band really rocks out on the power chord slamming "What's Shakin', Dr. Wizard?" Here, the band taps into a kind of Who/Guided By Voices-inspired groove, and the song kills. The only damper is that Thedford's voice is a bit lost in the mix, and I can't make out all the words. Then again, maybe I'm just getting old. I also dig the bouncy "Jack Wild", which has a great melodic hook, but also could have benefitted from making Thedford's vocals just a little bit more prominent. Of course, the fact that I still enjoy the songs shows that the compositions are strong. Another winner is "The Good Time Kids", which has a easy to like big riff chorus. I imagine that these guys can serve this type of stuff up for years. Maybe someday they could try a concept album, like The Coolies' terrific Doug.
~Mike Bennett
The lineup ranged from '60s-inspired retro rock (the Shapes were coolly mod and the Beatdown killed the crowd softly with its R&B-inspired keys-and-sax rock) to the very twee (the Bracelets' three-part oh-la-las and wah-wahs inspired Peanuts gang-style dancing, and 7-year-old Maya Bond's punk singing got more "ahs" than a basket of kittens).
Then Cleveland, Tenn.'s Ballroom Dancing offered an after-midnight sugar rush with its strange bag of tricks: They mixed odes to ragtime and classical music into rock tunes and volleyed stuffed animals into the audience during bursts of seemingly choreographed spontaneity.
After a lullaby of a set by Teenage Symphony, the dance party started. Man Factory got the crowd on its feet with punk-laced rock numbers, and there was no time for a disco nap before the brass section of the Happy Bullets called reveille with an abbreviated but enthusiastically greeted set. Fishboy delivered Popfest's knockout punch.
Despite the show sometimes running 90 minutes behind schedule, most listeners were probably glad to have taken the advice to stick around from Popfest's host, Frank Hejl, formerly of KNTU-FM's (88.1) Frequency Down. Though the bands had some commonalities, Popfest proved there's a range to what can be done with guitars, drums, synthesizers, the occasional trumpet or trombone, cardboard boxes and thrift store stuffed animal.
Dallas Morning News
Popfest boasts broad lineup
Sunday, July 2, 2006
By SHANNON SUTLIEF
FORT WORTH – Those looking for a definition of pop music at the Metrognome Collective's Popfest on Friday could conclude that this genre means keyboard-heavy guitar-fronted rock played by men in their early 20s who enjoy close harmonies and gimmicks like costumes and stage props.
American Werewolf Academy opened Popfest at the Metrognome Collective on Friday. They could also conclude that pop music fans are a hardy, dedicated, dance-loving bunch as about half the night's crowd – around 50 people – remained for Fishboy's finale at 3:30 a.m. (The Metrognome Collective is a gallery and performance space located in a Fort Worth warehouse, and no bar means no 2 o'clock last call.)
Fishboy's set was worth missing a few hours of sleep. The band debuted two songs from a rock opera being written by singer-songwriter Eric Michener, a.k.a. Fishboy (the band's eponym and Popfest's organizer), and also played several favorites, including the show-closing "Albatross," which resulted in an onstage singalong featuring fans and members of Popfest's other bands.
At 8:30 p.m., American Werewolf Academy sounded the starting pistol for this music marathon. As singer-guitarist Aaron Thedford sang about "cardboard stars" during "The Last American Prom Band," white cardboard birds swayed from strings attached to the rafters above the stage in Metrognome's brick and concrete space.
Next, Hardin Sweaty and the Ready to Go showed that – despite the goofy name, cardboard monster props and songs about robots – their seriously silly music was worth taking seriously.
The Dallas Morning News
Well-schooled in having fun
Bet you can't resist howling along with American Werewolf Academy's new CD
Friday, February 10, 2006
By HUNTER HAUK
American Werewolf Academy's new CD, Tell Them Right Now!, has a punk heartbeat, a classic-rock soul and a brain that's, well, hard to predict.
One track is slow and brooding ("From Zeros to Elsewhere"), a couple are anthemic singalongs ("Bearfield Fight Song," "Live Like Kings Forever") and others are purely unclassifiable ("The Good Time Kids," "Jack Wild").
You get the idea: The four-piece Dallas band leaps styles like it just doesn't care. And that helps explain the addictive nature of its debut full-length album. The tunes differ, but the mission stays the same, fun for the sake of fun.
Frontman Aaron Thedford and bassist Carl Schembri started AWA in 2003 after their former band, Robot Monster Weekend, went bust. Following a 2004 EP, Devil, Spit It Out, Mr. Schembri departed, leaving Mr. Thedford with the band's current lineup, rounded out by new bassist Noah Prikryl, drummer Tony Harper and guitarist and keyboardist Mike Gargiulo. Mr. Thedford, a raspy-voiced singer with a penchant for intentional off-key moments, says the new album incorporates catchier hooks than its preceding EP. Recorded on a 16-track tape machine by Matt Barnhart at Denton's Echo Lab, the self-released Tell Them works as perfect driving music, so infectious that your passengers join in almost immediately. You can hear some of the band's music at www.americanwerewolfacademy.com.
Indiepages.com
Judging from the bizarre album cover and song titles, you can tell that this band isn't one to take things too seriously, and is more concerned with just having a good time. That may be true, but the songs are definitely a lot better than I expected! On the outside, this Dallas band looks like they'd be a bit similar to their northern neighbors, Fishboy, but the music sounds closer to the high energy power pop of Guided By Voices, Spoon and even Cheap Trick (with a voice that occasionally reminds me of a young Rod Stewart, although the thought makes me shudder). These ten songs clock in at just over 20 minutes, and many of them are as catchy as they are short, with highlights including "The Good Time Kids", "Waking Pill" and the farfisa-led "Return Of Electric Man"; the only song I wasn't into was the slower "Last American Prom Band". This album is a lot of fun, and a great treat! MTQ=9/10
"Anthemic, catchy sing-along rock. Great tunes with great lyrics. You'd be hard-pressed not to like this record. The only drawback is that it's over all too soon."
- Jason Manriquez, Scissor Socket Shocker Zine
MusicUnderwater.com
Anyway, I could do the “introduction thing”, but I think American Werewolf Academy are way too good for that. This album rocks. Actually, it might be an EP, as it’s only twenty minutes long. I don’t know. It rocks. I think the cover art says it all, really. If I had seen this album in a store, I would have bought it for the cover alone. Hell, I would have been even more excited to find out how great the music was, too!
Tell Them Right Now is soaking in bubbly rock and roll, part ‘Mats, part Thin Lizzy (really, can you hear it?), part Cheap Trick, and all of its ten tracks under three minutes long each. “Bearfield Fight Song” has a throttling riff and an anthemic refrain of “We will fight!” that will shake millions. “The Good Time Kids” is classic singalong rock faire, and “Last American Prom Band” manages an epic buildup in a scratch over two minutes.
“What’s Shakin’, Dr. Wizard?” turns it up to 11, with production so imperfectly dirty that follows up the clean, poppy “Waking Pill” and “Gang of Inadequates” with style. “Jack Wild” and “Live Like Kings Forever” are as classy as classic booze rock gets. These guys are from Texas, and they bring it Texas style.
I demand more American Werewolf Academy now! Do yourself a favor and order Tell Them Right Now – right now!
- Kyle Dilla
Dallas Observer
Listening to American Werewolf Academy is like watching your favorite dumb comedy for the 15th time--fun in a nostalgic way, even when you know what's going to happen next. But clocking in at just over 20 minutes, Tell Them Right Now! is a lot quicker of a pick-me-up than that old Tommy Boy DVD. Shorter than most bands' EPs (and just three minutes longer than 2004's Devil, Spit It Out), the Academy's first so-called LP packs 10 songs that aim to reclaim everything that's fun about rock 'n' roll: three-chord simplicity, pounding drums, distorted guitars and teen rebellion.
"From Zeros to Elsewhere" opens with a slow waltz that belies the fast tempo more typical of the group but nonetheless showcases retro touches--a chiming triangle and a cheap-sounding keyboard's approximation of an organ--that keep the Academy from sounding like just another power-pop/punk band. Their rep is reaffirmed quickly; "Bearfield Fight Song" sounds like Will Johnson singing with Guided By Voices, and "The Good Time Kids" gushes about how the kids your parents hated always had the most fun, bringing in a cowbell and hand claps to drive the point home. Former Robot Monster Weekend singer/guitarist Aaron Thedford comes up with hooks that'll have you singing even the most nonsensical lines to yourself for hours afterward. The chorus of closer "Live Like Kings Forever" sums up AWA so neatly it practically begs for an impressed reviewer to quote it: "Trying to open doors with the same three chords/It's a beautiful thing." - Jesse Hughey
Smother.net
Having reviewed American Werewolf Academy’s EP “Devil, Spit It Out” and some of their members’ former band Robot Monster Weekend, I knew somewhat what to expect from this, their debut full-length. But I wasn’t prepared for the powerful hooks that permeate this power-pop meets punk rock album. Songs get stripped down for a nice nod to late ‘70’s New York City punk and hard rock. The vocals are rough and melodic with throaty bliss. American Werewolf Academy are all spittle and leather at times but then switch back to the polar opposite, carefully morphing into huggable teddy bears who offer lollipops to good little chaps. But from start to finish, it’s just a damn good time packaged in a rock-n-roll bubble wrap.
- J-Sin
Reviews for Devil, Spit it Out
Splendidmagazine.com
There's not much to say about Devil, Spit it Out, but what little there is to say is all good. Simple and sublime as sugar, cute as a button and silly as an air guitar solo, this little EP chugs along happily for seventeen minutes of pure, unadulterated fun. Frontman Aaron Thedford could have gotten by on pure bright-eyed charisma, but his lyrics are catchy as fuck and display a certain irrelevant wit. Songs like "Library Jamboree", a feel-good party song about rocking out in a library, and "Goodnight, My Pumpkin Pie", a sort of lullaby culminating in the tale of Captain Hook's lonely alcoholism, don't really make any sense. Indeed, they fail to cohere perfectly, sparkling with their rough-hewn concepts and total lack of meaning.
Thedford's vocals have a lot to do with it, too. His sincere, slightly ragged country boy voice is positively magnetic. You can't hear it without wanting to sing along. You get the feeling that he could make even "Amazing Grace" sound anthemic. As if that weren't enough, his guitar-work is excellent. His country-leaning pop-rock is pure Americana. It's just as irresistible as his voice.
Devil, Spit it Out also includes a video. It was produced with no budget at all, but you should watch it. It has a kid in a backwards baseball cap joyfully playing a broom while fireworks shoot out of the handle in front of a giant American flag. If this music can sell that -- and it does, not to mention making it seem like the cutest damn thing in the universe -- it must be great.
You'll come away from Devil, Spit it Out craving more. Somebody give these kids a record deal, now. Their next LP could be huge.
-Mike Meginnis
The Dallas Observer (live review)
The final evening of the three-night Rock 'N' Roll Ramjob, critic Mike Keller's annual musical birthday party, felt a little like the last hours of, well, a birthday party. Only the most dedicated partygoers stuck around, with crowds peaking at about 50 or so throughout the night. And, like other parties, the stragglers were rewarded for their diligence.
Instrumental band Shibboleth returned from hiatus with bass player James Driscoll on drums, and--not necessarily related--the quartet seemed to rock more, without sacrificing the retro jazzy sounds that seem like party music for Holly Golightly. Snowdonnas likewise rocked harder, abandoning their usual keyboards for a guitar-based sound that highlighted singer-guitarist Tim White's vocals and spacey guitar work. The Falkon followed with what singer-guitarist Mwanza Dover called a "stripped-down set" (singer-keyboard player Daron Beck was absent). Several times Dover hopped into the crowd, but he still couldn't rouse the sleepy Sunday-night audience.
American Werewolf Academy--born from the ashes of Robot Monster Weekend--finished the night with high energy. Singer-guitarist Aaron Thedford (RMW's less polished voice) high-kicked and bounced through the trio's happy-go-punky rock, featuring drummer Tony Harper (also in Slobberbone) and new bass player Noah Prikryl. The Tah-Dahs' Roy Ivy gleefully provided backup vocals and dance steps to the songs from the band's debut, Devil, Spit It Out. Despite the bands' similar names and AWA playing RMW's "Robot at the Square Dance," don't confuse the two. RMW's daisy stage props and songs about tree houses and UFOs are replaced with odes to rock shows and drinkin'. But the seemingly carefree subjects don't mask seriously fun songs. Like Thedford sings, "Would you rather rock song or do you wanna cry all day long?" American Werewolf Academy has chosen to rock.
-Shannon Sutlief
Fufkin.com
American Werewolf Academy -- Devil, Spit It Out (self released): Aaron Thedford of Robot Monster Weekend continues that band's mission of good timey, silly rock and roll. On this record, the Academy blends a bit of Young Fresh Fellows, some Replacements, some Smugglers and an all-encompassing inability to take anything serious but the rocking to make for a nifty seven songs that never overstay their welcome. The best example of this is the bashing and smashing "Library Jamboree". I can picture Tony Harper pounding away on his drum kit, sweat flying off his brow, while Thedford lets the lyrics escape from his sore throat, head bopping back and forth and slashing out neo-Who power chords, while Carl Schembri, as so many bass players must do, remains calm and keeps things together. The Academy doggedly pursues fun and excess, as shown by titles like "Here Comes the Drunks", and inspiring lines like "you load up the station wagon/I'll bring the alcohol" on "Rock Show Tonight". Even when they quiet down, these guys can't help their smartass nature. On "Goodnight, My Pumpkin Pie", a lullaby goes awry, as Thedford goes from gushy sentiments to warning of monsters, mummies and crocodiles. These guys are warped, and I hope they stay that way.
-Mike Bennett
Mundanesounds.com
From the manifesto on their web site to the presentation of their actual songs, Denton’s American Werewolf Academy position themselves as ambassadors of fun, unpretentious rock and roll. No less than three of the songs on their debut EP Devil, Spit It Out have the word “Rock” in the title. Almost all of the EP’s songs celebrate the redemptive power of playing and/or listening to rock music, especially while drinking and dancing with your friends. All seven songs are short blasts of adrenaline that climax with a big chorus, and run out of steam before you do. The band name-checks the Replacements, Guided by Voices and Cheap Trick as influences. They’re definitely as raucous as the first band, as concise as the second, but not quite as technically skilled as the third (though drummer Tony Harper makes a decent case for himself with a series of wickedly fast fills). Of course, their songwriting doesn’t reach the classic heights of any of those bands, but at their best they certainly seem capable of it.
When guitarist Aaron Thedford hollers “You load up the station wagon/I’ll bring the alcohol/Are you going to the rock show tonight?,” you’ll get caught up in his frenzy. On another song, Thedford gives you a choice: “Would you rather rock song/Or do you wanna cry all day long?” On band anthem “Welcome to the Academy,“ he sums up the redemptive power of rock and roll in three lines: “You got to dance/You got new shoes/Here’s your chance to be anything you want to be!“ However, the band’s focus on rock and the various forms of rocking out wears thin over the course of an EP; an entire full-length of these sermons could prove to be as monotonous as the whiny emo that Thedford rails against. Plus, it doesn’t help that Thedford is a terminally hoarse singer whose voice soars a full half-step above the music when he gets excited.
The ballad “Goodnight, My Pumpkin Pie,” which bisects the EP, is a nice attempt at branching out. It laments the death of fairy tales, and boasts a wonderful verse about Captain Hook entering a mid-life crisis (“Pan and Tinkerbell, you both just go straight to hell/Leave me alone with my rum”). However, the rest of the song is full of nonsensical lyrics with obvious rhymes, and several other songs have the same problem. If the band can broaden their subject matter, tighten up their lyrics, and get Thedford to calm down a little bit, it shouldn’t be too long before American Werewolf Academy start nipping at the heels of their influences.
-Sean Padilla
Dallas Music.com
According to the American Werewolf Academy rock music is "supposed to be fun". I think they succeeding in reminding people of that in their debut album Devil, Spit it Out. This punk rock album is very rough. Sometimes the harmonies aren't even together. And yet, it's catchy and fun to listen to. It sort of reminded me of Bowling for Soup back in their early days. The lyrics as well as the beat put you in a good mood and keep you energized. This is a band that could make it as a fun party band, or they have potential to clean it up a little and really go somewhere. I guess my only criticism is that they give us more than seven songs next time. It was a little short.
The Fold
Did you ever wonder what it is like to be in a rock band? Stay up late, party, drugs... the typical sex, drugs, and rock and roll? As American Werewolf Academy so well explains on the album Devil, Spit it Out, 'tis not true.
With the first two songs of the album ("Rock & Roll Circus" and "Rock Show Tonight") they paint the picture of what touring, writing and playing clubs is really like. It is not sex, drugs, and rock and roll, it is playing for dickhead club owners who are unwilling to pay you, riding around in a broken down piece of wan, and basically being discouraged away from the one thing you really want to do with your life (ready to throw your guitar into the fire yet?).
The thing with AWA is they make all of this sound like it is the most pleasant experience you can have in your life. With the alt country twang, scratchy kind of but not really off key vocals; this is a band that you just can't help but like. Okay, big deal, I put a label of alt-country on them, but when you hear the lead banjo on "Goodnight, My Pumpkin Pie" you will understand why.
AWA start the album strong with the previous mentioned first two songs, slow it down for all the lovers in the room then finally finish off strong with the last three songs; especially "Here Come the Drunks" and "Welcome to the Academy." This album features heartfelt rock and roll music and lyrics that are undeniably not emo.
All in all, buy this album and I guarantee you will not be disappointed. If you are disappointed, then I am truly sorry for your lack of taste in music and please go pawn your instrument at this very moment.
-Todd Hyde
Smother.net
The trio known as American Werewolf Academy, blend the sounds of power pop, rock-n-roll, and punk rock. They hope you’ll listen to their songs and one day sing along—and starting their album off with “Rock & Roll Circus” is a great avenue to get that jumpstarted. Formed in the ashes of oft-talked about Robot Monster Weekend (you should remember them if you’ve been reading this rag for more than a couple years), you know you’re in for a raucously good time. All boisterous asides are put to task with the type of gusto that many resign for their favorite hobbies, girlfriends, and pastimes—darn tootin’ this is a rockin’ good time.
- J-Sin
AWA fits nicely into the budding North Texas smart-pop scene, currently led by the Happy Bullets, the Tah-Dahs and Fishboy. We can only imagine what AWA could do in a live setting, but we may have to sit tight until March, as Mr. Thedford admits to being a bit slack on rehearsing. In order to get him thinking about the new music (and maybe light a fire under him to find a stage, any stage), we asked him some questions. Here's what he gave us:
To go straight to my favorite song on the album, I have my own ideas about who "The Good Time Kids" are, but I want to hear the writer's take. What's the song about?
It's about older siblings and the privileges of age: staying out late, drinking, going to concerts, getting into trouble. I had an older brother and sister, and I was always intrigued with the teenage lifestyle. I wanted to go do those things at age 10, but obviously I was too young. The Good Time Kids are the kids who smoked and wore concert shirts. They're actually the bad kids, but they have most of the fun. At least I thought they did.
Your vocal stylings come off as organic, as if you just let things happen and don't worry about messing up. Does it come that easily?
If the vocals are enthusiastic and match the energy of the song, that's all that really matters. I like hearing the nuances and cracks in a singer's voice as long as it doesn't get too obnoxious. Vocals come pretty easily, but sometimes the raspiness can get out of control and I sound like a hick walrus stuck in a bear trap. That's when a couple more takes might be in order.
We've never seen an, ahem, AWA live show. What's that like?
We always want the shows to be energetic and fun. Entertaining the audience is our main priority. We usually do a decent job, but we've had our share of train wrecks. As long as we're having fun playing, it usually translates to the audience, as well. We like to jump around a bit.
What kinds of music did you listen to growing up?
When I was 8, my brother turned me on to the Cars and Devo. ... I heard R.E.M. when I was 14, and they were the first band that actually made me want to play music. I didn't get a guitar or learn to play until I was 20. By then I really dug Creedence Clearwater Revival, the Monkees and lots of one-hit-wonder, jangly '60s rock. As far as writing and making music, Guided by Voices was my epiphany.
You have a song called "Last American Prom Band." Have you guys ever played a prom?
No, but we'd love to play a prom. As long as a telekinetic high school girl does not set the place on fire.
PRESSDallas Morning News Quick
Geoff Johnston
You'd be hard-pressed to find more viscerally efficient rock songs than those assembled by American Werewolf Academy.
A typical AWA song behaves like the ill-mannered mutant stepchild of a drunken bar band sing-along and a soaring arena rock anthem. It's 1960s Texas psych-rock, '70s guitar crunch and '80s college-radio jangle compacted into commercial break-sized nuggets.
While singer-guitarist Aaron Thedford serves as head Werewolf in charge, it's the sum of its parts that make AWA such a fun and ferocious group. The rhythm section boasts fine local-music pedigrees. Drummer Tony Harper (the Drams, Slobberbone) and bassist Jake Barnhart (Little Grizzly, Raised by Tigers) provide ample architecture for Thedford's lumbering rock 'n' roll beast.
Currently at work recording the follow-up to 2005's Tell Them Right Now!, Thedford brought us up to date on the state of the Academy in an e-mail interview.
Q: How's the new album coming?
A: Stuff keeps happening that prevents us from getting into the Echo Lab. Right now the tape machine is broken. Other times somebody has been sick, or some butthole band with a lot of money has booked studio time for an entire baseball season and won't let us in. Otherwise, it should be a good record.
Q: Can we look forward to more fist-pumping, blink-and-you-miss-it rock attacks, or are you taking a Use Your Illusion: Parts I & II type of departure?
A: Some songs have actually broken the three-minute barrier this time around. Of course, there will be a few anthemic pop songs – those are the best kind of songs. Some of it is jangly and moody, but there will always be rock songs on an AWA record.
Q: Any local yokels going to make guest appearances?
A: Yeah, Jess Barr [the Drams, Slobberbone] is gonna do some guitar. [Producer] Matt Barnhart will do something, I'm sure. Kris Youmans [the Paper Chase, the Happy Bullets] played cello and Howard Draper [Tre Orsi, Little Grizzly] is all over the thing with pianos, organs, lap steel and whatever else he felt like doing. Have I dropped enough names yet?
Q: I'll drop one more: Kim Kardashian. Not that she's on the record or anything, but now the online version of this article might pop up when people Google "Kim Kardashian." Anyway, is there a working title yet?
A: No. We haven't even talked about it yet because Tony and I will probably argue about it.
Q: With everyone in the band having day jobs or other gigs, how does the writing and rehearsal process go down?
A: Usually I come up with something brilliant and then they mangle it.
Q: Sounds very democratic.
A: I write all the words and most of the structure, but Tony likes to take things apart and rearrange them. Jake has been playing with us for a few months now, and he throws his opinion out there quite a bit, too. That's fine. I've been in bands where the singer had to have things his way, even though his ideas were horrible. True democracy usually doesn't work in a band unless it's a nine-piece funk band or a jam band, in which case the band will suck anyway.
Q: One of my favorite parts of your live set is your unpredictable high kick. Have your reckless on-stage gymnastics ever led to injury or accident?
A: I kicked our first bass player in the head once. I've fallen down a few times, but not too much. The worst was a time my foot got caught in my cord and my pedals came unplugged. I was standing there with no sound and had to sing the rest of the song while the band glared at me.
Q: Like many bands, your Web site includes a list of past shows that detail where a gig was, when it happened and who you played with. Your entry for January 13, 2007, simply says, "We should put this night behind us and forget it ever happened." Please explain.
A: That was the night of an ice storm. We were a four-piece at the time, and the guitarist and bass player said they were not coming out because of the roads. Well, the place was packed, and Tony and I decided to do the show as a duo. We also drank a bunch of shots, so things did not go very well. I can't blame those guys for our drinking that night, but I'll do it anyway. They are not in the band anymore.
~Geoff Johnston
