By Angelica Leicht
By Corey Deiterman
By Corey Deiterman
By Corey Deiterman
By Chris Gray
By Chris Gray
By Chris Gray
By Chris Gray
The past couple of years have not been kind to Montrose music venues. The Blue Iguana was torn down and replaced by a branch bank. The spot formerly known as Instant Karma has been idle except for the blink-and-you-missed-it existence of what Racket guesses was a club called the Purple something-or-other. Then it was Emo's turn. Another bastion of cool -- dark, Montrose-style cool -- went the way of the Westheimer Street Festival.
"Now there's just nowhere to go in the Montrose," says former Emo's bartender/band booker Ben Perez, better known as Catfish. "I love Rudyard's -- it's a great place to be -- but it's like the only one left."
Now, Catfish is hosting a weekly Emo's tribute night at Fitzgerald's. Like so many other displaced Montrosians, Catfish is making a stand in the Heights. He himself was priced out of his Montrose rental in the late '90s, and this year so was the club that he loved.
The tribute nights have been going well, according to Catfish. "We've had a lot of the groups that used to play there: Transmaniacon MCs, the Drunks, Project Grimm, Slim," he says. "It's funny -- a lot of these bands that we're booking are not doing it for the money. They're doing it because they know they're gonna see some familiar faces. They know that they're gonna have people there cheering for them." (January 16 will find Transmaniacon MCs and Project Grimm playing the tribute; the Drunks get their turn January 23.)
It hasn't hurt that Fitz's owner Sara Fitzgerald has been so cooperative. Emo's was known for its cheap booze and low or nonexistent covers. On the 18-and-up tribute nights, adults pay only a buck and the under-21s have to fork over just five. Sara has cut the impoverished Montrose masses a little slack on the price of a brew, too.
"Everybody's so happy to have a new and cool place to hang out," says Catfish. "In the three months I've been doing it, I've only seen about three fights. When you walk in, you see a lot of local band people hanging out and drinking and networking."
It's hard to steer Catfish into talking about the future. Ask if Emo's will reopen, and he'll tell you nobody knows. He'd much rather remember Emo's past, and especially the club's last gig, the night before Labor Day.
That night, the Flamin' Hellcats played, and the crowd took the house apart. Literally.
"It was amazing," says Catfish. "People were coming in with power tools and ripping out chunks of the wall. They just wanted a piece of Emo's of their own."
Needless to say, the club was packed -- in fact, the line to get in ran out the door and down the street. Catfish recalls they were a thirsty bunch. "By the end of the night, all I had left to serve them was melon liqueur and Sprite," he says. "But they were still buying 'em. They wanted to have one last drink in the place, and they didn't much care what it was."
Emo-tion was running high, to torture a pun. "Oh, man, people were crying, people were hugging," reminisces Catfish. "People who hadn't been there for years just showing up outta nowhere. It was neat."
Catfish looks back at the club with satisfaction. The Smashing Pumpkins used to play there. So did Hole and the Butthole Surfers. Even in its last year, the club introduced Houston to red-hot rockers Black Rebel Motorcycle Club and Godhead, among others. Catfish most fondly remembers another show not so much for its aural delights as for its visual feast.
"Milla Jovovich had a solo acoustic thing," Catfish recalls with relish. "She wasn't really rockin', but everybody just wanted to see her fine ass in Emo's, so we booked her. It was packed. There was all these punkers and dreadlocks and metalheads and nobody gave a shit what she was playing. They just wanted to see her so bad on that little stage."
But Emo's stood in the way of "progress," and it had to go. There are always more yuppies who want town homes "starting in the low $300,000s" -- at least according to the landlord's way of thinking.
"I'm not against people with money," Catfish says. "I'm just against people changing things just because they want to. There's a lot of history being swept away. I saw a lot of beautiful houses being torn down so they could build crappy-ass town homes that nobody wants to live in. I was getting nails in my tires all the time because I was driving around those stupid construction sites."
Still, it's with a heavy heart that Catfish speaks Emo's epitaph: "It was the kind of place you could walk in and always see at least one person that you know. Or if there was nobody there you could always shoot the shit with the bartender about music -- new bands, old bands. There was so much music that went through there."
While Emo's may be gone, it's certainly not forgotten -- especially on Wednesday nights.
Matthew Fournier, a Massachusetts teenager charged with the possession of a bong, a bottle of whiskey and ten beers, was recently sentenced to listen to and write a report on Afroman's single "'Cause I Got High." Massachusetts District Court Judge Nancy Dusek-Gomez called Afroman's work "a stupid rap song" yet decreed that charges against Fournier would be dropped on completion of his report and six months off the dope and booze. While the Honorable Ms. Dusek-Gomez no doubt hopes that Fournier will zero in on the Afroman line "Now, I'm a quadriplegic and I know why / Because I got high," one wonders if Fournier will be listening to a CD single and not the complete album. Other cuts from Afroman's "Just Say Yes" album, The Good Times, include "Let's All Get Drunk," "She Won't Let Me Fuck" and "Tall Cans." Bassist/ vocalist Bianca Halstead, a.k.a. Bianca Butthole of the band Betty Blowtorch, was killed in a car crash just outside New Orleans in the wee hours of December 15. A reportedly intoxicated Metal Sludgecorrespondent was driving the Corvette carrying Halstead when it spun out of control. Halstead died instantly. She was scheduled to play Fitzgerald's here later that day. At her cremation service in New Orleans, a recording of AC/DC's "She's Got Balls" was played, and her ashes are to be interred for all eternity, according to Los Angeles New Times writer Jim Freek, in a vintage KISS thermos Jug O' Lightnin'is looking for a new drummer. Chris King is leaving the band in order to go back to college and get one of them there "career" things Mike Barfieldis seriously pondering dropping the Hollisters name in favor of performing under his own moniker Now that the winter solstice has passed and the days are starting to get longer, it's time to cast our eyes toward the big shows of late winter and early spring. Mardi Gras Galveston has lined up the Young Dubliners, Delbert McClinton, Marcia Ball, Jonny Lang, B.B. King, Global Village, Ian Moore, Fondue Monks, Gel, Blue October, Better than Ezra and more than 40 other bands for the Oleander City bacchanalia on February 1, 2, 8 and 9. The French-themed Houston International Festival on April 20, 21, 27 and 28 has confirmed performers ranging from Zimbabwean master Oliver Mtukudzi to Gallic neo-cabaret act Paris Combo, not to mention a potent assemblage of groups from formerly French-speaking Louisiana, including ragin' Cajuns Beausoleil and Mardi Gras Indians the Wild Magnolias Also, for those of you who give a flea's dandruff, Foghat, yes, Foghat, is coming to the Radisson Astrodome in February. Should be good people-watching, at any rate If you've never had a cup of coffee with a bassoonist, let me tell you, you haven't lived. And now you can, thanks to the Houston Symphony's Coffee with the Conductor series. Houston Symphony principal bassoonist Benjamin Kamins will be guest of honor at the January installment of the bimonthly program that takes place at the Barnes & Noble at 7626 Westheimer.