What the Jenny Clinkscale band brought to the local scene was entertainment value.... you put down your hard earned moolah and in return you witnessed a rock and roll testimonial unlike any seen before or since. Jen Sincero, the self anointed “rock goddess” had cut her teeth in NYC with Crotch (Sara Rotman and Mike Mellett) Crotch dropped one epic tongue in cheek video for their single, “Power Tool of Love” in 1994, then dropped from sight. The video includes a cameo by Adam Ant, Jen's mother and a hair bikini. Dear old mom gets catcalled by construction workers and Jen has no recourse but to take matters in hand. “and then something happened, I felt the biggest burning hunk of man muscle I ever felt in my life”
Naturally..... Jenny Clinkscale revolved around Jen Sincero and Amy Clinkscale, accompanied by a revolving cast of local musicians (at least 15 different musicians according to Jen & Amy) this included: Leonard Apodaca, Dead Leonard, owner of The Atomic Cantina and co-founder of Socyermom Records. Elijah Mink, a drummer from Seattle who responded to Jen's best selling book: “Don't Sleep With Your Drummer” by stating, “I don't know what I did to her” Jenny Clinkscale's sole album “Mind if We Join You?” is a skillful mix of mid-90s alternative rock influenced heavily by Liz Phair and P.J. Harvey (obviously, seeing how Jen's other band from this period, 60 Foot Queenie derived its name from Polly Jean's song “50 Ft. Queenie” 60 Foot Queenie, formed in Los Angeles is not to be confused with 50 Foot Queenie, a P.J. Harvey tribute band) 60 Foot Queenie wasn't much of a departure from Jenny Clinkscale. Not long after that, Jen ditched the rock & roll lifestyle, declaring herself a failed rock star goddess.
You almost wouldn't expect Lindy Vision to hail from Albuquerque. Visually they present a stunning and exotic image not normally associated with 'Burque or New Mexico for that matter. The three Cuylear sisters, Dorothy (Dee-Dee) vocalist, songwriter, keyboards. Natasha (Na)- guitar,vocals and Carla - drums are strikingly beautiful in a head turning, jaw dropping sort-a-way. Equal parts K-pop divas and new wave rave queens. Raised in Southern New Mexico now making their homes in Albuquerque. Their mixed heritage (Native/African American) sets them apart.... but it's the music that seals the deal. Disco beats for millennial shoegazers. A soundtrack for the debauched rave set. Stripped down intelligent synth pop loaded with sex appeal and danceable rhythms.
“I've got the white noise it drives me insane” Lindy Vision's name derives from a passage in Malcolm X's autobiography where he (along with co-author Alex Haley) describes the “Lindy Hop” dance culture (a predecessor of the modern dance club scene) “The spotlight would be turning pink, yellow, green and blue, picking up couples lindy-hopping as if they had gone mad” In this sense, using modern vernacular, Lindy can be defined as "turnt up " Positive/Negative... as the party rages on, we feed off the contradictory nature of a world divided into either fun or serious things... pink + black. Innocence pitted against the relentless need for a stimuli, be it sex, drugs, music. All the while, facing a dilemma: that eventually those turnt up must turnt down “You want the white horse to come save you now”
Take Liz Phair's cocksure sexual self awareness, give it a garage punk beat, filter it through the experiences of a young Chicana growing up in Denver, before being abruptly uprooted to Guadalajara, Jalisco, Mx...... mold it into unruly three minute discourses on alienation, displacement and the never ending war against misogyny (in this case the machismo culture that infects Mexican society) and you have Teresa Suarez, aka Teri Gender Bender, the clever, sensual and mesmerizing musician behind Le Butcherettes. She's a unique musical bi-product of clashing cultures, who rages against the machine with rancor and honesty. Teresa sings in her native language... English, though she's equally proficient in Spanish. Her unmistakably American vocals, give away her extensive musical influences.
The Tapatio whirlwind wields a guitar like a cleaver.... all down strokes and slashing riffs (Teri asked her father to buy her a guitar at 10 years old after she had dreams about playing the guitar) On stage she demands your attention. Seeking to satisfy her need to feed your soul, punishing her instruments.... smashing her keyboard, then tossing it aside like an inattentive boyfriend. The uninitiated are taken aback. The divide between her and the audience melts away, Teri stage dives backwards into their midst, arms outstretched. She begs for punishment and finds only admiration, love and an occasional call to “show us your titties” Teri builds to a raging orgasmic climax. The fans eat it up. It's a mental health balancing act not seen since sullied Mexican pop diva Gloria Trevi was titillating the masses.
The third installment in a three part series showcasing the women involved in Albuquerque's music scene is cued up and ready to spin. Until the late 1990s few women were involved in the local music scene and only a handful managed to release any recordings. Prior to that it was strictly a boy's club with a few rare exceptions. Beverlee Brown joined future husband Sidro Garcia in The Sneakers shortly before they relocated to Las Vegas, Nv. in 1964. The Feebeez ('Burque's legendary all-girl 60s garage band) recorded legacy consists of one scratchy self-released vinyl 45) Kid Sister w/ Victoria Woodworth are a bit of mystery. Bandmine lists them as being from Albuquerque and having been signed by MCA records. Yet, I haven't found much evidence that they actually were from 'Burque. Kid Sister rose to become a regional favorite based in Denver, Co. Could be they hooked up with Victoria Woodworth (raised in Denver) after they relocated.
Who of course, doesn't remember Femme Fatale, fronted by Lorraine Lewis (also lead singer for Babe Ruthless) they found success on a national level that few thought attainable for a local band. That success would prove to be short lived and bittersweet. Lorraine remains one of the most recognizable musicians to hail from the Duke City, becoming somewhat of a cult figure with heshers hellbent on reliving the 1980s. While we're on the subject. Twenty five years after the fact, Femme Fatale's aborted second album for MCA has seen the light of day. "One More For The Road" released this year on F n A Records. (compact disc only, no plans for a vinyl release) Lorraine, Bobby, Rick, Bill and Maz.... it's like they never left us. A time capsule from an era of Albuquerque's rock history that often gets neglected or lampooned. “One More For the Road” appears to have been released in limited quantities, check online for availability.
Albuquerque is a quizzical mix of open hostility and open armed bienvenidos.... meted out in equal increments that can be both puzzling and maddening. Bad things happen to good people here and bad things happen to bad people with alarming regularity as well. The prevalence of Spanish spoken throughout the city, is perhaps the biggest change that I've noticed. The line separating the homogeneous white heights from the rest of 'Burque is almost blurred beyond recognition. What were once good neighborhoods are now bad and what were once bad neighborhoods are now gentrified.
Albuquerque as I once predicted has become more like Los Angeles or Phoenix. Though to be honest, the entire southwest has become more like Los Angeles or Phoenix. The one thing that has remained constant in the Duke City is the music scene. It continues to thrive with an upsurge of creative and talented musicians heading up a growing list of bands and projects that rival those of any other major metropolitan area that comes to mind. No shit. Albuquerque music makes Albuquerque a better place to live, it's proof positive that there's intelligent life here.
Question: which of the following genre tags best describes Wall of Voodoo.... new wave, post punk, alternative rock, dark wave, cowpunk? It's a trick question, they all apply, unequivocally. How many times did you try and play Wall of Voodoo at a party only to be met by belligerent bellows of “Take that punk shit off!” Lead singer, Stanard “Stan” Ridgway drawled with jaded detachment.... a flowing river of abstract pronouncements, delivered with an unmistakably American west coast accent that echoed western movie heroes and any number of their nasalized sidekicks. “Cause I can tell at a glance you're not from 'round these parts, Got a green look about ya And that's a gringo for starts” Stan had the necessary tools: a shitload of confidence combined with an endless reservoir of arrogance.
Guitarist, Marc Moreland specialized in big rich rolling tones, shamelessly lifted from Morricone spaghetti western soundtracks and spiced up with some Dick Dale inspired surf licks. Stan would introduce “Morricone Themes” by announcing: “Here's a little film music for you” Marc Moreland, one of the truly underrated guitarist from the 1980s. On stage Marc and Chas T. Gray gave off an underlying sense of hostility. Two So Cal bros ready to stomp your ass into a mud puddle at any moment. “If it's the rough stuff ya want You can point yer finger at me” Gray's encyclopedic arsenal of keyboard riffs gave Wall of Voodoo a “new wave” sound not unlike that of “Duty Now for the Future” era Devo (Can't Make Love and pretty much the entire “Call of the West” album)
Dirt City Chronicles was born of an idea that a radio station playing primarily local music could be feasible. It wasn't, although the advent of online streaming made that a mute point. Terrestrial radio, hampered by the FCC's archaic adherence to rules and regulations (in place since the early days of radio) simply can't compete with streaming apps such as Pandora, Slacker, Spotify etc. All of which allow users to program their own tailor made streams. After exploring possible online broadcast apps such as Shoutcast (too expensive, complicated) I determined that podcasting was the obvious choice.
Thus Dirt City Radio was born.... with a slight hitch, a local band was already using that name. Radio became Chronicles and there you have it.
All I lacked at that point was a file host. After some research, I settled on Pod Bean, a competent app that provided cool embedded players, though overall the process of posting episodes was rather tedious. There was one major drawback to Pod Bean, initially you pay $29.99, after that Pod Bean essentially holds your audio files for ransom. Forcing you to renew at their escalating rates or your links go dead. Dirt City Chronicles is a not for profit undertaking, leaving me to explore whatever free options the internet had to offer. YouTube was the obvious choice. It's free, you can upload files of any size (once you register your mobile number) and as long as you don't run afoul of YouTube's copyright restrictions, the sky really is the limit. Another option for those working on the cheap is Archive.org. Unlimited uploads, no file size restrictions and little if any copyright hassles. The internet is forever and these links will never go dead.