New Bassist, Same 'Drag

Knoxville popmeisters Superdrag returned to center stage last Friday for a concert at Moose's Music Hall with a new member in the ranks. Playing to a packed house, the Draggers cleared up any doubts that they are the best pop/rock export this town has to offer, bar none. I knew that this show was sure to draw a fabulous crowd, so I decided to be fabulously late myself—arriving around midnight, just as Apelife was departing the stage. They sure looked sweaty as they were removing their equipment; so I'll assume they rocked out as usual.

Without too much delay, the beloved Superdrag took the stage and played a two-hour set of old and new material that was nothing short of phenomenal. I haven't seen the band in over a year, so the show brought back plenty of great memories and also revealed some promising new directions.

It was kind of a baptism by fire for new bassist Sam Powers (formerly of Nashville favorites Who Hit John), who seems to have assumed his role easily. It's kind of weird seeing the hometown heroes band with a new member, especially considering that he's replacing someone as charismatic as departed, swaggering hair god, Tom Pappas. Powers seems to fit in quite well, playing and singing in top form. Nope, he's no Tom—but then again, who is? Powers was by far the most energetic member of Superdrag on stage; and, given time, he'll surely build his own mythology within the band. Looks like the new kid's gonna work out fine.

Superdrag played a good mix of old and new material from its extensive catalog. John Davis played great and looked cool as usual with his black clothes, mutton chops, Beatlesque stage moves, and otherworldly singing. But these days, the most stylish guy in the band is most definitely Brandon Fisher, who has obviously been reading plenty of fashion magazines (or even writing a few of his own). If you didn't know Fisher was from Knoxville; you'd swear he was British, by golly.

The band managed to unveil some new material, but I was too busy rocking out to remember the titles. Let's just say that the new stuff seems kind of in between the moodier stuff on Head Trip In Every Key and the bouncy pop of Regretfully Yours. I think the new material strikes a good balance that will hopefully carry the band to the mainstream success that it has deserved for years now.

This show was about as near to pop perfection as any Knoxville band has ever achieved. If you've lost interest in the band during its sophomore slump, I'd suggest you check Superdrag out again. Its story isn't over and there are new worlds yet to conquer.

Math Rockin'

It seems like Sunday nights just aren't complete without dropping by The Electric Wizard. Last weekend's show may have not set any attendance records, but was at least a good alternative to Internet browsing or whatever may have been on TV.

The opener of the evening's festivities was the JM Crap Explosion, which was actually a solo set by former Pezz member, Joey Mulnix. I am freakin' Zippy (or at least I am this week), so of course I was too stylishly late to catch Joey's set. He wrote some good tunes for Pezz, so I'd imagine he was on the money. Everyone in attendance said he was good.

Next up was Universal Fears, kind of a Knoxville noise supergroup featuring Marco (that crazy puppeteer), Bo, and a rock god (guess who?) on drums. Supposedly this was the last show of the band's brief local career. Sure it was noisy; and the scary, reverbed out vocals added to the extreme noise/terror of the set.

Next up was Baltimore's Goat Shanty: a duo playing the "power violence" style of music popularized by Slap A Ham Records. The guitarist and singer traded off on roaring, unintelligible vocals. The drummer was kind of like Animal from The Muppet Show. The band was so fast that its rhythm sounded linear—like a blender on high. I'm sure they'd appreciate the comparison. Thankfully, their set only lasted about 20 minutes.

New Brutalism was supposed to have played, but drummer Carrie Balch called in sick and the group had to cancel. I'd really been looking forward to hearing them again, because they're great. Drat.

Last on the bill was Baltimore's The Oxes. I wasn't really crazy about this band, but they were good musicians and put on an interesting and entertaining show.

I think the band members have spent a little too much time listening to anything Steve Albini. Yep, it was regulation math rock that was well executed—but not nearly as original as they seemed to think.

The Oxes were a trio: two guitars and a drummer. And of course, they used the regulation Travis Bean guitars, just like their guru Steve always does. I bet their parents paid a lot for their equipment.

One of the angry young guitarists tried to get all confrontational with the audience. This schtick would have been more convincing if he had chosen to mess with the older regulars at the bar, who didn't seem to be the least bit amused. Instead, Mr. Confrontation chose to heckle audience members who were already in on the act. So this bit of theater was pure artifice, nothing more.

The Oxes did manage to pull off some pretty decent, if derivative guitar torture. Their droning, odd time signature songs reminded me of Factrix, Zeni Geva, and (who else?) Shellac.

I always manage to have a good time at the 'Wizard, no matter who is playing. Heck, it never costs more than a few bucks; and you're sure to find some kind of diversion, if not high art. It's usually a far cry from professional entertainment, but who wants to see that anyway?

Get Out

Thursday: Eat turkey (or tofurkey) and nap.

Friday: The Slugboys with Nocturna and Full Throttle at Prince's Sports Bar and Deli.

Saturday: Jacqui and the Tumble Kings at Manhattan's.

Sunday: Backstreet Boys at Thompson-Boling—or stick knitting needles in your ears and push. Whatever.

Monday: Sarah Jordan at Michael's.

Tuesday: Tuesday Night Trivia at Bird's Eye View.

Wednesday: Ruthie and the Wranglers at Barley's.

—Zippy "Better than Never" McDuff