Thursday, September 19, 1985
Daily Nebraskan
Page 9
rim
Andrea HoyTDaiiy Nebraskan
Texacala Jones, of Tex and The Horseheads, being glamorous.
Lincoln not ready to party with
LA's Tex and the Horseheads
By Chris McCubbin
and Charlie Lieurance
Staff Reporters
Tuesday night at the Drumstick,
Lincoln was rocked right down to the
ground. Unfortunately, nobody noticed.
Concert Review
Six weeks into a nationwide tour,
Tex and the Horseheads, a scary look
ing, four-piece band from Los Angeles,
carved from the same stone as such
late-Sixties hippie garage bands as The
Stooges, MC-5 and The Seeds, stomped,
sweated, shouted and shrieked before
an irritatingly docile medium-sized
crowd.
As one spectator commented, "They
put on the best 'I'm stoned, but I play
better that way' routine since Haight
Ashbury."
The Horseheads are the visual equi
valent of a very dirty old sock, with the
possible exception of Texacala Jones,
lead "sanger" (her words), who looks
like Cher at 12 and comes across on
stage like Tina Turner on Benzedrine.
Guitarist Mike Martt wore a suede
jacket painted like an American flag
that he'd been given by a Los Angeles
hardcore band. It looked and smelled
like 1968 and I'd guess Martt himself
has been wearing it day and night for
the last four years.
The lyrics of the songs were com
pletely incomprehensible, but so what?
Tex's voice is a remarkable instrument
in its own right, moving effortlessly
between long snake moans and full
throated screams. Her pipes were es
pecially effective on the blues-based
thrasher, "Ain't That Peculiar" and the
mutant ballad, "Big House, Pt. III."
Physically she prowled the stage
like a possessed shaman ready to strike
out at any demoiu in the air.
The band owes a great deal to groups
like X and the Gun Club who paved the
way for blends of traditional American
music and hardcore punk rock.
Martt is the group's genius. His blis
tering guitar slithers from the heart of
the dark bayou to frighten any unsus
pecting tourists. Martt's guitar was at
its evil, "what's lurking out there!"
best on "The Spider and The Peach," a
slooooow blues number that's soon to
become the band's first single.
Martt huddles over his guitar like it
was a campfire, his ratty long hair cov
ering the motion of his fingers on the
strings, hiding his voodoo from the
crowd.
The rhythm section, J.Gregory Boaz,
bass, and Robert Wilbur Williams,
drums, were rock steady, no punk
theatrics here. Boaz stood stock still
for almost the entire set, cranking out
stop time figures like clockwork, step
ping forward only between songs to ask
for another pitcher of beer.
Boaz did take lead vocals on "I'll
Quit Tomorrow," a song dedicated to
"bartenders everywhere." While being
photographed for the Daily Nebraskan,
Boaz was asked if he would put down
his drink. He replied, "I don't put down
my drink for anyone."
The most surprising thing about the
show Tuesday night was the crowd,
which did not dance. The people
seemed to be enjoying themselves; cer
tainly the loudmouths at the bar who
kept trying to convince Tex to disrobe
were having a good time, but it was like
everyone else had been given a shot of
thorazine at the door.
On the last couple of songs a few
slammers finally erupted from the crowd
and throughout there was a carefree
soul who danced every song alone.
Martt was polite about the crowd
response (or lack thereof). "We don't
dig dancin' anyways," Martt said.
When asked what she thought of the
capital city of Nebraska Tex said simply
"I don't think."
Please see TEX on 12
F
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