Radio Radio is normally undeniably a “Bring Your Favorite Black Shirt” type of establishment. Slick Idiot and their brand of electronic rock debauchery brought a different type of clientele and their prominent spectrums of independent fashion sense with them on Friday’s musky evening. Ranging from; Guy in studded leather jacket with insanely tall Mohawk, three people who desperately wished to be Trent Reznor in “Closer” with bug eye goggles on in an already dark bar, man in a nice button down shirt with camouflage shorts (Ok, not overly weird but just…awkward), and an overweight heavily bearded man who thought it was a good idea to wear a wrinkly skirt, wobbly tunic and a sling back purse pressing between man cleavage.

I had to recheck the sign on the door and even checked the status online of start time. Doors open at 8 PM, show starts at 9 PM but here I am at 10:30 PM wondering what the hell is going on. We had a DJ keeping us in the head bobbing mood with remixed renditions of Rammstein, Front Line Assembly, Ministry, Nine Inch Nails, VNV Nation, etc. Even by 10 PM, the freaky faithful were looking around annoyed. Finally, at 10:40 PM, Slick Idiot approaches the stage. Nobody ran to the front of the stage in a hurry because even they thought, “Seriously? This is finally happening!?”

I was a huge fan of vocalist En Esch and guitarist Günter Schulz’ (founding members of Slick Idiot) former industrial band KMFDM as a teenager. I only heard Slick Idiot’s first album DickNity so this concept was far from new to me. Over the years, after discovering new influences and bands, I forgot about my love affair for these bands and industrial music.

I couldn’t help but relive that teenage excitement after seeing my former idols take the stage. Singer En Esch introduced the band to Radio Radio with his deep German accent. Slick Idiot wastes no more time and barrages in the nimble electronic beats of “Hallelujah” (Devil’s Got a Hold of Me) and followed just as quickly into the band’s treble filled title track “Idiot.” En Esch surprisingly sounds exactly like he did in KMFDM with his brute decipherable growls. Günter Schulz’ style is still just as solid. Shultz has always been power riff happy but was never overly complicated; simple yet effective. Electronic mischief is ignored on “I.I.W.I.I.” (It Is What It Is), a song off the new album Sucksess, to achieve a monster sound with Shultz taking center stage in his octave intertwining charge throughout the song. The crowd was surprisingly tame. Not like I expected fist hurling mosh pits from the unique bunch, but I was just surprised they were content with simply head banging.

The translucent techno rock vibe was fleetly ignored once special guest singer Mona Mur was introduced. I didn’t know who she was at the time and her association with Slick Idiot. After some research, Mur and En Esch have a side project together, resulting in the cooperative album 120 Tage: The Fine Art of Beauty and Violence. The name of the album is fitting, especially to the methodical cabaret madness of “Visions & Lies.” Mona Mur had a down beaten afflicted voice that gave a gloomy gloss to their music. As it was different, I wasn’t confident it was appreciated as it was an adjacent and sudden turn from Slick Idiot in mood and spirit.

“Xcess” reclaimed the audience from the ashes with its frantic beats and jumpy ambience and “I Feel Fine” provided an energetic assist. The crowd took a collective internal grown when Mona Mur hopped back on stage. En Esch jumped on dueling guitar with Shultz on the side project’s calculatingly serious “The Thin Red Line.” Mur and En Esch also performed “Candycane” which equally contributed to the mood suicide. Even Günter looked bored of the languish pace, as this is contradicting of him normally blazingly supplying note after note. As each song complimented Mona’s voice, I don’t think it complimented Slick Idiot and its fans.

Everyone looked at each other in amazement when they heard the kinetic chime introduction of KMFDM’s “Leid and Elend” off the 1997 album Symbols. If that wasn’t enough, they quickly advanced to another KMFDM retro hit “A Drug Against War.” Finally, Günter and En Esch embrace their past and give the crowd what they secretly wanted. As there looks to never be an original member KMFDM reunion, this is as close as it will get. Everyone was pumped, singing along to the songs and ricocheting off each other in elation. It didn’t faze anyone when they went back to the Slick Idiot “Make Me Believe” as it was bouncy thrash that is the transcendent core of these bands. Slick Idiot did a mock disappearance to garner approval from the fans for the expected encore. They did not disappoint with the mammoth KMFDM “Godlike” that sent everyone in a jubilated frenzy.

It was either an enormous hit or a depressingly miss set from Slick Idiot. When they stuck with their original and cover material, En Esch, Shultz and company were unstoppable. It really brought me back to another time, a time I missed more than I could have ever imagined. The show at Radio Radio was a definite success considering the circumstances. I’m listening to Slick Idiot’s new album Sucksess as I wrote this. Isn’t that proof enough?

Being an avid rock fan in Indianapolis, having seen plenty of live shows in the region; it may come as a surprise to some that I have never made my way to Radio Radio. Located in the heart of Fountain Square, it is a breath of fresh air in the tentative indie alteration community. Don’t be intimidated by the location on a map, Radio Radio along with Fountain Square will be, if not already, steady fixtures on the Indianapolis beaten path. One could say what Broad Ripple once was, before the death of the rock club and the invasion of the dance club. Radio Radio has a very swanky lounge lizard vibe. The area is kept dark with nothing but illuminated red domes and the beaming light between liquor bottles at the bar to cascade the patrons.

That is, of course, until the bands play at the south end. First band of the night’s double header is Rotovox. They seemed like a no-frills bunch and the crowd seemed indifferent when they introduced themselves. It wasn’t until they rolled in the riff laden chant “So Into You” that ears perked up, eyes towards the stage. Vocalist/Guitarist Aaron Anderson has a unique vocal style. My best description would be a melodic Pepper Kennan of Corrosion of Conformity. As if CoC and Systematic were mixed in a potent cocktail, Rotovox is grungy stoner rock goodness. Bassist Mike Glassburn wallops his way through the gritty “Runaway” while guitarist Keith Flick frolics through the thick sludge of “Disconnected.”  The audience seemed more than intrigued now. Rotovox unfortunately lost this thunder on brooding tracks “Not Breathing” and “Feel.” As the songs were well crafted and enjoyable in a different setting, they were just more sulking than emotionally preferred. Momentum was regained in the swift yet riffy “Already Low” with drummer Heath Moreland bashing the addictive dirty beat of the chorus in our skulls. I won’t go so far and say Rotovox are original with fellow rockers Devil to Pay and Cocaine Wolves also serving similar rhythms in the Indianapolis area, but I could care less. Rotovox was an interesting take on the locally thriving genre.

Singer of Blue Luster, John David Brake, had a demanding presence, even if in eyeliner and a campy leather vest, as he stood idly by while Rotovox wrapped up their set. When Blue Luster took the stage and throttled into “New Attitude” with Brake’s throaty howls and “Blindsided” with guitarists Patrick E. O’Connor and Brandon Moss’ dueling squealing solos, I noticed this band was hungry. Some would consider it confidence but others may mistake it as egotistical. I’m still on the fence with my opinion but it was a definite 180 degree turn from the timid Rotovox. They craved Radio Radio’s attention with its brand of nostalgic 80’s hard rock and its obvious influential impact on their music. Inspiration was almost apparent on certain songs. “Time Away” is no doubt Van Halen. “Fear of Flight” could be considered Def Leppard if you just closed your eyes. “Curse of the Czars” is Motley Crue without Tommy Lee. Though they tried to transplant a modern rock vibe into their material, it just came out like Godsmack with feathered hair.

Apparently, Blue Luster are closet nerds or find odd examples for material. One song, the fist pumping refrain “One of Us” is inspired by John Carpenter’s “The Thing.” Based on the true story book/movie Exorcism of Emily Rose is the thundering standout “Anneliese.” Brake was able to display his true singing potential with his swaying chorus of this noteworthy song. He continued down this path with the welcoming curve ball, the Queens of the Stone Age cover “Make It Wit Chu.”  Though they were no Josh Homme or QotSA, it was just nice to see Brake and Blue Luster show some heart in their performance rather than be continuously over the top. It almost served as an intermission. I had to admit though, as thoroughly drained I was by driving down memory lane, they played one amazing cover of Iron Maiden’s “The Trooper.”

It was more than likely their intention but Blue Luster were high octane and unrelenting as their set paced on. “Take it Hot” was the last song of the night which was my least favorite. Lyric-wise, it sounded quite hokey and almost like some Steel Panther eye rolling antics. Blue Luster definitely had some followers in the midst of the masses that came out specifically for them. Which only goes to show, there is an accepting audience out there, craving their overindulgent version of rock. Go to www.blueluster.net, no false impressions as they are exactly as advertised. Eh, or maybe it was just me not ready for the nostalgic assault.

Not merely an opening act any longer, these boys’ amplifying success was far from quick and easy. In the midst of a whirlwind tour schedule, with one of those stops in Indianapolis at the infamous Melody Inn; I was able to speak with Jimmy Russell (Guitars/Vocals) about the band’s roots, the new album, and wrestling cougars.

Link: http://thequickandeasyboys.com/

How did the The Quick & Easy Boys get together?

The Quick & Easy Boys started in Eugene where we all attended the
University of Oregon. We started as a four piece with one other guitar 
player Ben Morse. We built up quite a bit of original material. As well
 as covers; including mostly Rock, Blues, Funk and Honky Tonk while 
playing all of the local venues. We did that for a few years until
school ended and then we moved to Portland. Around that time Morse
quit. Once we became a three piece, we developed into the more
 cohesive and unique group that we are today.

Are you concerned about people Googling your name and getting the wrong idea/website?

Yes, at times. We are careful not to dress like the Village People in 
public to not give the wrong message with a name like The Quick & Easy
Boys.  Yet we figured if music didn’t work out we could parlay our
 name and image into a male escort service; advertising on the back pages 
of weekly’s across the country. This reminds me, we are offering mustache rides after the show for any lucky lady that has $75 or $110 for a FBSM (Full Body Sensual Message). Of course we have a sliding scale. The hotter you are the
 less you pay. And by us, I mean Sean the bass player.

With such a contrast of styles in your music, is there any style(s) influenced by an individual member(s)?

All of us have a wide diversity of influences that shape our
 musical landscape. We were influenced quite heavily in the beginning by 
the Parliament-Funkadelic 1977 Houston performance. As well as all
types of Rock, Pop, Jazz, Soul, and Honky Tonk from the past and
present. Groups whom we may feel akin to are The Band of Gypsies, The 
Minute Men, The James Gang, Sublime, Waylon & Willie and Funkadelic.

How would you describe the Portland, OR area music scene?

Portland is an exciting place to play for us! We have built up a
great draw of fun fans including the young, the old, rockers, hippies,
 hipsters, and hicks. Including anybody who likes to dance and see an
exciting rock show where you never know what is going to happen. There 
are a lot of great bands in the vibrant Portland scene!

What has been your favorite city/memory on this tour thus far?

Every city and night on this tour thus far has been a blast!
 Believe it or not, Lander, Wyoming was the most fun for me! We 
played outside in the sun from 6:30 till midnight. It was a great show 
where we got to stretch out and play anything and everything. We also
 have the artists Vorcan traveling with us, painting all of our shows.
 They sold 10 paintings at that show!

Was there a different approach you were hoping to accomplish when you went into the studio for the new record “Red Light Rabbit” from your first album “Bad Decisions with Good People?”

On the first album “Bad Decisions with Good People” we had a lot of
 guest musician’s playing auxiliary parts in order to create a diverse,
 sonically thick, sounding CD. We kept hearing that people liked the CD very
 much but it was different than what we do live. Having built a
reputation for high energy live shows we wanted to capture that energy
and subsequent performance on our newest release “Red Light Rabbit.”
Although there are few overdubs on “Red Light Rabbit” we kept them to a
minimum and guitars only. There where a lot of keyboards on “Bad
 Decisions.” On this new release, we wanted to make a high energy rock n
roll album! We have plenty of both CD’s for sale at our upcoming shows!

Every catch phrase has a story. Please describe the origin of “Yeah Bud!” being used during live shows.

“Yeah, Bud!” is a chant in the Dionysian tradition that came from the
 Pleiades. It started 11 years ago. My friend Mike Macias
was drunk and wrestling a tire in a ditch screaming “Subaru” at the
 top of his lungs. Subaru is Japanese for the
 Pleiades. Over the course of many years “Subaroooooo” turned 
into “Not Yoooooou” into “Not Yooooouuu Bud” into ” See Ya Bud” and
 finally into “Yeah Bud” which seemed to stick. At shows people yell it 
in an expression of belligerent unity.

Your music can cater to a lot of personalities. In your own words, what is your idea of the ideal Quick & Easy Boys fan?

Our fans base has truly extended to include as many different types
and musical cultures as you could shake a stick at in all parts of 
the country. Anybody who likes to dance or likes fat bass lines,
dirty drum beats, blistering guitar licks, and catchy vocal 
harmonies ranging from The Band, Sam and Dave and the Bee Gees; will 
like us! Even people who normally wouldn’t like our type of music have
 expressed enjoying our shows because of the high energy and antics.

What would you say to those who call your live shows simply ‘drinking music’? Is that you intention?

I can understand how some people may label us drinking music. We
started in bars and have many friends and fans whom like to drink,
 including ourselves on occasion. Yet we don’t want to be considered a
‘drinking music’ band, in that we take our musicianship seriously and
know that most of our fans come for the music. Of course, they will be
 drinking at the show while listening; but away from our shows we would
 like to assume our fans are mountain climbing, skydiving or
 wrestling cougars while listening to our CD’s.

Have you ever been to Indianapolis? What do you expect when it pertains to Indianapolis?

We have never been to Indianapolis. We don’t know what to expect!
 We are very excited to be afforded the opportunity to play some of
 these uncharted territories in the east.

How do you envision the future of The Quick & Easy Boys in the coming years?

We are dedicated to playing together. Hopefully in the future,
we can build a  large enough fan base across the country to afford us 
the opportunity to quit our days jobs and travel around playing
music permanently. Every musician’s dream! Indianapolis here we come!
 Yeah bud!!!

I should have known what to expect before I even got there. It’s a Wednesday night on the West Side of Indianapolis. It was more or less a no brainer but still I was surprised and eventually bewildered. I show up to the Melody Inn at 9:00 PM on the dot, if not a couple minutes late. Even the door man was late as nobody approached me at the door for the proposed cover. I grab a beer and survey the situation. One guy rambling at the bartender about God knows what, a bald guy in the corner staring straight ahead in a trance and a guy laying face down, simply passed out, leaving a Valvoline puddle on a table with a ‘greaser’ slicked back haircut.

I spotted The Quick & Easy Boys, contemplating amongst each other whether they should just go ahead and go on. I don’t know who they were waiting for because, other than three or four stragglers during their performance, this was regrettably their Indianapolis audience for tonight. Maybe it was the Naptown Roller Girls. For a show that was boldly advertised as “The Naptown Roller Girls Presents”, there was no roller girl in sight.

The mustached trio took the stage and after a few strums for tuning, Jimmy Russell (Guitar/Vocals) blasted the desolate atmosphere with a vibrant bluesy wail. Michael Goetz (Drums/Vocals) followed suit and pelted his snare to the slow methodical pace. Sean Badders (Bass/Vocals) plunked his Fender bass right along to the soothing rhythm that truly seemed to fit the dreary situation perfectly.

It truly did not take long to realize that Jimmy was the pure standout when he melted his guitar with a solo that would make Stevie Ray Vaughn stare wide eyed in his grave. The man seriously looks like the non-intoxicated version of the coked out John Holmes, lanky with 70’s era clothing and all. In all due respect, you didn’t expect such soul and grace on first impression alone to translate so flawlessly to his instrument. Just like their albums, The Quick & Easy Boys weren’t content with staying with one style for too long and quickly shifted gears to the hillbilly foot stomping anthem “Void”. After a few songs that displayed obvious honky tonk influence, they changed up once again. Jimmy uses his Wah effects to the max to create the spacey and psychedelic lucid dream “Beam of Light”.

During this whole commotion, you couldn’t help but notice the traveling artists with the band named Vorcan. Watching these two grungy guys swaying to the music while they painted a creature that looked like “Slimer” from Ghost Busters with tits; it was damn near memorizing.

As considerable as a bass player Sean is, his true talent is on microphone. He has a vocal style that sets him up ideally as a crooner but with a barking intensity. This is heavily apparent on the new album’s title track “Red Light Rabbit”, the ranting “Stealing Glances” and one of my favorite songs of the night, the funk explosion “Maine, Mass”. Michael kept the beats rich and thick, matching the many changeups involved in this song.

Simply put, The Quick & Easy Boys’ music is so much fun with pure toe-tapping fury in whichever style(s) they decide to play or intertwine. They did everything they could to bring the Melody Inn to life. Jimmy played a probably unnecessary but yet entertaining behind the head guitar solo. Michael let each snare roll and symbol ring with intensity. Sean thumped the bass while he hoot and hollered like he was singing to a full dance floor. As in the moment they all were with each danceable number executed, their humble body language after it was done and looking around was, “*sigh*…Really?”

The next band, Uncle Leon and The Alibis (NYC) couldn’t help but sarcastically taunt the awkward situation. “All right now, I know everyone wants to see the show but y’all need to take a big step back so we can play.” The Quick & Easy Boys couldn’t help but chuckle at the comment while they loaded their equipment up. I didn’t feel bad for The Quick & Easy Boys that night, not at all, I felt bad for Indianapolis for missing this amazing band.

I am an admitted wide-eyed stooge for rock ‘supergroups.’ From the classics of Cream and Crosby, Stills, Nash & Young to the more modern age Mad Season and Velvet Revolver; my naivety gets the best of me every time. There is something enticing with the social experiment of combining the multitude of imposing egos in one room. Vicariously, we watch for the almost inevitable implosion. When told the tale of Them Crooked Vultures, it’s damn near refreshing. Not a concoction in some corporate label laboratory to regurgitate record sales, TCV has humble beginnings of three (very successful) musicians just looking for the next jam between friends. Josh Homme (Queens of the Stone Age), Dave Grohl (Nirvana, Foo Fighters) and John Paul Jones (Led Zeppelin) believes this modesty is the missing ingredient of longevity. Witnessing the clinic that Them Crooked Vultures displayed at Old National Centre (Murat) in downtown Indianapolis, I sincerely hope they are right.

Fans were already lined up at 6 PM being cascaded with random sprinkles on an overall dreary night in Indianapolis. Nobody seemed bothered in the least as excitement was obvious. Even the Emo kid with his hair flopped over his face and a shirt that read “It’s All Your Fault” was seen smiling from time to time. Security bombarded the crowd as the doors opened, reminding us there was no crowd surfing and no moshing with ejection as the penalty. With this stern warning and the discovery that 30 oz domestic beers ($9.50) and mixed drinks ($8.50) coming at a hefty cost, I happily didn’t foresee many unruly spectators.

Without much deliberation, the opener Alberta Cross took the stage. A very hit and miss set from this New York based progressive psychedelic rock unit. The initial howl of lead singer Petter Stakee gives a definite remembrance to the late Shannon Hoon of Blind Melon fame. The crowd was very polite with each song crooned. The considerable standout was the dense “Rise From the Shadows” and was easily the most beloved.

A few hoot and hollers came from the masses but a surprisingly calm domineer before Them Crooked Vultures. Dave Grohl unveiled himself with drum sticks in hand, soon followed by Josh and John, and the calm quickly dissipated to ear shattering acclaim. I think it even surprised them. No need for introductions, they went right into the swampy “No One Loves Me & Neither Do I.” Josh Homme with amazingly talented touring guitarist Alain Johannes pelted dueling riffs/solos during the dusty desert-rock anthem “Scumbag Blues.” By the time Homme serenaded with his signature falsettos and John Paul Jones thumped various fills on bass off the single “New Fang,” the audience was captivated. Of course you had your assembly of ‘bobble heads’ across the sea of bodies, but eyes never left that stage. The mass collectively knew this was something special.

TCV decided to indulge us in some unreleased material. “Highway 1” was the first to appear and seemed oddly misplaced between the gear shifting “Elephants.” “You Can’t Possibly Begin To Imagine” was a down beaten blues number that was quickly accepted as the crowd clapped along to John Paul Jones’ piano. Other than his legendary bass playing, he also decided to humor us with guitar, keyboard, violin, mandolin and keytar. Yes. Keytar. Dave Grohl’s true home is behind the drums. As adequate as a front man he has proven be with Foo Fighters, it only seems right he continue his path of one of rock’s greatest drummers playing today. He was simply furious, with arms flailing in all directions, on tracks “Mind Eraser, No Chaser” and “Spinning in the Daffodils.”

After an already enduring 120 minute set, the group took on the fatiguing marathon that is “Warsaw.” It is a fun track to hear on album but even more enjoyable to witness live. Easily 6 of the 10 minutes is pure improvisation. It is ironic that the band end the same way they started, jamming and creating with nothing but pure chemistry. Individually, they had nothing left to prove. As an entity, the same can be said but still decided to set the benchmark a little higher. Not entirely because of arrogance but maybe because it just needed to be done. Everyone seemed to be universally enthralled that night. I still question whether we had nearly as much fun as they did.

Set List

“No One Love Me & Neither Do I”
“Gunman”
“Scumbag Blues”
“Dead End Friends”
“Elephants”
“Highway 1” (Unreleased Track)
“New Fang”
(Alain Johannes Guitar Solo Intermission)
“Bandoliers”
“Interlude with Ludes”
“Mind Eraser, No Chaser”
“Caligulove”
“You Can’t Possibly Begin to Imagine” (Unreleased Track)
“Spinning in Daffodils”
(John Paul Jones Piano Solo)
“Reptile”
“Warsaw or the First Breath You Take After You Give Up”