by Bob Wall

A while back, I went to Helios to see an act. Instead, I saw five great shows. Five shows for five bucks. I mean, can you beat that? I think not. Upstairs, early, was a play. Yes, a play, and one hell of a good time play, too. Well-acted, very entertaining. Theater in a bar is so cool -- bravo for the fearless cast. The play is quite a hoot, and there are more than a few surprises. This is Gorilla Theater, and you will love it if you get a chance to see it. Think minimal stage, sets, and props, and maximal great acting. The play alone was worth the trip out.
Starting out downstairs was The Madisons. Oh, yeah -- what a smooth act this is. Ruel Russell, the bass player, calls it "Torchy Blues". He and drummer Lee Hamilton nail down the rhythm section like a pair of psycho twins linked together at the groove. They are beyond tight. Together they are a band themselves.
The "Torchy" part comes from the vocal work of Lizzie Harrah. Her smoky-smooth vocals drip all over the lyrics and melody with confidence, presence, and sincere conviction. She works it like the pro she is and flows in and around the music. Her incidental keyboard playing adds another dimension to the music, as well.
Twin guitars from Rusty Stone (honest!) and Teri Greene round out the act. I mean, is there a band in town that hasn't had Greene in it at one time or another, or wished it did? His right-hand work on the guitar is the stuff of legend. Watch him use every stroke, pull, pinch, tap, kill, pluck, and nail imaginable on a single song. He does all this with such a smooth elegance that it goes unnoticed if you aren't paying close attention. So watch him play, don't just listen, and more than a few of us guitarists can get a free lesson.
Rusty Stone has the other guitar duties in the band and oh, man, has this guy ever developed a style. He is first of all a tone monster. Just the right amounts of clarity, power, grit, and scream. Damn it, I'm thinking of stealing his rig (but then I would have to steal his style, too). He is a master of the melodic lead. His pulls and whammy bar stuff exudes precision and beauty. When this act gets itself whipped into a voodoo frenzy, you can't help but find yourself rocking in your seat or getting up to move. My-tee-fyne.
Leaving the Mads, I wanted to get upstairs to see the start of the Opposite Day show. I was talking to Adrian, the drummer from Jango Rhythm, the act that followed The Mads downstairs (more on them later), and I asked him if he had seen Opposite Day. This is my second trip to Opposite Day, and I was anxious to see if they were as good as I remembered. Well, we trotted up there, and before two songs were over, he was downstairs getting someone he knew up to see 'em, too. And so on, and so on. Believe me, if a couple of musicians are anxious to get someone to see an act (besides themselves), you know it must be something special.
Sam Arnold gets the guitar and most of the vocal duties. What a dweeb act he has perfected. Many Houstonians are familiar with Jimmy Raycraft's playing antics -- well, think a young Jimmy Raycraft with hair. I am particularly amused when a guitarist looks as though he is surprised by his own playing, as though it is someone else; Raycraft is the master of this, and Sam does it well, also. Greg Yancy on bass is a fool for the hole. He is all "wallerin'" about in it, and Ethan Herr is a drummer who thinks and plays like the drums are a musical instrument (imagine his arrogance). But you have to realize that the three of them make a tremendous amount of music, not just noise. Each is a remarkable musician and plays with and off of the others in a musically sophisticated style reminiscent of Primus, Zappa, They Might Be Giants, etc.
This is not kids' stuff musically, although lyrically and melodically they are extremely playful and entertaining. Never heavy or overdone. Short songs with funny lyrics punctuated by frequent syncopated rhythms -- it's quite a trick to pull off, and Opposite Day does it better than any band I have seen in years. Driving in from Austin, the band deserves your immediate attention. I can guarantee that you will not be disappointed and will be damn impressed with the show.
Running back downstairs, Jango Rhythm was just beginning. The aforementioned Adrian had mentioned that he plays in three bands, which says something for his skill, as good drummers are hard to come by in this town (and therefore frequently have multiple gigs). Paul, John, and Adam (no last names, please!) round out the crew. Paul plays bass clean -- no effects, straight ahead. John and Adam have pedal boards that stretch into the next county. God, I love to see either almost no effects, à la Teri Greene, or an excess of noodling gear. Keep that middle-of-the-road crap. Okay, Jango Rhythm is mining that garage band aesthetic from a bit more mature, wiser, and talented perspective. From hooky chorus to anthemic foot stomping, these guys are not about to give up the ghost on straight-ahead rock, from more of a Replacements attitude than AOR or Top 40. All the songs have that familiar flavor without being staid, lifted, tired, or overused. There is just enough familiarity to get your deal cooking and just enough originality to keep you in it. Quite a trick, really. I don't think they have gigged out much, so they still looked a little tense, but that seemed to add to the edge and immediacy of the music. Watch for their shows about town.
Back upstairs, Vibe Committee had started. They seemed less than loose to begin with, too. But, oh man, after a few songs, and as the night wore on, they just got better and better. I guess the vibe has to build. The crowd was very into it, and they got wilder and wilder as the band got more and more groove-laden. It was quite nice. They look like kids but I understand they have quite an extensive musical background, collectively and personally. It seems to be all about the groove, here. Would you expect anything else from a band called Vibe Committee? Mixing elements of funk, R&B, and smooth jazz, they weave quite an interesting fabric that at first seems deceptively simple. It is complex, fun, and funky. The fact that Jennifer O'Bryant plays a flute shouldn't scare you off, by the way -- she doesn't go at it from the Renaissance Festival perspective. Her playing is more improvisational and mixes well with the guitar work of Mike Whitebread. Together they work in and around the groove of the rhythm section of Josh Matranga (bass) and Lantz Stevens (drums). The rhythm section is what one would expect from a band called Vibe Committee. Monster bass, simple but forceful drum and percussion work from folks who seem to know that sometimes the best note is the one you don't play. The holes are filled by the vocals from all involved, as well as the flute and guitar. What a treat to see this act.
Bravo to the club Helios for putting on this kind of show. Four bands and a play, all in one night. If you haven't been to Helios since it was the Mausoleum, it is time to check back in. Have a brew, see a band or two, and sit on the porch and talk. They are a very organized, mellow, and enjoyable organization dedicated to the entertainment and relaxation of the clientele. Enjoy the fall in Houston.

LINKS:
The Madisons -- http://www.madisonsmusic.com; Opposite Day -- http://www.oppositeday.com/; Jango Rhythm -- http://www.adamberrymusic.com/; Vibe Committee -- http://www.vibecommittee.com/