The gamecock. (Columbia, S.C.) 1908-2006, April 15, 1985, Page Page 11, Image 11
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Bedlam Hour I
in triumphant
By Art Boerke
v/ii uic Wciii uiiiMuc inv; nviii was a miiinii
welcoming Columbia's Bedlam Hour home
after a triumphant tour of Latvia. The
"Gobble Our Gravy" tour was, of course,
fictional. The mayhem within, however, was
not.
At last night's all-ages show, the Bedlams
rocked and socked furiously, furthering their
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original bands.
Opening the show was another local act,
Violet Hxtents, making their live debut. Their
performance was very competent for a first
gig, although the band seemed to suffer a bit
from stage jitters.
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"Acid Trip" launched their set. The audience's
positive response to the tunc enabled
Violet Extents to continue in a more relaxed
state. Tunes like "Million Years" and the
slower "Suicides" lured the audience deeper
into their sound. Fifteen-year-old vocalist
Tom Kllis' voice was nerfect for the material.
a mix of Pete Shelly and Geddy L.ce.
The most memorable songs in their set
were the viscous "Ankle Deep" and the hook
laden "Tuesday's Child," which they closed
with.
BKDLAM HOUR emerged to a roar and a
rush to the stagefront. The pared down band
leaped about wildly as they raced through
their instrumental "Opener."
Like Cheap Trick on speed, they erupted
with a cover of that band's "Hello There."
Guitarist?vocalist Chuck Walker was like a
wild animal, held in check only by the
limiting length of his guitar chord.
For "Why Did You Lie? " the trio were
joined by Stuart from Carnage, who provid
cd background shrieks and howls. This pairing
provided extra fuel to what was already a
major sweat inducer.
Two new tunes, "Its Your Life" and
"S**" Covered Trail," kept the audience's
attention until another "guest vocalist" was
ready to appear.
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Beat concert
THIS TIME it was Chad from Kill Poser
Fanzine adding to the festivities as the
Bedlams kicked into "Boys Will Rock."
Walker's in-tandem instrumental runs with
bassist Jon L.eroy gave the audience all the
proof needed of their musical ability.
They wrapped up their first set in the same
way they entered it, with an instrumental.
This time it was "Eggplant Sacrifice," a freeform
jazz rock exhibition to rival Spinal
lap's.
When Bedlam Hour re-emerged, they were
psyched to outdo themselves. The stinging
guitar intro signalled them into "Hour Of,"
a bounce filled rocker which had the whole
place dancing. Continuing with "She," a
shortened version of "Serene" and a cover
of Ram Jam's "Black Hetty," they made excellent
use of the limited stage area.
The band experimented a bit with "Head
cneese Massacre, me meiiow, icnipochanging
"Wait On Me" and an as yet untitled
piece of sloppy funk, which sounded like
the Chili Peppers under the influence of
some controlled substance.
ANOTHER COVER, this time of Ted
Nugcnt's "Free For All," saw a diaper clad
Leroy taking the vocal reins. The crowd ate it
up. The parody was completed by Walker's
stomping about, Angus Young style, in his
heart-covered boxer shorts.
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discourse, leading perfectly into Walker's
"poetry"- segment. Accompanied by improvisations
from Leroy and drummer Doug
Throgmorten, he provided enough profanity
to last a lifetime, yet it was entertaining
somehow.
Bedlam Hour concluded with a version of
Alice Cooper's "I'll Never Cry" and their
first ever composition "Teacher."
Bedlam Hour is getting better and better
with each show they do. Trimming to a trio
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band remained tight and energetic
throughout. Given time there is no telling
how good they might become.
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