Gene Eugene Tribute Concert
Echoes Of Faith Church
September 2, 2000
By Jeff Elbel

It was a night to remember, and a night for remembering.  On Saturday, September 2, 2000, well over five hundred people converged upon the Echoes of Faith auditorium in Ontario, California.  Not half a year ago, a significant number of the same people were in the same room paying last respects to Gene "Eugene" Andrusco.  It wasn't quite enough, though.  Even the heartfelt tribute by the surviving members of Adam Again at the Cornerstone Festival didn't feel like the final goodbye.  Gene, taken so soon, continues to be too dearly loved for many to walk away from their relationships with him just yet.

Nearly all the artists that performed at the Gene Eugene Tribute Concert had a significant portion of their history in association with Gene, and represent some of the best and brightest of the alternative Christian music scene.  The Prayer Chain.  Altar Boys.  Undercover.  LSU.  Starflyer 59.  The Violet Burning.  Between the featured acts, the show also included noteworthy acoustic sets by Steve Hindalong of the Choir, Paul Valadez of Adam Again, and Brian Healy of Dead Artist Syndrome. 

I was privileged to also be included on the bill, playing with Ping.  It was thrilling, the thought of playing with these others, practically all of whom helped shape my own musical sensibilities.  Riki Michele of Adam Again had even agreed to join the Ping set for a duet.  Her voice has always been one of my favorites; I was over the moon.  The Choir's Steve Hindalong, a bona fide artist if ever there was one, played percussion with me on my own songs.  I'd never have thought I'd see the day that happened.  Still, I can say with complete honesty that I'd have gladly swapped it for a chance to see Gene there, playing a song and singing in that sweetly aching, familiar voice.  Or making a good-natured joke of someone's lyrics.  Or leaving for a Dodger game.  Anything. 

Doubtless, the same goes for practically everyone else who attended or participated.  "We miss you down here," the Choir song "Hey Gene" says.  Ah, well.  Enough rumination for one article ...

Regarding the concert itself:  I'm not thoroughly qualified to review the show as a member of the audience, since I wasn't one.  Be assured, it wasn't for lack of trying.  Despite scrambling for a chance to hear at least a little of all the acts, I was pretty busy helping out behind the scenes throughout the program.  My memories of the show combine the experiences of performer, technician, and fan.

Starflyer 59 was first up.  Jason Martin's last two records, "The Fashion Focus" and "Everyone Makes Mistakes" feature Gene's keyboard work, and contain fantastic songs.  I stepped into the hall to watch the band play a great version of the Brit-poppy "I Drive a Lot," which was revved up and moving a lot quicker than the album track.

The Violet Burning's stock in trade these days is the emotional space-rock anthem.  Michael J. Pritzl, bedecked with glitter, was captivating as ever.  I'm uncertain how long he's been working with his current line-up, but they really seem to have found "The Sound."  Herb Grimaud, formerly of Raspberry Jam, has been playing bass with the Violets for a while, and the band suits him well.  There's a lot more glam in the vibe than on material which predates Demonstrates Plastic and Elastic; that album made up the bulk of the band's set.  The Violets played the first Gene Eugene cover of the evening - a dark, gripping version of "Alright" from the Perfecta album.

Next up was the first acoustic act:  Brian Healy of Dead Artist Syndrome.  Brian had called late on the previous night asking me to play guitar and sing backup for a few of his songs.  I prepared "Christmas" from Prints of Darkness along with "Angelyne" and "Fall Apart" from Devils, Angels, Saints.  At the show, Ping's Clint Davidson offered to pitch in on acoustic bass.  Brian tracked down Gym Nicholson of Undercover and "volunteered" him to join as well.  I was then charged with showing Gym and Clint the songs, including "Christmas," which Gym recorded years back.  Teaching Gym Nicholson something on the guitar seemed like a pretty odd reversal of roles!  The set was fun, and the goth kids crowded the front of the stage, singing along with every word.

And then it was time for LSU.  Good ol' Michael Knott, my rock and roll hero.  My rock and roll hero was nowhere to be found; he had waived his soundcheck in lieu of arriving closer to showtime, and was stuck somewhere in a nasty snarl of traffic along the 10 freeway.  I was clearing the stage from Brian's set when the stage manager approached, asking me to get Ping up and performing, over an hour early.  In the next two furious minutes, I found Eric Sanford (our harmonica player), called for Steve Hindalong, and got into stage clothes.

I never wanted it to stop.  We had fun, playing stripped-down versions of songs from the Meet Your Maker album we're preparing.  We chose three which represent the beginning, middle, and end of the Meet Your Maker storyline:  "Here Comes the Sunburn," "Going My Way," and "Miracle Rain."  The album's story is about Mason, who is lost beyond hope in the Western Desert of Egypt, and how he's delivered in spite of himself.  The album hinges upon Matthew 6:34.  Following these three, we played "Songwork" from Adam Again's Dig album.  Riki Michele joined me on vocal, and from where I was standing it was heavenly.  Steve Hindalong played dumbek and various shakers during the set as the spirit moved him.  When we finished, we got a few extra minutes from the stage manager, who was still looking for Mike Knott.  We played "Bedouin Girl," also from the album.  So, no one complained about going on early.  Ping was the only act to wear matching shirts.  My shiny silver rock show pants were no match for the sparkly Violet Burning attire, though.

Ping left the stage, and Steve Hindalong came up front by himself.  Though Steve claims to not be very fond of solo performing, he has a disarming stage presence and a quirky, honest voice.  People give him their attention fully.  I heard him sing the Choir's "Hey Gene," which was a given, with a lyric that many took to heart.  I missed the rest of his set, but I understand he played a thing or two from his solo album, Skinny, and an Adam Again cover.  That was most likely "Hideaway" from Homeboys, since he wrote the lyric for it. 

Then, Mike Knott arrived.  Brian Healy introduced his set saying, "There have been many words used to describe this next artist, but predictable is not one of them."  Neither is punctual, for that matter.  Mike had no guitar with him, and asked to borrow mine.  A little fearful for the safety of "my baby," I lent it to him.  I'm happy to say he didn't ventilate it with a microphone stand, as I've seen him do before.  He did thrash at it with great fury and passion on a couple of solo-acoustic songs, including a riveting "Blame," from LSU's Grace Shaker.  He was then joined by Chuck Cummings (Aunt Bettys, Dakota, etc.) on drums and bassist Sean Paul (Value Pac) for an electric LSU set.  The band plowed their way through "The Bomb" and a few others before leaving the stage.  The show was running late by now, hence LSU's short set.

I saw and heard only enough of the Undercover set to know that those guys do extremely well for a band that plays as infrequently as they now do.  Sim Wilson still has one of the absolutely most powerful rock voices to come out of the alternative Christian music scene.  Anyone who heard his riveting take on Adam Again's "Don't Cry" at this summer's Cornerstone Festival knows this.  The band seemed to have a great time.  Gym Nicholson hunkered down over his guitar and showed off his painted orange hair as his teen-aged son watched from the crowd.  What a great role model!  Ojo Taylor played the orchestral, goth-influenced string swells and simultaneous keyboard bass lines.  Apparently, he dove from the stage at one point in the set and unintentionally clocked a guy in the audience.  I overheard the pair laughing about it after the event.

The Altar Boys gave it their all, and really impressed a lot of people who might have liked to think of them as past their prime.  Mike Stand and company still have it, plus plenty to spare.  They were refreshing to watch, as Stand is one of least "affected" rock icons you're ever likely to see.  He radiates joy, and is obviously pleased to be playing some great rock music with, and for, his friends.  Riki Michele joined them for bouncing ride through Adam Again's "Worldwide."  I loved it.  Hopefully, it will be included on the limited edition CD being released by the show's promoters.

Paul Valadez, bassist of Adam Again, played the evening's final acoustic set.  Paul and a friend played acoustic guitars in accompaniment to his surprisingly soulful, blues-informed vocal delivery.  Anyone who picked up Greg Lawless' Prayers and Low Songs CD will certainly want to check out Valadez' Eyes of Laughter project, once it's completed.

At last, it was time for the Prayer Chain reunion show.  This was the one I'd spent weeks anticipating.  "I don't care what's going on during the last set," I had said, "I'll be in the hall watching the show."  Ha.  I spent about ten actual minutes at various times watching the band, because I was busy chasing my twenty-one month old daughter around, who was having the time of her life staying up three and a half hours past her bedtime.  We sneaked into the back of the hall a few times, and I must say, I think she's a Prayer Chain fan.  She even danced to "Fifty-Eight," which is a pretty good trick considering the time signature.  She seemed to favor the Mercury material like "Waterdogs," which suits me fine.  I'll be playing the album for her at home, in between shouts for "Old MacDonald," "Bingo," and "Larry-Boy Song!"

Anyhow, regarding the Chain set:  The stage lights were kept low, and the band was bathed in a moody wash of blue.  Andy Prickett flashed his guitar hero chops on songs like "Never Enough" and "Grylliade," while Wayne Everett and Eric Campuzano showed off years' worth of synergy as a rhythm section.  All three have been working steadily in music (frequently together) since the Prayer Chain called it a day, and are still at the top of their game.  Tim Taber was simply electric, and appeared to be reveling in his opportunity to front a rock show again.  The band's most gripping moment was a somber cover of "Dig" from the Adam Again album by the same name.  Riki Michele joined the band, and the results were haunting and mesmerizing.  Michele stayed on for another song, as well as Steve Hindalong, who played percussion throughout the set. 

Doug Moss of Honey and Cush set the loops and drones for the set in motion, from the side of the stage. It's also worth mentioning that Chris Colbert (Duraluxe, Fluffy, Breakfast With Amy) ran sound for the entire event, and the Prayer Chain set in particular had the best live mix I've ever heard at any of their shows.

The band left the stage, and after a few minutes, returned for an encore.  As they were preparing to play, the projectionist started the Gene Eugene memorial video, which had been shown after Adam Again's tribute set at the Cornerstone Festival.  The band sat on the stage and watched along with everyone else, remembering their friend.  As the video finished, Taber simply thanked everyone for coming and wished them good travel and goodnight.  The reflective mood just wasn't right for another rock song.

I know I've raved about these acts like a fanboy, but hey, I am a fan at heart.  And the sets -were- really good.  It was a special event, and I believe that everyone in attendance did honor to the memory of Gene Eugene.  It was good to have another chance to do so. 

- Jeff Elbel

P.S. Ping is running a fundraiser to benefit the Gene Eugene Memorial Fund.  If anyone buys one of our T-shirts, we'll send it along with a free copy of our acoustic No Outlet EP when it's completed next month.  All proceeds go to the Memorial Fund, helping cover the remaining funeral expenses carried by Gene's family.  Details can be found at http://www.marathonrecords.com/ping

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