The Dead Milkmen
Andrew Lipke, West Philadelphia Orchestra, Conversations With Enemies, Break It Up, You Do You
926 N American St
Philadelphia, PA, 19123
12:00 PM (event ends at 8:00 PM)
This event is all ages
The Dead Milkmen
During their heyday in the late '80s, the Dead Milkmen led a crop of college-radio jokesters that also included Mojo Nixon, King Missile, and Too Much Joy, among others. Playing a basic, happily amateurish brand of punk-pop, the Milkmen skewered popular culture, indie trend-followers, and the intellectually challenged, while frequently indulging their taste for tastelessness. Critics alternately praised and dismissed the band as geeky, juvenile wiseasses -- virtually every review seemed to contain the word "sophomoric," and either you found them funny or you didn't. But despite the mixed reviews, the Milkmen earned a devoted cult following (which famously included Detroit Tigers utility infielder Jim Walewander), a few novelty hits on college radio, and even an MTV hit with "Punk Rock Girl." As polarizing as their sense of humor was among critics, it was what fans wanted and came to expect, and attempts to move into more genuine, serious territory during the '90s effectively spelled the end of the band. Oddly enough, by that time, they were exerting at least a small measure of influence -- perhaps more than any of their peers, they paved the way for the legion of smart-assed geek-rockers who ruled alternative radio for a brief period in the mid-'90s.
The Dead Milkmen were formed at Philadelphia's Temple University in 1983. Guitarist and sometime vocalist Joe Jack Talcum (born Joe Genaro) and lead singer Rodney Anonymous (aka Rodney Amadeus Anonymous, aka Rodney Anonymous Melloncamp, born Rodney Linderman) grew up together in the small Pennsylvania town of Wagontown. During high school, Genaro started writing a newsletter about a fictional band called the Dead Milkmen, and the exploits of its lead singer Jack Talcum. When Genaro graduated and enrolled at Temple, he and Linderman kept up a songwriting partnership through the mail. Through his acquaintances at Temple, Genaro met drummer Dean Clean (born Dean Sabatino), who played in a local punk band called Narthex, and bassist Dave Blood (identified only as Dave S.), with whom he struck up a songwriting partnership. All three started playing together in 1983, and with Rodney Anonymous joining them that summer, they performed their first gig as the Dead Milkmen.
Over the next year or two, the Milkmen recorded several live, self-released cassettes, and achieved considerable local notoriety with a live radio performance in 1984. They earned some attention in the punk magazine Maximumrocknroll, and the resulting buzz helped them land a deal with Restless Records subsidiary Fever. In 1985, they issued their debut album, Big Lizard in My Backyard, which consisted mostly of material from their cassette releases. The track "Bitchin' Camaro" -- which featured a rambling spoken intro full of snotty putdowns and nonsensical banter -- became a hit on college radio, and sloppy joke-punk tunes like "Takin' Retards to the Zoo" cemented their new cult following. The follow-up, Eat Your Paisley!, appeared in 1986, and while some fans considered it a letdown, they had some radio success with "The Thing That Only Eats Hippies." 1987's Bucky Fellini was a return to form that spawned the underground smash "Instant Club Hit (You'll Dance to Anything)," a spot-on satire of Britain's gloomy alternative music and the pretension of its attendant subculture in America. The song (and several remixes) served as the basis for an EP, and it also pushed Bucky Fellini onto the national album charts for the first time in the band's career.
Poised for something vaguely resembling a breakthrough, the Milkmen expanded their cult following even further with 1988's Beelzebubba. That was largely due to the single "Punk Rock Girl," a college-radio smash whose video was also aired fairly extensively on MTV. Beelzebubba just missed climbing into the Top 100 and wound up as the group's biggest seller, also featuring fan favorites "Stuart" and "Life Is Shit." A second single, "Smokin' Banana Peels," was also released, and anchored another EP that featured five additional new songs, including the gross-out-fest "The Puking Song." The band's proper follow-up, Metaphysical Graffiti, appeared in 1990 and featured guest vocals from the Butthole Surfers' Gibby Haynes on "Anderson, Walkman, Buttholes and How." However, the album received a mixed response from fans, some of whom praised the beefed-up production but others of whom found the material erratic; in any case, it stalled some of the band's momentum. There were also reports that their record company was unhappy with the unlisted bonus track, "Cousin Earl," a near-seven-minute shaggy-dog story that piled on the Milkmen's gross-out humor to previously unimagined levels.
Whether it was the fault of "Cousin Earl" or the fact that Restless' parent company, Enigma, went bankrupt, the Dead Milkmen found themselves hunting for a new label after Metaphysical Graffiti. They wound up on the Disney-run Hollywood Records, and in an even more bizarre twist, elected to play things mostly straight -- with no pressure from the company to do so -- on their 1992 label debut, Soul Rotation. Perhaps signaling what they hoped was a new era for the band, Anonymous adopted the new name H.P. Hovercraft, while Talcum switched his to Butterfly Fairweather and took on a larger share of the lead vocal duties. Some critics -- mainly those who'd never found the Milkmen all that funny -- and a minority of fans embraced the record and its more eclectic songwriting, but the new direction simply wound up alienating most of the group's fan base. A second album for Hollywood, 1993's Not Richard but Dick, fared even more poorly, and the Milkmen were dropped.
the Milkmen did celebrate their tenth anniversary in 1993 by self-releasing Now We Are 10, a CD compilation of some of their early cassette-only recordings. They returned to Restless Records for 1994's Chaos Rules: Live at the Trocadero, a run through some of their best-known songs, and offered the new studio set Stoney's Extra Stout (Pig) in 1995. It was virtually ignored, and the Milkmen elected to disband. All the members got day jobs, and most continued in music on a local basis in Philadelphia. Rodney Anonymous reverted to his given name and started a gothic-tinged Celtic rock band called Burn Witch Burn, which issued a self-titled CD in 2000. Joe Jack Talcum and Dean Clean reunited, also under their real names (Genaro and Sabatino), in Butterfly Joe, who also released a self-titled debut nationally in 2000. The two also gigged with several other Philly bands over the '90s: Genaro with the Town Managers, Touch Me Zoo, and the Low Budgets, and Sabatino with the Big Mess Orchestra. Dave Blood, meanwhile, gave up the bass due to pain in his hands, and went to graduate school to further his interest in the former Yugoslavia. Meanwhile, Restless issued the career retrospective Death Rides a Pale Cow (titled after one of their early cassettes) in 1997, and 2003 brought Now We Are 20, an expanded reissue of Now We Are 10 given wider release by Restless.
Andrew Lipke is a highly active artist, producer, songwriter, entertainer, and over-all member of the Philadelphia music scene.
Born in South Africa, Andrew showed his musical prowess at an early age, starting piano lessons at 5 and later teaching himself the guitar. Immigrating to America in 1987, Lipke later moved to Philadelphia to earn a degree in Music Composition from the University of the Arts. He has released three acclaimed solo records, two under Drexel Universities' Mad Dragon Records.
In addition to his own music, Lipke is receiving praise in his expanding role as a record producer in his studio, The Record Lounge. Lipke also plays across the country in the renowned Led Zeppelin tribute band Get the Led Out and spends the rest of his time contributing to many diverse musical groups and projects in the Philadelphia area including sound design and original music for regional theater productions. His work has garnered him much critical acclaim and in 2007 he won the prestigious Barrymore Award for excellence in theatre.
He's due to release his fourth album "The Plague" this year and it's his most ambitious project yet. A song cycle of apocalyptic vignettes tied together by meticulously arranged string quartet material and lyrical themes steeped in the reanalysis of religious suppositions and the dissection of destructive dogma, The Plague somehow still manages to remain accessible and convey Lipke's unabashed love for pop music.
Andrew performs his music throughout the Philadelphia region with his band The Prospects and also with The Azrael String Quartet.
West Philadelphia Orchestra
An eclectic ensemble made up of Philly’s finest and wildest musicians performing trumpets, clarinet, drums, baritone horns, flute, vocals, sousaphone and more, the West Philadelphia Orchestra will get you moving with the poignant melodies and the frenetic, propulsive rhythms of Eastern Europe. Enjoy a unique mix of Balkan and klezmer sounds, the powerful rhythms of samba and dancehall, the growling energy of punk rock, the spontaneity of jazz, and, of course, the soul and grit of Philadelphia.
Conversations With Enemies
Created in West Philadelphia, electrified, and brought to life, Conversations with Enemies sings songs of love torn apart by death, zombies, and deals with the devil. The story is dark, but this five-peice, which features charming harmonies, rousing sing alongs, and "a criminal number of unabashed smiles," is anything but brooding. Described as combining "feel good indie pop" together with surf rock and gypsy folk, Conversations with Enemies are also known for delivering an irrepressibly energetic live set.
Break It Up
Break It Up has been through several mutations in the last year, but has now cemented as a 3-piece. Rooted in a post-riot grrrl ethic, the tension between their 90s rock upbringing and modern pop impulses drives their debut single, "Excavate," which has been described as an "inspiring slice of strident independence and anthemic power-pop goodness." "Their thick-yet-minimal sound recalls classic U.K. post-punks Magazine, Canadian contemporaries Land of Talk, the spectral catharsis of Throwing Muses, the gritty catchiness of Mission of Burma." Other influences range from the experimentation of Patti Smith, to the endearing hooks and fuzz of the Breeders, to the garages and basements where they first saw their favorite bands play. And while Break It Up remains loyal to the sounds that made them fall in love with music in the first place, they have carved out a sound that's all their own.