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LIVE IN CONCERT!

SAVE FERRIS

And GOLDFINGER

Reviewed By Jim Jehs Janus Landing St. Petersburg, FL 2/25/98

St. Petersburg was a long way from home as "Save Ferris" arrived to promote their new album "It Means Everything," their second release and first from Epic Records. The California band is comprised of Monique Powell (vocals), Brian Mashburn (guitar/vocals), Bill Uechi (bass), Marc Harismendy (drums), Eric Zamora (alto sax); T-Bone Willy (trombone) and Jose Castellanos (trumpet). "Jannus Landing" provides an opportunistic setting for their ska sound, being open yet personal, due to its small area. "Save Ferris" had the opening job, and a tough one it was, for an unrenowned band that is more geared toward pop/ska than punk/ska.

Opening with "The World Is New," it was apparent that Mo is the "center of the universe" for the band. Mo's powerful voice and crisp look energizes the crowd. "Save Ferris" defines pop/ska, and after the first song the crowd seemed to remain quite melancholy, so Mo sat down up front and said, " I need to hear some noise ! What are you guys? A bunch a - pussies?" Mo ignited the crowd with her aggressiveness and jumped into the upbeat song "Nobody But Me." She continued to show her experience in working a crowd, taunting them to join in as they played "Spam," my favorite meal when you've spent too much money on beer that weekend. They finally seemed to have a grasp on the audience, and setup "Goodbye," a sexy, sassy song about ending a relationship filled with mind games and abuse.With Mo swinging her hips side to side, I nearly lost my concentration. The horn section was smooth and on tempo which is needed for their pop sound. They did display some individual talent as well in their solos on the songs "Sorry My Friend" and "Lies," songs where the pace was slow and they could showcase their abilities.

Bill Uechi is a unique personality with unusual headgear but, fills the bass with melodic charm. "Come On Eileen," a cover of the Dexy's Midnight Runner hit, seemed to be a crowd favorite, but sounded weak live and ended their show. "Save Ferris" definitely sounds better in the studio, but Mo is awesome and I definitely want to hear more of her whether it's live or it's Memorex. "Goldfinger" appeared next, with a fresh outlook at punk/ska, promoting their latest album "Hangups," with John Feldmann (lead vocals/guitar), Charlie Paulson (Guitar), Simon Williams (bass) and "Dangerous" Darrin Pfeiffer (drums). "Goldfinger" was familiar to me, although not a household name. They've gained recognition for their aggressiveness and style after their #1 alternative hit, "Here In Your Bedroom," from their self titled debut album. Many have not considered their music punk/pop with a reggae touch but their latest album is laced with ska (see review in 10/1/97 issue of AMZ). "Goldfinger" used a variety of instruments on their CD, and demonstrated how they can blend that variety together. Of course they didn't have all those instruments for their stage act, but did bring along a couple of horn players.

The band did provide some intense kick-ass music for their fans. The energy level was extreme as they pumped out songs like my personal favorite. "Authority." Charlie Paulson, the devil's advocate, showed his horns, thrashing across the stage, pumped, jumping into the crowd, and obnoxious as hell. Perfect attitude for the intensity of their music. Other songs. such as "20 Cent Goodbye," "Disorder," "Superman," and "Too Late" were headsmashing moshe pit tunes for which the adrenalin rush was high. John jumped into the crowd, lost his shoe, and said, "I won't f***ing play until I get my shoe!" Rousing the crowd into a frenzy over returning his shoe. A change of tempo was "Carlita," a mix of harmonies and instrumental bliss - if there is such a thing with punk/ska, which turned into punk/pop/ska. "Goldfinger" immediately returned to their obnoxious selves with "S.M.P." and "Chris Clayton," which had the crowd hopping again as John and Charlie continually taunted the crowd with their theatrics.

This concert was a remembrance of playing the "State Theater" in St. Petersburg time and time again, in an unrelenting effort to reach the next level. "Goldfinger" showcased their unbridled talents, stripping down and unleashing the demon within, grinding out furious, innovative songs, with pop hooks that have dug in and stayed this time around. The show closed with "Sugar Ray," another punk/ska band with a big band sound, and an awesome light show for a small band. They pumped it up and were, if possible, even more obnoxious than "Goldfinger." A solid conclusion to a sweat-filled, headringing excursion into punk/ska.

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