EDGE FEST '96 Poster SUPERDRAG Refreshments Poe SCOTS

/ 77 S IN: / RN: 247411" x 17" CONCERT POSTERSOUTHERN CULTURE ON THE SKIDSREFRESHMENTSI MOTHER EARTHJACKOPIERCEPRIMITIVE RADIO GODSREFRESHMENTSREPUBLICAPOEJAKOBSUPERDRAGCAROLINE'S SPINEFILTERGRAVITY KILLSMOHAWK PARKTULSA, OK1996POSTER ARTIST: DAVID DEANCONDITION:GOOD+5OF 10 or better(handling, horizontal bend near top, multiple staple holes)Rare!Southern Culture on the Skids, also sometimes known as SCOTS, is an American rock band that was formed in 1983 in Chapel Hill, North Carolina. The band consists of Rick Miller, Dave Hartman, and Mary Huff. Contents [show]Stylistically, SCOTS gravitate towards the rockabilly, surf rock, country music, SCOTS' music is generally very upbeat, as they usually write and perform songs about dancing, sex, and fried chicken, which are main themes in songs such as "Cheap Motels," "Soul City," and "Eight Piece Box." They are also known for their live shows, which often include throwing fried chicken and banana pudding into the audience, and audience members invited to dance onstage. As a general rule, they are not hostile toward non-commercial taping of their shows.[1] The SCOTS track "40 Miles to Vegas" appeared on the EA Sports video game NASCAR 07. The band appeared on The Tonight Show with Jay Leno in 1995, performing "Camel Walk" from their album Dirt Track Date. They have also appeared numerous times on Late Night with Conan O'Brien. [edit] Members [edit] Current * Rick Miller (Vocals, Guitar) * Dave Hartman (Percussion) * Mary Huff (Vocals, Bass guitar) Former * Stan Lewis * Leslie Land * Chip Shelby * Chris BessBiographyby Darren PaltrowitzThough many have dubbed Superdrag a punk-pop or power pop band, their music has shown itself to be atop of the aforementioned genres. Taking as much influence from the British Invasion-style pop of the Beatles and the Zombies as My Bloody Valentine and Hüsker Dü, their songs have always combined melodicism and noise in fully distinct fashion. While many have compared frontman John Davis -- no relation to the Jonathan Davis of Korn or John Davis of Folk Implosion -- to Big Star's Alex Chilton in terms of his throaty vocals, often cynical lyrics, and major-minor chord progressions, the history of the two Tennessee-based groups have shared many parallels in terms of being a band's band that has often gone misunderstood. With members Davis, guitarist Brandon Fisher, bassist Tom Pappas, and drummer Don Coffey, Jr., having played together in various outfits, including Punch Wagon and 30 Amp Fuse, the guys eventually molded into the Used in the early '90s. Featuring Davis on drums, Pappas on vocals and guitar, Fisher on lead, and Chris Hargrove on bass, Coffey was eventually recruited to get behind the kit as Davis left to pursue "Superdrag" -- a vehicle for his songs. Though Davis was fully competent toward playing all of the instruments on his originals (as proved on circulated home demos), he enlisted the talents of Fisher, Pappas, and Coffey so the group could play live. Constantly gigging beyond their hometown of Knoxville, Superdrag quickly became a buzz band through their release of 1995's The Fabulous 8-Track Sounds of Superdrag on Darla Records. As the EP received rave reviews in publications like CMJ, a major-label looking war eventually followed with the band heading to Elektra Records. Releasing Regretfully Yours in the summer of 1996, Superdrag found a highly positive response despite many looking to write them off as a "one-hit wonder." With first single "Sucked Out" becoming a major radio hit on both alternative and crossover stations in addition to becoming an MTV "Buzz Clip," sales of Regretfully Yours eventually pushed to a moderately successful 300,000 despite the failure of follow-up single and video "Destination Ursa Major." Playing hundreds of shows in support of the record, the group found itself a highly renowned touring entity, though many of Davis' new songs were showing themselves piano-based and darker: the antithesis of the jangly rock that Superdrag was known for among the mainstream. Recorded in Los Angeles with producer Jerry Finn -- of Green Day, Rancid, and blink-182 fame -- Head Trip in Every Key was more of a conceptual album as it featured well-thought orchestrations. While the other members served their usual roles, Davis played the piano, organ, theremin, and sitar in addition to his usual being as a guitarist. Although solid pop/rockers like "Hellbent" and "Do the Vampire" were radio-friendly and did receive minor play, powerful and emotional cuts like "She Is a Holy Grail" and "The Art of Dying" (an ode to The Tibetan Book of the Dead) more so represented the vibe of the album as each clocked in above five minutes. In fact, "Shuck & Jive" featured a Beach Boys-esque bridge with Davis himself doing five-part harmonies. Though reviews in many cases were the strongest ever seen by the group, Elektra Records was all but enthusiastic over Head Trip in Every Key. Little if any support was given upon its March 1998 release, as funding for a "Do the Vampire" video was revoked and given to a "more commercial" techno act. Minimal touring support was provided and the group found itself off the road quickly. Disgusted with the failure of Head Trip in Every Key, Superdrag independently released Stereo 360 Sound -- a compilation featuring original demos, alternate versions, and unreleased tracks -- on their own label, Superdrag Sound Laboratories. Feeling up on their success on a smaller scale, the quartet happily returned to the studio as they recorded at Nashville's Woodland Studios for a yet-to-be-titled third LP (on a newly signed two-album extension).Biographyby Andrew LeaheyWhile the Gin Blossoms were Tempe, AZ's most recognizable band in the post-grunge era, the Refreshments were perhaps the town's hometown favorite. Their brand of alternative pop/rock owed much to the band's Southwestern environs, whose influence increased with their sophomore effort The Bottle & Fresh Horses (and later came to fruition with the spin-off Americana outfit Roger Clyne & the Peacemakers). Oddly enough, the very elements that endeared the Refreshments to their Arizona audiences -- the quartet's localized sound, mariachi-styled detours, and Tempe-centric lyrics -- prevented their music from finding true national appeal apart from the modern rock hit "Banditos." The fledgling Mercury Records sacked the group after their second album failed to provide a follow-up hit to "Banditos," and the Refreshments called it quits the following year (Mercury would also fold in 1998, having been absorbed into the Island Def Jam Music Group). Nevertheless, the Refreshments' legacy lives on in the Southwest, where the aforementioned Roger Clyne & the Peacemakers have since emerged as one of the area's biggest draws. The Refreshments' roots date back to 1993, when Arizona State grads Roger Clyne (vocals, guitar), Brian David Blush (guitar), Arthur "Buddy" Edwards (bass), and Dustin Denham (drummer) first convened for a night of drinking and card-playing. A musical partnership formed and was soon completed by P.H. Naffah, Denham's replacement, whose association with Clyne would later extend into the Peacemakers. The band issued a self-released full-length debut, Wheelie, in 1994, with an EP titled Lo, Our Much Praised Yet Not Altogether Satisfactory Lady following shortly thereafter. Both releases proved to be incredibly popular locally, with the original 2,000 pressings of Wheelie selling out quickly. Mercury Records took note and signed the band in 1995, later issuing their major-label debut, Fizzy Fuzzy Big & Buzzy, in 1996. Propelled by the hit single "Banditos," whose irreverent lyrics spun the tale of a Mexican crime caper, the album enjoyed moderate success. The Refreshments' good luck continued into 1997, when an instrumental composition (which the band had previously performed during soundchecks) was chosen as the iconic TV theme song for King of the Hill. The band's mature follow-up, The Bottle & Fresh Horses, was also released in 1997, but it failed to gain much traction outside of local Arizona radio. The Refreshments subsequently lost their contract with Mercury, and the group disbanded in 1998. Buddy Edwards refashioned himself as a fiction writer, and Blush found work as a guitarist for several local bands. Clyne and Naffah would continue to explore the intersection of traditional Southwestern music and rock & roll with Roger Clyne & the Peacemakers, an Arizona supergroup whose lineup has featured members of the Gin Blossoms, Dead Hot Workshop, and Gloritone.This is an original single sheet printed paper poster advertisement (A.K.A. handbill, flyer or print) for a concert performance gig by professional musicians at a music venue. Guaranteed original and authentic, printed prior to, and in conjunction with the promotion of the event. 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