Dash Rip Rock Wed. April 3 @ La Salle’s

My Wednesday night was bittersweet. The Synthesizers — the Synthesis softball team —  took their second loss in a row, and in doing so caused me to miss The Hambones. As I hastily walked through the door they were packing up, and I couldn’t help but feel an emptiness in my gut. Luckily, some New Orleans alt-country/rock legends took the stage no more than 15 minutes later. The power trio Dash Rip Rock took hold of the crowd with their humorous brand of straightforward, white-knuckle delta-rock.

The self-proclaimed (with tougue firmly planted in cheek) “fastest band in the world,” is fearlessly lead by the sardonic balladeer Bill “Master of Disaster on the Telecaster” Davis. At one point during the middle of a song, David pulled out a second guitar  —  dubbed “the Alliga-tar” for it’s gator skin — and used it to play slide on his telecaster. It was the most innovative guitar styling I’d seen since Jeremy Gerrard hopped on Byron Dunning’s shoulders mid-song during the Amblers performance at the 1078 Gallery, creating the tallest musician in the world who proceeded to have dueling guitar solos with itself.

Dash Rip Rock are touring in support of their 18th LP, Black Liquor. They played a few tracks from the new album such as “Beck Moi Tchew,” a Cajun cussword-laden tune whose title translates to “bite my ass.” A couple great tracks that got a particularly lively, leather-clad older couple on the bar’s parquet dance floor were “Pussywhipped” and “Leave Me Alone to My Bottle.” DRR broke into barbershop harmonies twice, which was a welcomed deviation from the path of melted faces left in their wake. Another song titled “Let’s All Smoke Some Pot” played to the tune of Danny and the Juniors’ “At the Hop,” apparently garnered them significant radio play in the ‘90s. The subject matter of their songs usually pertained to the seedy underbelly of Louisiana culture, including topics such as women, booze, and New Orleans. But what else would you expect from the only band to purportedly have been showcased at SXSW every year since the festival’s commencement.

Bred and buttered in Chico, David Neuschatz has been devouring music since toddlerdom. His earliest memories are dancing around his living room to Annie Lennox's Diva and Yes' 90125. In lieu of cartoons, he soaked in top 20 countdowns from VH1 and MTV on weekend mornings. His goal is to spread as much good music as he can to the masses. For this reason, he cites ethnomusicologist, folklorist, and archivist, Alan Lomax, as his idol.