Enrique Serves Up '70s Kitsch & Sartorial Splendor To Delirious San Francisco (And Detroit) Fans!

Originally published in BAM (November 1, 1991)

By Devorah Ostrov

Enrique (publicity photo circa 1991)

In an icy-cold basement just off Haight Street, the five members of Enrique — vocalists Jason and D'Arcy, guitarist Sugar, bassist Mervine, and drummer Ron ("no last names, please") — are running through the Debbie Boone hit "You Light Up My Life." 

Jason begins, "So many nights..." and D'Arcy follows, "...I sit by my window..." But when they reach the second verse, continuing to alternate lines, a problem arises — the one who starts the song gets to sing, "To say, hey, I love you!" 

Enrique performing at the Haight Street Fair
Photo: Ron Quintana

"But that's the best line!" cries D'Arcy. I'm singing it."

 

"Uh-uh," counters Jason. "It's mine."

Tempers flare, but just as quickly, everyone's giggling. They can, after all, sing the line together.

Jason and D'Arcy have always been best friends. The newest version of their childhoods has them kidnapped by a Spaniard named Enrique. He, supposedly, took them to live in a trailer park in Lodi, where he taught them to disco dance. "We grew to love him as a father," says Jason.

"Are people really going to believe we were abducted?" asks D'Arcy. He's worried about the details. "Have we been reunited with our parents yet?"

No matter. Eventually they (somehow) made their way to San Francisco, and about two years ago, mysterious flyers depicting their faces (sometimes pasted over those of the original Charlie's Angels) with the name "Enrique" began appearing around town.

"We had danced for some friends' bands a couple of times," explains D'Arcy, "and had been well received. We wanted to take it further, so we made up the flyers. We just weren't sure what we wanted to do."

Flyer for an Enrique show (with Wig Torture & Camel Toe) at Morty's.

Enter Mervine. Figuring they were advertising a group, he asked the pair if they might need a bassist. "We thought, OK, we'll be a band," laughs Jason. Sugar, who used to scoop ice cream for a living alongside Jason, was added on guitar, and the first of two drummers signed up.

Before the first rehearsal, Enrique was booked to open for the Average White Band at the Kennel Club. "It really helped us get in gear," says D'Arcy. "We could've taken six months to sit around and practice, but only having a month to get the show together pushed us to do it."

Jason, Kate Jackson & D'Arcy featured in the
Enrique billboard located at Castro & Market Streets.

He adds that their first set featured all cover songs, including Hot Chocolate's "Everyone's a Winner," the Partridge Family's "I Can Feel Your Heartbeat," and Nick Gilder's "Hot Child in the City." 

From early on, the band has shown a knack for generating publicity. Consistently amusing flyers constantly appeared, a billboard went up on the corner of Castro and Market, and Jason and D'Arcy were seen on TV 20's Dance Party. 

In their biggest coup, the two vocalists — feet clad in platforms, heads topped with Afro wigs — paid a visit to the chat show People Are Talking and asked a startled John Waters (promoting Cry Baby) how to get into one of his films. "See my casting agent," they were tersely told.

"I'd rather be on Twin Peaks anyway," huffs Jason. 

D'Arcy & Jason show off their Hostess Cupcake collection
as well as their spectacular handmade costumes!

In July, Enrique travelled to New York to participate in the New Music Seminar. Envisioning an instant recording contract, the band came away disappointed. Still, the journey enabled them to play a memorable show in Detroit.

"Detroit flipped over us," enthuses Mervine, explaining how after their set, the band had to be led through the 1000-seat hall by a bouncer. "Everyone was shaking our hands and asking for autographs!"

"They actually offered to buy clothing off us," adds Sugar. 

Determined to keep going once the current '70s revival inevitably fizzles out, Enrique is concentrating on writing new material and a four-song tape featuring all original songs is available through the Enrique fan club. "We want to make a name for ourselves as a real, solid band," says D'Arcy. "We want to be able to stand on our own feet."

★ ★ ★

Jason with Julie & Michelle -
two of Enrique's biggest fans.
Photo: Ron Quintana

Enrique at the Paradise Lounge - 2/23/1990

Originally published in BAM

Live review by Devorah Ostrov

"The ultimate Enrique experience," promised the flyers for this double-set extravaganza. With 'fro wigs, platforms, flying bread and outrageously handmade '70s attire, the show easily lived up to the confident proclamation.

While the early set featured treatments of such classics as "Kung Fu Fighting" and "Boogie Man" (vocalists Jason and D'Arcy imbuing the latter with the passion it deserves), it was the late show that reigned supreme.

Dressed in a patriotic display of star-covered blue flares and vests complete with starred cape-like appendages, the two frontmen took the stage with the rousing "Electric Company Theme Song." Hilariously synchronizing their go-go dancing, the two tore through "Everyone's a Winner" and "I'm a little Bit Country/I'm a Little Bit Rock 'n' Roll" — D'Arcy playing Donny to Jason's Marie. And they wound up the whole affair with Thin Lizzy's "Jailbreak" — so trashed that Phil Lynott must still be rolling in his grave.

Although it's hard to take your eyes off the singers, the musicians in Enrique should not be overlooked, especially when they transform the Partridge Family hit "I Can Feel Your Heartbeat" with a beat so funkified you'll forget how silly a song it actually is.

Despite the trappings to the contrary, Enrique is not just a '70s revivalist act. Both sets featured several self-penned tunes (such as the enticing "1-800-ENRIQUE"), which elicited just as many cheers from the happy crowd, one of whom offered up a two-volume 8-track recording of Thank God It's Friday as a token of affection.

Enrique (with Michelle) at the Hemp Festival — "in the mistaken idea they were onstage,"
adds photographer Ron Quintana.

* You can follow Enrique on Facebook! Here's a link to their page: 

Enrique Es Muy Jumbo!

David Kaffinetti Has A Good Time All The Time! Spinal Tap's Keyboardist Talks About His Real-Life Rock 'N' Roll Career.

Originally published in BAM (January 1991)
By Devorah Ostrov

Publicity photo for This Is Spinal Tap
with David Kaffinetti top right

Whenever David Kaffinetti changes his address, he has to submit an additional document to the post office for "Viv Savage" — the fictitious heavy metal keyboardist he portrayed in the 1984 film, This Is Spinal Tap.

An accomplished musician in real life, Kaffinetti (credited as David Kaff in the mockumentary) laughs good-naturedly while emphasizing, "There really are people who write to me and put Viv Savage on the envelope!"

David Kaffinetti

Invited recently to speak to the audio-engineering students at USC on the making of Spinal Tap, he entered wearing Savage's trademark doctor's smock and, staying in character, bellowed, "Hello, this is Viv Savage! You folks are so lucky to be here!" Afterwards, he signed dozens of autographs — all as Savage.

"I have a great affection for Viv," says Kaffinetti of his affable alter ego whose philosophy is: "Have a good time...all the time."

Instead of being bothered by Savage's popularity, Kaffinetti revels in it. "I played him very close to my heart," he notes, "just a little bit dimmer. If people like that character, chances are they'll like me."

Born in the port town of Folkestone, Kent (in south-east England), Kaffinetti began practicing classical piano when he was 5 years old. At 10, he discovered rock 'n' roll in the form of Chuck Berry, Jerry Lee Lewis, Elvis Presley, and Bill Haley. He never turned back.

Rare Bird featuring Kaffinetti (right)

Kaffinetti first played keyboards professionally with Rare Bird, an early progressive rock outfit, which influenced bands like Emerson, Lake & Palmer.

In 1975, after recording five albums with Rare Bird, he joined forces with Badfinger guitarist Joey Molland and Humble Pie drummer Jerry Shirley to form the short-lived "supergroup" Natural Gas.

My Spinal Tap 1984 World
Tour backstage pass

Unfortunately, although Natural Gas provided his meal-ticket to California, he was fired after completing the demo tapes that secured them a record deal.

These days, Kaffinetti can be found playing with the Oakland-based Model Citizenz, a band he describes as a cross between Journey and Living Colour!

"It's a wild combination," he agrees. "We definitely have that kind of gritty rock sound, but there's also a very commercial side to it."

Consisting of vocalist Bruce Jay Paul, guitarist Don Ervin, bassist Brian Abbott, drummer Doug Freedman and Kaffinetti on keyboards, Model Citizenz has been playing Bay Area clubs for just over a year.

And not long ago, they recorded a four-song demo tape at San Francisco's Secret Studios. Michael Ingram, Kaffinetti's songwriting partner for the past fifteen years, engineered the sessions.

"Lost (Without You)," a beautiful ballad written by Kaffinetti, Ingram, and Paul is included on the demo tape. While "Gone Too Far," a Kaffinetti/Ingram collaboration (with ex-Billy Satellite bassist Ira Walker) has been put forward for Eddie Money's upcoming LP.

David Kaffinetti as Viv Savage in This Is Spinal Tap

As to whether there'll be a sequel to Spinal Tap, Kaffinetti will only say that the three principals involved with the original — Michael McKean, Christopher Guest, and Harry Shearer — are "talking about it." However, he hints that it could entail filming a live concert in England, as well as incorporating segments cut from the first film.

He adds, "I just hope I'm a part of whatever they do!"

The Jackson Saints: Rock & Roll Salvation

Originally published in BAM (probably 1991)
By Devorah Ostrov

Top row: Chuck Davis, Kevin Meade, Brent Hoover

Bottom Row: Erik Meade, Janis Tanaka

Photo: Jeanie M.

If rock bands had more in common with the British monarchy, the proclamation would be: The Jackson Saints are dead! Long live the Jackson Saints!

In late January, almost a year to the day he joined, vocalist Chuck Davis left the popular San Francisco-based club band. However, the four original members — guitarists Erik and Kevin Meade, bassist Janis Tanaka, and drummer Brent Hoover — will carry on, temporarily reverting to their initial set-up with Erik and Kevin sharing vocals, while the search begins for a new frontman.

While Davis' association with the band had its well-publicized tumultuous moments, the conversation on this night — at the group's first rehearsal without him — is free from any feelings of animosity.

Jackson Saints, Osgood Slaughter,

Mother Lode, T-Ride,

Bourbon Deluxe & Reckonball

Kennel Club - Friday, May 15, 1992

"Chuck's a great singer," states Kevin, the younger Meade brother, "but we had different ideas about where we wanted to go musically. He came out one day and said he didn't think it was right."

Still, there's no doubt that Davis' departure will prove at least a minor setback. Especially as it comes at a time when the group is reportedly being checked out by some major record companies.

"I think that's part of why Chuck chose to leave," explains Hoover, "before it got too serious, and it was too late for him to turn around."

Until a deal is inked, the band prefers not to say which labels are expressing interest. But with or without Davis, the Jackson Saints' riff-oriented, heavy rock sound has an undeniable appeal; it's already created at least one fan out of the reps who've come to see them. "There's this one A&R woman who's always looking for a good reason to come up to San Francisco," says Tanaka, "and one of her reasons is that we're playing."

When the band started out, talk of recording deals was a far-fetched concept. Even now, they have a problem of conceiving just how far they've come.

"I'm still amazed that we're successful at all," says Hoover, "because we aren't a band that I think of as being a success. It was always the big attitude bands that got popular; it was never a band like this."

What Hoover means by "this" is simple: "It's the music first, us later."

"Volume first!" corrects Erik.

Jackson Saints snuggle up!

L-R: Janis Tanaka, Erik Meade, Chuck Davis, Kevin Meade & Brent Hoover

Photo: Jeanie M.

Taking their name from what's believed to be a school's team logo on a faded sweatshirt and their musical direction from the Dictators' Manifest Destiny album, the Jackson Saints began life as the house band for the SF club Chatterbox (now called the Chameleon). "At the time," remarks Kevin, "that was the only place where our kind of music could be played."

But the group's reputation spread quickly by word of mouth ("It had to be," offers Hoover, "we never pushed ourselves.") and they were soon headlining the larger I-Beam. Kevin recalls: "We thought, 'Nobody's gonna be here. Why did they have us headlining?' When we got onstage the whole building was crammed full!"

However, it was playing last year's Haight Ashbury Street Fair that the band acknowledges as the high point of its career. "We stood on the stage and as far back as we could see there were people," marvels Hoover. "And even if they didn't know we were playing, we considered them the audience!"

Jackson Saints and 4 Non Blondes

Kennel Club - Wednesday, January 16, 1991

Then there was the recent foray to Los Angeles, with Davis still on hand, which gave Southern Californian fans an exciting photo opportunity (really, despite sensationalistic reports, not every Jackson Saints' gig includes a brawl).

Kevin: This punk band from Orange County was opening the show. During our set, they started throwing this stuff at Erik...

Tanaka: Yelling, "Get off the stage, hippies!"

Erik: So I brained one of them with my guitar!

Kevin: Erik wielded his guitar like a hatchet; he dived into the audience. We had a great shot of it on the videotape!

Tanaka: When we called our manager and told her there was a fight at the show, she said, "What?" And Erik yells, "But it wasn't with each other, it was with the audience. It's OK!"

Bonus backstory regarding the photograph at the top of the page: "There's a funny anecdote to go with the picture taken outside the house," says Erik. "Just as we were taking it, there was a high-speed police car chase that came rushing down the street. As the car they were pursuing ran the red light at the end of the block, it got broadsided and careened into a telephone pole. The driver flew through the passenger side window, hit the ground, and without pausing for a second took off running down the street on foot. I said, 'Oh, this is too perfect. We've got to get a band shot in front of that car.' So, we all started posing in front of it and Jeanie started shooting. One of the photos had a clearly unamused cop walking towards us in the background. I know that there was at least one print made of that shot, but I haven't seen it in over 25 years, so it must be buried in a box somewhere."

* * *

Jackson Saints live at the Kennel Club

performing their anthem: "Rock and Roll Salvation"