Mars Attacks

There's no reason to fear Red Planet -- especially if you like high energy, old-fashioned rock

As you may have noticed, retro rock "n' roll is making a serious comeback in the Bay Area. There are weekly showcases such as "Sixxteen" and "Bordello," where DJs spin '70s tunes from glam, hard rock, and early punk artists like T. Rex, AC/DC, and the Dead Boys. There is "Glitz," a monthly event at the Paradise Lounge dedicated to live glam and hard rock acts. And there are many groups -- the Pattern, Blue Period, Drunkhorse, etc. -- that gleefully drag their guitars through rock's loud and filthy past. In fact, you can't toss an amp down 11th Street without whacking some nascent punk/glam/rock musician on the head.

What's a discerning musical consumer supposed to do? How can he go about separating the wheat from the chaff, the leather from the pleather, the glam from the glum? He can start by listening to Red Planet. The local quartet's crafty musical blends and theatrical stage attack set it apart from the rest of the pack.

"People come to shows to be entertained," says Red Planet singer Jeremy Powers in explanation for his group's reputation. "Some bands come out and sing with their heads down and just entertain themselves. We like to rock people at our shows."

Red Planet is the destination for fun.
Akim Aginsky
Red Planet is the destination for fun.

Details

Red Planet's second full-length release, Let's Get Ripped, is scheduled for release on Gearhead Records in late May.


Sample of Red Planet's "You Can't See Me," from the CD Revolution 33. Click the "play" icon in the control console below.

<p align="center"> If your browser doesn't display a control console, <a href="http://www.sfweekly.com/media/2001-03-07/redplanet.mp3"> download the MP3 file</a> to be played by a separate application. </p>

Find more information at www.redplanetrock.com, or order the CD at www.gearheadmagazine.com.

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The seeds for Red Planet were sown in 1994 at Santa Clara University, when Powers, lead guitarist Chris Dunn, and bassist Gordon Evans began playing together informally. It wasn't until 1997, however, when the group's first drummer left to pursue a professional squash career, that the threesome got serious. A mutual friend recommended Brilliantines drummer John Messier, and after one practice, the lineup was complete. Together the bandmates set about blending their vocal harmonies, keyboard solos, thick guitar riffs, and four-beat rhythms into a club-ready assault.

Red Planet's recently released first full-length record, Revolution 33, displays the result, a proud amalgamation of rock's distant history. "Our sound is more than an extension of what we listened to in high school," Powers claims. "In fact, it blends early '80s punk and new wave through the prism of too much beer and being cooped up in your room." Powers and Dunn co-wrote all the tunes and are so prolific that they estimate the band uses less than 20 percent of their material. With a characteristically self-deprecating tone, Dunn states, "We pick whatever songs suck the least."

On Revolution 33, numbers such as "Satellite Radio" begin with Ramones-style guitar riffs and drum interplay as well as guitar heroics and hand claps borrowed from '70s power-rock masters Cheap Trick. Other tunes like "You Can't See Me" display an affinity for early '80s-style keyboards.

As you can imagine, Red Planet doesn't want to be lumped into a narrowly defined musical category. Sure, its members dig the older sounds of rock, but they also appreciate the work of modern acts such as Pavement and Beck. And they are more than happy to argue the relative merits of Rush, Canada's venerable prog-rock outfit, which Powers accuses of being fantasy lyric-spouting "hobbit rock."

"Rush isn't "hobbit rock,' man, it's science fiction," Dunn retorts. "Listen to Iron Maiden if you want to hear "hobbit rock.'"

In order to get a feel for Red Planet, it helps to watch the band interact offstage. Powers is the unflinching extrovert of the group, providing an almost unending stream of one-liners from beneath his Beatles-esque haircut. The baby-faced Dunn punctuates Powers' words with a torrent of stories and half-cooked songs, then snacks on mustard straight from the jar. Evans, who recently received an online proposition from a groupie, encourages them both with his continuous chortles, while Messier plays straight guy, musing quietly about the band.

That the band members actively enjoy playing together -- as well as being together -- comes across during live shows. The group is constantly horsing around, with Powers doing scissor kicks, practicing his Pete Townsend moves, and belting out his sarcastic vocals. Michelle Haunold, the band's label rep at Gearhead Records, remembers seeing the group for the first time at a gig in Sacramento: "I walked in part way through Red Planet's set and my mouth just dropped. They had this amazing keyboard/guitar exchange going on and were singing these hooky harmonies. They were tight and well rehearsed, yet they were having a great time and had a very spontaneous feeling. You could tell they loved what they were doing, and they were singing all original material that spoke to everything I love in music: high-energy new wave/power pop with a bit of punk attitude."

Figuring that the Bay Area gets saturated by local and touring acts, Red Planet decided early on to focus its high-energy shows where people can be more appreciative of up-and-coming live acts -- in college towns like Eugene, Oregon, Santa Barbara, and Davis. "For us, there's a whole country out there," says Dunn. "Why not be in Washington or Portland on the weekends playing gigs? That's fun for us."

"Fun" is the key word for this band. Above all else, the group wants to make the audience feel like it is part of an entertaining experience. "One of the greatest things is when people come up to us after the show and say, "I felt like I was at a party at someone's house,'" bassist Evans asserts. Because of this attitude, and the band's infectious sound and live energy, Red Planet has acquired a devoted following in cities up and down the coast. At this point, the act can actually pay for its tours with its record and merchandise sales. That's pretty unusual for a band that just released its first full-length record.

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