
Pounding bourbon, tea, and NyQuil with the Danglers
Hartford Advocate, Nov. 17, 2005
by Dan Barry
Looking like a cross between a post-apocalyptic cowboy and the dude from My Name Is Earl, Wayne Dangler swaggers onto the stage, late and moderately incoherent. He leans into the mic stand. “I’d like to make a few …”
“Announcements?” another one of the Danglers asks.
“Orders,” Wayne finishes, turning to the bartender. “Can I get a cup of tea? And some bourbon? Oh, and I’ve got NyQuil up here if anybody wants some.” He flashes the bottle. He is not kidding.
In much the same tone of voice he begins to rattle off a list of sins and the places he committed them, proclaiming himself wanted-with-a-capital-”W” across the better part of the United States. Behind him, the band sneaks up like a snake. You may or may not have noticed that they were playing, but one thing is certain: You felt it in your gut. The Danglers are channeling a nervous, criminal energy into Wayne, who bristles under the combined weight of their chords and the audience’s gaze. All the eyes at Café Nine are on him. He owns Saturday night.
Suddenly, he explodes. “I’m wanteeeeeed!” Behind him, bassist Kriss Santala squeals and growls like a cat, chiding him with his own words. If you’ve never heard psychobilly before, a Danglers concert might be a good place to start. The most popular band in the genre is probably the Reverend Horton Heat, but compared to them, the Danglers are more Psycho and less Billy. By the time Wayne announces that the name of their next song is “Cumshot Liquor,” I am ready to proclaim them president, fuehrer, living capital of the world. The main riff of the song has the same kind of blistered feel as Stone Temple Pilots at their heaviest.
The Danglers are the maggots that have infested the corpse of Americana and its music, as though to proclaim that country failed us the way the hippies failed us, the way punk failed us, the way alternative just plain failed. They made me want to fling my pint glass at the wall. Their songs were full of sickening, degrading slide guitar solos, drum tempos that approached thrash-metal speeds, and bipolar moments of quiet and noise.