Yes, this is an actual historical outline of the people who made up both "Mudlark" and "The Catch", two legendary Northern Virginia bands (at least in our own minds). This history covers the entire history of the band, which spanned three decades, from 1975-1999. Our love for each other was boundless, right up until the new millennium.
The band started out as:
This changed into:
Which turned into:
The above two versions of the band have provided me with enough stories to fill many a cold evening. Our original practice spot was Albert's house in Herndon (when Herndon was in the sticks), the house having no indoor plumbing, and the room we practiced in had the window broken out, even on the coldest winter evenings. We played outside on the front porch (which had a generous sag) during the summer, and amazingly, this is how Bob Crerie originally became aware of the band. Karma. Some of my best memories of being alive come from those days at Albert's house.
Specializing in bars and field parties, this band could party with the best of them. This is the lineup that performed the famous "P Street Beach" gig. Helped along by the Yippies (that's right, Yippies, not Yuppies), the electric power was freed from the bonds of the capitalist government (i.e. this long haired Yippie guy breaks the lock off of the power supply, and we play for a couple of hours). I feel compelled to mention the names Tripp Carpenter and Mike Walker, as they had their own historic impact on the band. In order to get the perspective on Tripp and Mike, we simply remember "Bumpass, Virginia".
After a year's hiatus, the band returns as:
This band's true mark was appearing at a well known local bar's battle of the bands, and upsetting the apple cart by getting to the finals, to the consternation of the people running the contest, as they had already obviously chosen the winner.
After a little time off, the band returns as:
Which then evolved into:
Ok, at this time, the band mentioned above, for no apparent reason, changed their name to The Catch and began a new chapter in local rock and roll history. The four guys mentioned above pursued rock and roll as The Catch for the next couple of years. One of the highlights of this particular version was winning a battle of the bands that allowed us to record a set of original songs at the famous Track Studios in Silver Spring (Linda Rondstad'ts "Heart Like a Wheel" was recorded there). The band plays the famous "Fred Party" gig, and Milton moves on. The band is now known, for a short time, as Poz.
After a one gig appearance at George Mason University, Poz once again went through a change. This time the band brought Jimi (yeah, just Jimi) on board as keyboard player and the band changed the name once again to Phil 'n' the Voids: Phil's highlight was a TV appearance on "Rockin' Fairfax". We got to experience take after take of our hostess trying to look as good as possible in a feather boa. Jimi retains the title of "most mysterious" band member. He likes it that way.
We get to the time that Bill Rose arrives on the scene. .
At this time, the band gets back to being The Catch:
Ok, at this point, Skeeter steps out of the picture, and in steps Milton (yes, the one from an earlier version of the band). This time Milton takes over Bass Guitar duties. This version of the band produced three collections of original music "Thc Catch", "On", and "All". Milton, Bob, Jimi, and Bill participated in the songwriting on these collections. Appearances include The Bayou in Georgetown.
This band lasted for quite a while. But then, life got in the way again. Bill moves to Texas then to North Carolina, then back to Virginia. During his travel odyssey, The Catch continued rocking with the following personnel:
This version of the band turned out to be the most prolific. The band appeared more than 100 times in the Washington DC area. They also produced the CD "Still Like to Rock and Roll". The band also opened for the likes of Leslie West, Foghat, Edgar Winter, Blue Oyster Cult, John Hall, and Tom Principato.
History compiled and written by Paul.
© copyright 2002 Paul M. D'Angelo