in/CASINO/OUT

This era encapsulates the shows that supported the albums El Gran Orgo and in/CASINO/OUT.

It would be nice to say that it was only the first years of the band that were mired in hardship, but sadly that would be a disingenuous statement.  It might be fair to say that the following were even crueler as they had significantly sharpened their performance, but with minimal recognition.

Fortunately for us, we are able to hear that improvement both in their studio and live outputs, which had greater documentation compared to their earliest years.  It is just a shame the larger world did not nod in approval.  

We begin the I/C/O era with what could reasonably be considered one of the hardest periods for the band.  On one hand, the band’s rhythm section finally was cemented in place, with the hiring on of Paul Hinojos and Tony Hajjar, however this also led to the exodus of Jim Ward.  The reasons for this have never been particularly clear, except for the acknowledgement that Tony was a rather hard-headed individual in his youth and Jim had not quite matured in the ways he felt needed. 

In reality, who is to say what happened among the five Texan youths, desperately trying to make a name for themselves in their niche corner of the music world and who hasn’t had a friendship sever over banal details lost to time?  As with everything, the truth likely lurks in the middle of their words.

Jim Ward would be replaced by Ben Rodriguez just in time for the band to record their next EP El Gran Orgo, a blend of emo punk with a few hints of their future sound.  It is a peculiar release, a mixture of originals and recordings of songs originally written by another El Paso band, TU Edge.  

The album is sadly mostly lost to time and relatively unacknowledged by the band due to issues related to distribution of it and future bad blood between the band and Ben.  It is unfortunate because there are a few solid songs like Picket Fence Cartel and Fahrenheit that show song-writing maturity and would have been welcome in their later reunion shows.

But before that that bad blood would hit it’s fever pitch they would begin another fly by night style tour, playing in any venue that would have them, many unknown by history, illegal concert venues, or youth centers hosting alternative music.  

Aside from a few photos there is Mary any details from this tour.  Some shows were allegedly recorded by ardent fans, but those tapes never seem to have drifted into the digital space.  All we know comes from the four members who opted to ditch Ben just a few months into the tour.

For the first and last time the band would soldier on as a four-piece with Omar doing double duty, bouncing between both his and the rhythm guitar section.  Much like the months before, there are scant details of this tour aside from a few photos from their Chicago show.  We know it happened,  that it was a brutal learning experience for them, and that is about as much as history will allow us to recall.

Upon their return to El Paso, exhausted and defeated, Jim was welcomed back to the fold and the band once again returned to the road, playing an absolute onslaught of back to back shows. Through the remainder of 1997 and early 1998.

By the time they were able to record In/Casino/Out the songs were sharp, perfected, and road tested.  Even from the few examples we have of their live work during this time we know they were taking themselves seriously.  By all accounts the shows were still extremely frenetic, but they also maintained a significant level of grounding, mean if Cedric had opted to completely lose the plot the song would survive.

At the Drive-In would complete 1998 with a truly brutal amount of shows, committed and dedicated to making themselves known anywhere possible, forcing themselves into relevance.  Fortunately too, the years of grinding were finally starting to pay off, with shows having regular attendees and fans.  No, we are still two years from filling even a medium sized club, but they could at least pack a bar at this point.  

While 1997 was a brutal, cruel year, 1998 began to show indications their labor would beat fruit.  It must be conceded they were not some household name, or just on the other side of breaking through, but for the style of music they were creating they were becoming a known entity and a respected one at that.  They were still facing an uphill battle but fortunately the incline was becoming ever so less steep.