As the neighborhood changed and Fireside fell into disrepair Lapinski handed the establishment to his son Jim. From 1971 until 1990 Lapinski operated it as a thriving bowling alley. Lapinski and McGuire operated it together until 1971 when Lapinski bought out McGuire. The Fireside Bowl was owned and operated by Hank Sophie until 1966 when Rich Lapinski and Alec "Mac" McGuire bought the bowling alley from an ailing Hank Sophie. In 1956, Fireside was expanded by four lanes bringing the total to 16, and both AMF's Magic Triangles and 82-30 automatic pinspotters were installed at the same time. It started life as a 12-lane pin-boy bowling alley and thrived throughout the 1940s and 1950s. In the summer of 1941 renovations began and the owner Hank Sophie converted it into a bowling alley, cashing-in on the bowling craze that began in mid-20th century America. The building was an ice factory in its early days. JSTOR ( October 2014) ( Learn how and when to remove this template message)Ĥ1★5′29.94″N 87☄1′38.85″W / 41.9249833°N 87.6941250°W / 41.9249833 -87.6941250įireside Bowl (or Fireside) is a bowling alley and music venue established in the 1940s, located at 2648 West Fullerton Ave in Logan Square, Chicago, Illinois.Unsourced material may be challenged and removed.įind sources: "The Fireside Bowl" – news Please help improve this article by adding citations to reliable sources. Unfortunately, drummer Danny McClain passed away in 2011.This article needs additional citations for verification. Guitarist Chris Trull went on to join the bands Yowie and Terms who continue to push the limits of what a rock band can do. Bassist Darin Gray went on to perform with a wide range of artists, notably including Wilco guitarist Jeff Tweedy’s solo group and with Wilco drummer Glenn Kotche in the group On Fillmore. Sadly, they never continued their vision. Reportedly practice sessions lasted up to ten hours, and months of writing and rehearsing resulted in less than a minute of new material. “Grand Ulena masterfully bridge the gap between the uber-angular non-repetitive hyperstructuralism of the most rigid, martial modern classical composition and the traditional rock and roll power trio format while leaving everybody wondering what the hell just happened.”Īfter Gateway to Dignity Grand Ulena went into another series of intense writing and rehearsing sessions. The Flying Luttenbacher’s drummer Weasel Walter describes the sound of the album in this way: The amount of force power and precision they put into their playing (especially the drumming) is something seemingly from another world. It is an incredible document of a unique vision by three people completely committed to the concept. The album contains much of the same material that was performed live. In early 2003, they released their only studio album Gateway to Dignity which is today’s pick! It also happens to be one of my favorite rock albums of all time, so I’m kind of surprised it took me so long to make this an official PPP! They played Chicago pretty frequently and I was lucky enough to witness their astonishing music firsthand several times, including this show at The Fireside Bowl in November 2002: Their music was almost completely thorough composed with very little repetition.Īfter a period of very intense rehearsals, they hit the road. Their music may sound completely random and improvised, but this was far from the truth. Extended instrumental techniques forged into song.” Failed soloing combined with rigid riffery. Complex structures combined with complete and utter failure. Disjunct beats played under broken and jagged melodies. “Grand Ulena is disjunct rhythms played at high velocity. Their music is self described in the following ways, which I think is pretty accurate: Grand Ulena also consisted of drummer Danny McClain and guitarist Chris Trull. One of the projects he started after Dazzling Killmen was a very bizarre instrumental power trio of sorts called Grand Ulena. Their bassist, Darin Gray, was a huge part of their heavy sound. They broke up shortly after putting out their masterpiece Face of Collapse in 1995. Their hybrid of progressive rock, punk and jazz was highly influential if not exactly well known. Louis Missouri.ĭazzling Killmen was a big part of that scene. In the 1990s and early 2000s the Midwest was a breeding ground for a ton of math rock and progressive rock bands.
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