? (QUESTION MARK)
& THE MYSTERIANS
MYSTICISM
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The Buffalo News
April 1, 1999, Thursday, CITY EDITION
SECTION: ENTERTAINMENT, Pg. 3C
HEADLINE: A TEX-MEX PUNK TORNADO HITS TOWN
BYLINE: JIM SANTELLA; News Contributing Reviewer 
The godfathers of garage punk, ? and the  Mysterians  are defiant punks.
Garage warriors. Leaders. Visionaries. The original bad boys, dripping with
attitude, sass and a whole lotta soul. 
Blowing out of Saginaw, Mich., in 1966 like a torrid Tex-Mex tornado, ? and
the  Mysterians,  flaming rockers with a party sensibility, disavowed
British-invasion sweetness. Their roots were firmly planted in the loamy soil of
rhythm and blues, Motown and James Brown histrionics.
Wednesday night, Mohawk Place was jammed with a hip, musically elite crowd
that had no trouble relating to these rock veterans who still fight for their
right to party.
It doesn't take a rock 'n' roll connoisseur to instantly recognize the
simple, repetitive, two-note, organ-pounding introduction to their 1966 No. 1
hit, "96 Tears," the greatest garage punk anthem ever recorded.
These five, basement-born cave dwellers begot a thousand faceless garage
bands with the million-selling "96 Tears," forever fuel-injecting the scene with
greasy, hip-grinding, organ-drenched fervor.
Sons of migrant workers, the band led by singer Rudolpho Martinez has
engendered the stuff legends are made of. They set the standard for punk before 
it even had a name.
Despite their age, the  Mysterians  (guitarist Bobby Balderamma, drummer
Roberto Martinez, organist Frank Rodriguez and bassist Francisco "Frank"
Hernandez Lugo) sounded as gritty and primal as they did three decades ago, with
Balderamma's sharp guitar licks riding a droning, pumping wave of Vox organ.
The loquacious ? is still one of the most charismatic figures in rock 'n'
roll. He is the epitome of rock attitude, claiming that he was born on Mars,
that he lived with dinosaurs, and that he will be singing "96 Tears" in the year
10,000.
None of that matters, however, when this demon of the stage dons his black
slouch hat, net shirt and wrap-around sunglasses, and produces enough energy to 
make James Brown and Mick Jagger blush. There's not enough stage for his
ambulatory antics.
As the  Mysterians  launched their trademark Vox organ sound, ? begged some
lucky lady, "Don't Break This Heart of Mine." His knees-to-the-ground delivery
was ample proof of the band's virulent potency.
The youthful, suggestive crooning on "8 Teen" and "Don't Tease Me"
demonstrated ?'s vibrancy. What little space there was on the dance floor was
filled with swaying bodies and quivering hands as the dancers imitated the
frontman's willowy body language and rock 'n' roll manner.
Three-minute songs were the rule, with an emphasis on feel-good music and
teen love all delivered with a suggestive leer. "Don't Give Up" found bassist
Lugo's perpetual smile broader than usual, and drummer Martinez nearly beat a
hole in his drums during "Let's Have a Party."
But it was ?'s cockiness, lust and attitude that put the squirm in the
dancer's pants. His nasal vocals married to hypnotic two-chord organ vamps
produced a surfeit of energy.
The band sounded like a cross between the Doors and the Ramones, with a
melding of '60s psychedelic-rock grooves, punky energy and a festive Tex-Mex
dancehall party attitude.
When the band finally launched into "96 Tears," the room exploded into a wave
of dancing bodies, jabbing fingers and bobbing heads. That's the effect a punk
anthem produces. It was definitely a night to record in your rock 'n' roll
diary.

 
Dallas Observer, April 8, 1999 
If Robert Wilonsky cannot understand the appeal of ? and the  Mysterians  and
believes them to be no more than a one-hit wonder cashing in on long-gone fame
"Why, baby, why," March 18 , he has no business being a music writer at the
Dallas Observer (or anywhere else, for that matter). If he had bothered to
listen to any of their classic tracks like "8-Teen," "Midnight Hour," and "I
Need Somebody" (which also cracked the Top 40, relieving them of the one-hit
wonder status he chooses to burden them with), Robert would know why the band is
held in such high esteem by old and new fans alike.
Their music has as much spirit and energy (and that's plenty more than most
bands, past and present) today as they ever did. Would bands like the Turtles
and their ilk share the stage with high-octane bands like the Mullens and Gaza
Strippers? Of course they wouldn't, because unlike ? and the  Mysterians,  those
groups lost any shred of vitality they might have once had. And "96 Tears" is
not just any hit record--it is indisputably one of the greatest singles of all
time!
? and the  Mysterians  were and are a real band writing songs and playing
gigs at clubs and halls all across the U.S.A., not just a bunch of schmucks who 
got lucky and recorded a No. 1 hit. They were, are, and always will be
considered greats by anyone who truly loves rock-and-roll music. To sum up, if
Robert can't be moved by the music of ? And the  Mysterians,  he should either
remove whatever it is he's got stuck up his ass or give up writing about music
that really moves people, because he obviously doesn't understand what it's all 
about.
Tim Lakritz
Via e-mail

Wilonsky responds: Tim, if you actually read the article, what part of
"thrilling little reminder of what rock and roll used to be and can still allow"
didn't you understand?

Billboard
APRIL 17, 1999 
HEADLINE: ?& The  Mysterians  Still Have The Motor - In 'Action' With Cavestomp!
Records Set
BYLINE: BY JIM BESSMAN
DATELINE: NEW YORK-
One of the most unexpected comeback stories of recent times is that of ? &
the  Mysterians,  the ultimate '60s garage band, of "96 Tears" fame.
The group quickly released two albums in the wake of that 1966 hit--"96
Tears" and "Action"--but a third album got stuck in litigation limbo.
But the Michigan band of Tex-Mex descent stayed together with its original
lineup, quietly releasing "The Dallas Reunion Tapes" for ROIR in 1986, then
suddenly garnering tremendous press notice following its first New York
appearance in October 1997, at the Cavestomp! '97 garage rock festival at Coney 
Island High. In short order, Collectables Records put out a self-titled album of
rerecorded  Mysterians  classics, and Norton Records issued "Do You Feel It
Baby?," a tape of the Cavestomp! show produced by festival producer Jon Weiss.
Now Weiss has produced a new two-disc album by ? & the  Mysterians,  who
still are Rudy Martinez, the lead singer who goes by the name ?; guitarist
Robert Lee Balderrama; bassist Big Frank Lugo; organist Little Frank Rodriguez
Jr.; and drummer Robert Martinez, ?'s younger brother. The Cavestomp! Records
set, titled "More Action," comes out May 25 and will be a used as a "test"
promotion piece by the online retailer CDnow.
Aural integrity 
"Since their second album was called 'Action,' our idea was to show that this
one's just as good, if not better," says Weiss. "Most bands evolve over
time--they get better or much, much worse--but these guys haven't changed at
all."
That sound is "rock'n'roll, for one thing, and there's not too much 
rock'n'roll out there," notes ?, still an unusual character who is never seen
without dark shades, claims to hail from Mars, and takes direction from the
cryptic "People From the Future." "When we first came out, it was 'the new age
of rock'n'roll,' I called it, but it didn't last long after '96 Tears' because
after that there was Haight-Ashbury and protesting about the war--and I wasn't
into that." 
As the writer, whose songs are published by  Mysterian  Music Ltd. (BMI),
explains, "I don't write about current events, because then the songs are
dated--and none of my songs are personal."
"More Action," which was recorded at Weiss' Krispy-Kreme studio in New York, 
contains 21 tracks, including English- and Spanish-language versions of "96
Tears" and several remakes of songs from "Action," including "Can't Get Enough
Of You, Baby," which was recently covered by Smash mouth, and "Girl (You
Captivate Me)." Also featured is a pair of newly discovered vintage acetate
pressings of "Are You For Real?" and "I'll Be Back," which were never released. 
"We wanted to make what would have been their third [studio] album, with a
1967 spirit and vibe but with better production values," says Weiss, noting that
"More Action" also contains two songs that would have been on that album, the 
original "Ain't It A Shame" and a cover of Solomon Burke's "That's How Strong My
Love Is." Also present are covers of the Rolling Stones' "(I Can't Get No)
Satisfaction," punk rock duo Suicide's "Cheree," and Boston garage band the
Lyres' "Don't Give It Up Now." A cover of the Jaynetts' '60s girl group classic 
"Sally, Go 'Round The Roses" was a telepathic directive from the People From the
Future, according to ?. 
Cavestomp!, according to Weiss' partner, Jim Reynolds, is now looking to
CDnow to help break "More Action." Says Rich Masio, the Fort Pennsylvania,
Pa.-based online dealer's merchandising manager, "It's a test case to see if we 
can break a record. After seeing a piece in The New York Times last summer, we
put the Norton record on our homepage when it came out and got a really nice
lift. Then [Rhino's '60s garage rock] 'Nuggets' box was an amazing seller for
us. So we're targeting 'Nuggets' and 'Nuggets'-type buyers with E-mails and
those who've bought alternative new releases like ?--also the Latin audience in 
the South, pointing out that they're a Latin band. We see at least 10,000
customers it should appeal to, and on top of that we'll tie in with all our
online partners like Yahoo! and Web sites that link to us."
global links 
Reynolds is also assaying the Latin market, particularly in Spain, where the 
 Mysterians  tour and Record Runner handles promotion, touring, and
distribution. Other international distributors include White and Black in Italy,
Cargo in Germany, Plastic Head Distribution in the U.K., and Bertus throughout
continental Europe. "There's tremendous interest overseas, as they played in
England last year and did so well that they're going back in April for more
money and a bigger venue--the Royal Festival Hall!" 
? & the  Mysterians,  who are managed by LuVern Thompson, are booked 
stateside by Weiss. "? says he's from Mars, so in deference to him, the booking 
agency is named From Earth to Mars Booking," says Weiss, who has just had the 
 Mysterians  in Boston, through Texas and Louisiana, and in Nashville. On the 
itinerary is a record release party/performance June 19 in New York, following 
European dates besides those in the U.K., including Greece and Italy.
Domestically, "More Action" is distributed via Reynolds' SDA distribution
arm, an adjunct to his indie label Safe House Records, as well as Southwest
Texas Wholesale, Burnside, Western Record Sales, Red Eye, Valley Media, Alliance
Entertainment Corp. One-Stop Group, and Revolver.
Cavestomp! may service commercial radio "once the story builds," says
Reynolds. Buttressing label exposure efforts is continued play of a VH1 "Where Are They Now?" feature on ? & the  Mysterians,  which has brought ? heavy phone response. "A lot of people know about us now," he says, "so I'm excited about the album. It's rock'n'roll, and people are going to know about it!"
San Antonio Express-News
March 22, 1999, Monday , METRO
SECTION: STAR ; A SECTION ; LIFE; Encore; Pg. 6D
HEADLINE: Band's appeal unquestionable
BYLINE: Hector Saldana
As the slated midnight hour start time approached and passed, about 100 fans 
gathered at the foot of the stage in anticipation of ? and the  Mysterians.   
The stage announcement was simple, and ultimately proved true: "Get ready for
? and the  Mysterians,  the greatest garage band in the world." The original
 Mysterians  - guitarist Bobby Balderrama, bassist Frank Lugo, drummer Robert
Martinez and organist Frankie Rodriguez Jr. - walked to their instruments in
black T-shirts adorned with a giant question mark.   Then out pranced the
Chicano Mick Jagger himself, Rudy Martinez, a k a Mr. Question Mark. The
flamboyant-as-ever Martinez wore his trademark black shades, a sheer black net
halter top, orange sash, floppy gaucho hat and a bit too-revealing stretch
pants.  
Martinez was a nonstop juggernaut, a shimmying combination of James Brown,
Little Richard and Paul Revere & the Raiders Mark Lindsay. In fact, much of the 
 Mysterians  reedy Vox Jaguar organ-driven sound pumped like the Raiders
similarly punky vintage pop.  
"Can't Get Enough of You Baby" (covered by Smash Mouth last year) was one of 
the many rewrites of "96 Tears," but the song remains as infectious now as it
did in 1967. And one listen to "Hanging On a String" and "Girl (You Captivate
Me)" on Saturday would convince anyone that Elvis Costello & The Attractions owe
a huge debt to Rodriguez's seminal combo organ style.  
   There were hints of the Sir Douglas Quintet and the Dave Clark Five on
"You're Telling Me Lies," on which Rodriguez's little Vox organ sounded like
Flaco Jimenez's accordion.  
Urgency doesn't come naturally like this very often in oldies acts, and these
guys would blow away the competition on most package tours.  
Of course, the 15-song set came to a frenzied close with the classic "96
Tears," with Martinez working the crowd like a preacher.  
A four-song encore included the Liars' obscure "Don't Give It Up Now."
Afterwards, the band signed autographs until way past closing time. -Hector
Saldana
GRAPHIC: PHOTO: Special to the Express-News 
Members of the seminal garage band ? and the  Mysterians  performed before a 
small, enthusiastic crowd at the White Rabbit Saturday night.
The Times-Picayune
March 21, 1999 Sunday, ORLEANS
SECTION: LIVING; Pg. E11
HEADLINE: SUNDAY'S CALENDAR
HOUSE OF BLUES - 225 Decatur St. -2624. Gospel Brunch with The Zion
Harmonizers, 10 a.m. and 1, Question Mark & The  Mysterians  
Austin American-Statesman
March 19, 1999, Friday
SECTION: XL EXTRA; Pg. 2
HEADLINE: THE PARTY GUEST WON'T ARRIVE; It just wouldn't be SXSW without a
widely leaked surprise that cancels
BYLINE: MICHAEL CORCORAN 
Probably the best show I'll see all week was ? and the  Mysterians  at the
Electric Lounge on Tuesday. It's rare when oldies bands are more than mere
approximations of themselves in their heyday, encoring with the hit they've
already played. But the  Mysterians  were musically rock solid, and ? (Rudy
Martinez) was a showman extraordinaire and an amazingly smooth and soulful
vocalist.  I kept wondering why the  Mysterians  chose to play for the money
(which couldn't have been that great, with only about 200 people on hand) the
day before SXSW, when they could've wowed the country's music critics and
booking agents at the festival. . .
The Buffalo News
March 19, 1999, Friday, CITY EDITION
SECTION: GUSTO, Pg. 19G
HEADLINE: FUTURE FILE
? and the  Mysterians  veteran garage band/pop rock ("96 Tears"), with Irving
Klaws and Greenhornes. March 31 at 9. Mohawk ...
The Commercial Appeal (Memphis, TN)
March 19, 1999, FRIDAY, FINAL EDITION
SECTION: APPEAL, Pg. F1
HEADLINE:  ROCK AND ROLL IS FOREVER, AND SO, HE AFFIRMS, IS "?"
BYLINE: John Beifuss
Who is ? ? 
That's not a typo. It's a question. 
Perhaps it would be easier to understand if we added some quotation marks. 
To repeat: Who is "?'' ? 
We know that ? - sometimes spelled out as Question Mark, for clarity - is the
leader of the pioneering garage rock band ? and the  Mysterians,  best known for
the classic song 96 Tears, which for one delirious week in 1966 ensured that the
top single on the Billboard pop chart would be two minutes and 58 seconds of
Farfisa organ-drenched teen dementia with a Tex-Mex beat.
The late rock writer Lester Bangs called the song "a masterpiece of surreal
spite'' with a "mesmerizing organ hook.'' But ? himself is less analytical.
"It's rock and roll,'' he said, in a telephone interview. "After us, rock and
roll died.''
But ? and the  Mysterians  didn't. The Michigan band - featuring original
members Frank Rodriguez on keyboards, Robert Martinez on drums, Frank Lugo on
bass, Bobby Balderrama on lead guitar and ? on vocals - rolls into Memphis for
the first time Tuesday night for a show at the Hi-Tone Cafe, 1913 Poplar. Doors 
open at 8 p.m., and admission is $ 10.
The band also remains busy in the studio. Their new album, More Action, will 
be released in May on the Cavestomp! Records label. Other recent releases
include Do You Feel It Baby? (Norton Records), a live album recorded in 1997 at 
Coney Island High School, and ? and the  Mysterians  (Collectables), which
features new versions of old songs.
? - who has managed to keep his given name a mystery - lives in Clio, Mich., 
but The Commercial Appeal caught up with him this week in a hotel in Austin,
Texas, where the  Mysterians  performed during the annual South by Southwest
music showcase.
The Commercial Appeal: Is ? your legal name?
?: ? is my name. That's always been my name. When I used to sign my
autographs, I used to sign it like that, and people would say, "Is that all?, ''
so I decided to write it out - Question Mark - so they'd have more. Now I write 
it with the dot (in the question mark) as a peace sign, even though I never did 
follow the peace movement. If I had, I would have gotten into folk music, ewwww.
Then what would have happened to rock and roll?
CA: Why do you call the band "the  Mysterians' '?
?: When we first started (in 1962), we'd play a show, and the announcer would
say, "Well, what's your name?,'' and I'd say, "We're just a group, we don't have
a name.'' They'd say, "I have to announce something,'' so I'd make one up, and
after that night, we'd drop it right away. We were always the nameless group
and I wanted to keep it that way, but that's hard to do. If you have to use
something for a name, that's not original, because you have to use something as 
a source.
CA: How did you get into music?
?: I was there before Elvis and Bill Haley and the Comets. That's what I was 
doing when my mother was carrying me, I was moving to the music. I came out
dancing to the beat. The doctor spanked me and said, 'Stop that.' ''
CA: Is it true you never take off your sunglasses?
?: Never. Some people have plastic surgery, I wear sunglasses. Michael
Jackson, I wish I could talk to him. All these people who have plastic surgery -
you can't change your soul, so why do you want to change your shell? I won't
have glasses when I go to heaven.
CA: Do you take them off at home? When you're showering, sleeping or watching
TV?
?: Nope, nope, nope, nope. Like I said, it's my face. It ain't no gimmick.
This is for real.
CA: Is it true that you say you're from outer space?
?: Well, we are in outer space. Just because we're on Earth doesn't mean
we're not in space. I have lived many lives. I was born on Mars many eons ago,
and I was around when the dinosaurs were around. When you know you've lived
other, different lives and you're going to come back again, you can adapt to
many different things. But I've always been an entertainer. I could come back as
a famous scientist, but I'd still be an entertainer, because I could be on a TV 
show and people could tune in, and then I'd be entertaining them.
The people from the future know all about this. They've known all along about
my origin, and everything like that. They introduced themselves in 1997, and
said, 'You're going to venture out into the world once again," and they said
they'd always been there in my head telepathically, and I remembered hearing
them ever since I was little, but I thought it was God, because I'm very
religious. I'm Catholic.
I'm a dancer, I wanted to be on American Bandstand, and at a certain time a
thought came into my head and said, "You're going to start singing,'' and I
said, "I'm a dancer, I'm not a singer,'' but after that I started writing these 
original songs. That was the people from the future telling me what the future
was going to be.
CA: What's the significance of crying 96 Tears, as opposed to 95 or 97?
?: I never explain my lyrics. I never explain my titles. I just leave it up
to the buyer or the listener. That way, it's always original.
CA: Which song is better, Surfin' Bird by The Trashmen, or Wild Thing by The 
Troggs, or 96 Tears?
?: 96 Tears. Wild Thing doesn't even have a drum.
CA: Which is better, 96 Tears or Free Bird?
?: 96 Tears, naturally. After us, rock and roll died. Jimi Hendrix, Santana -
great artists, but not rock and roll. The peace movement, the folk movement,
talking about what the nation was going through, the war - that's not rock and
roll. I'll talk about it, but I'm not going to write about it. The Twist - one
of the all-time great songs, but it's a dance song. Snoopy vs. the Red Baron - a
great novelty song, but it's not rock and roll. Louie Louie - a great song, but 
once again, it deals with one subject, about a guy being in the navy, going to a
different port overseas. Nothing against Phil Spector, because we're capable of 
doing that, too, where we can really polish up a song and put in violins, but
that's not rock and roll, that's good music. Once you leave out what rock and
roll is about, you just have music. Like surf music, the Beach Boys, a great
band - but what's this? I'm in Michigan, I don't surf. It ain't what's happening
here. Rock and roll is what's happening everywhere. Rock and roll lasts forever.
San Antonio Express-News
March 19, 1999, Friday , METRO
SECTION: WEEKENDER; Pg. 21H
HEADLINE: ?-led  Mysterians  to answer all questions
BYLINE: Butler Stevens; Special to the Express-News
You expect a man called ? to be a rock 'n' roll anomaly. And the leader of
the legendary '60s band the  Mysterians  doesn't disappoint, whether he's
talking about his re- entry into the '90s music scene or life on Mars.  
The  Mysterians'  1966 chart topper "96 Tears," with its stellar Vox organ
riff, remains a staple among countless garage bands today, and the
Michigan-based ? (the hit is credited to Rudy Martinez) has always been
provocative.  
After an absence of more than three decades, ? and the  Mysterians  return to
San Antonio on Saturday to pummel the brick walls of the White Rabbit with their
brand of '60s-style musical mayhem. The show starts at 7:30 p.m. Tickets are $8 
in advance; $10 at the door.   "When we first started out, people would say if
you dress and sound like the Beatles, you will be successful. But I always said 
we are for real and we got our own thing," ? said by phone from his home in
Michigan. "Even before our first hit single, '96 Tears,' I couldn't describe the
sound, but I knew it was different."  
The sound is now regarded as classic, but different certainly describes the
band's leader.  
He claims he conceived of his symbolic name one night while contemplating the
celestial outline of the Big Dipper (the tip of the handle becoming the dot of
the ?). And that he's never removed his trademark black sunglasses since the
'60s. And that he communicates with astral beings who tell him about his past
life on Mars.  
"I always wanted to try new things," he said. "We were told we should wear
suits and smile, and I said I hate suits and ties, and who wants to see more
phony smiles. No, we are gonna be cool and not smile.  
"On one of our titles, 'Upside Down,' I experimented with turning the 'UP'
upside down, and on the song '8 Teen,' I used the number and then the word,
things like that long before Prince ever considered the idea."  
Early influences included Buddy Holly, Dick Clark's "American Bandstand" and 
the Supremes.  
"Sure, there were all these groups at the time when we first started, but a
lot of them weren't rock 'n' roll," he said. "The Beach Boys were one of those
groups, but that was surf music and I couldn't relate to that. I was from
Michigan, and we don't surf.  
"After we left, things eventually changed. Groups started smashing guitars
and destroying their equipment, wearing makeup and doing heavy theatrics. But
all we need is the appropriate lighting and our music to do our show."  
Subsequent to "96 Tears," "I Need Somebody" and "I Can't Get Enough of You
Baby" kept the band going, but by its 1968 recording of "Do Something to Me,"
the  Mysterians  started to fall apart.  
"When we first started, the band was poor, and most of the guys didn't want
to give up their new homes, so they took jobs with GM and the group disbanded," 
he said.  
The  Mysterians  - guitarist Bobby Balderrama, drummer Robert Martinez,
bassist Larry Borjas and keyboardist Frankie Rodriguez Jr. - reformed in 1997
when Rodriguez, who had been living in Seguin, moved back to Bay City, Mich.  
The band has a new live CD, recorded in New York, in stores. According to ?, 
shortly after the album was finished, the current tour was inspired from beyond.
 
"Before we left for New York," he said, "the people of the future explained
the thoughts that I was continually having, telling me that we would start
touring again and that they wanted me to relay the message that man's purpose is
to function, not to abuse themselves."  
The question mark remains.
San Antonio Express-News
March 19, 1999, Friday , METRO
SECTION: WEEKENDER; Pg. 21H
HEADLINE: Tracing the history of 1966's '96 Tears'
BYLINE: Hector Saldana; Express-News Staff Writer
Recorded for less than $40 in a home studio, "96 Tears," the '60s garage band classic by ? and the  Mysterians,  was truly one of rock's cheapest crapshoots.  
[The band cut] "96 Tears" in Bay City, Mich., for the independent Pa-Go-Go Records label
formed by Jose Pato Gonzalez, Rudy Tee and brother Manuel Big Red Gonzalez.
McAllen's Paulino Bernal later became a partner in the label.   "96 Tears" was
recorded in a living room on a two-track tape recorder. Issued nationally on the
Cameo Parkway label, "96 Tears" went to No. 1 in 1966. Roulette Records lost out
in the bid to lease the master tape - Cameo was willing to pay an advance of
$2,500 to lease the single.  
"Pato was a booking agent in Saginaw who booked Texas acts on the old Chicano
circuit," said Rudy Tee. "He was the one who told us, 'There's a little group
that's been bugging me that I want you to record. I'll give you $1,000. Start
the label.'"  
? and the  Mysterians  were disheveled Chicano teen-agers led by Rudy
Martinez, whose combo had opened for the likes of Conjunto Bernal, Carlos Guzman
and Los Fabulosos Cuatros in Michigan.  
"I took them to Bay City, about 15 minutes outside of Saginaw, and there was 
a back- room studio, and that's where I recorded them." Tee said. "'96 Tears'
was cut live to two-track. It took about an hour to record.  
"They didn't have a bass player at the time. So we used mine. I asked him,
'What do you want? Do you want royalties or do you want 10 dollars? Ten bucks
was a lot of money in 1967. He said, 'I'll take the 10 dollars. What if it
doesn't sell?'"  
The bass player, who's probably still kicking himself, was Fernando Aguilar. 
Dallas Observer
March 18, 1999, Thursday
SECTION: Music
HEADLINE: Why, baby, why?; 
In other words, the return of ? and the  Mysterians 
BYLINE: Robert Wilonsky
They existed forever ago, came and went so quickly, history barely remembers 
them. ? and the  Mysterians  was their name, five Mexican-American boys from
Michigan's Saginaw Valley who topped the charts in October 1966 then disbanded
three years later without a second hit single to their credit. They were
quintessential one-hit wonders, garage-rockers who got the car to the driveway
but never made it onto the highway. They were promised fame and rewarded
instead with day jobs, just one more lost rock-and-roll band. It isn't a sad
story. It's just an obvious one.
So, too, is the tale of their eventual reunion three decades later. Just one 
more reunion, the band members playing with and without each other during the
last 30 years, billed with the likes of Paul Revere and the Raiders, the
Turtles, a bastardized Beach Boys, and so many other who-gives-a-damn? oldies
shadow-dancing for the sad and nostalgic. Of course ? and the  Mysterians  would
reunite, if not this year then last year, or the next one. What else do they
have to do? After all, for nearly 20 years, organ player Little Frank
Rodriguez--the man whose sound would influence the likes of Joe "King" Carrasco 
and Attractions keyboardist Steve Nieve--was working construction in Dallas. Who
wouldn't kill for one more shot at the stage, reliving rock-and-roll fantasies
that died too soon?
Yet the reunion of a band that had but a single hit--1966's Farfisa-beat "96 
Tears," a genius little nugget, to be sure, but also one 33 friggin' years
old--has been greeted not with the ho-hum shrug of inevitability, but with
genuine delight. Dozens of stories were written about the band in the last year 
alone: first to coincide with the 1997 release of Question Mark and the
 Mysterians  on the Pennsylvania-based Collectables label; then during a U.S.
tour; then upon the release of last year's live get-back Do You Feel It Baby?
And the theme of all these newspaper and magazine stories remains the same: ?
and the  Mysterians  are back, and better than ever. Apparently, nothing warms
the hearts of rock critics more than watching fat-and-fiftysomethings crank out 
yesterday's hits...OK, hit. Indeed, 1997's Collectables disc features nothing
more than redone versions of  Mysterians  songs from the 1960s, among them, yes,
"96 Tears."
The song also appears on Do You Feel It Baby? and will show up on the
forthcoming More Action!, scheduled to be released May 1 on the New York
City-based indie Cavestomp! Records. This, despite Question Mark's assertion
that he never stopped writing for 30 years and has stored up dozens of "hits no 
one has ever heard." He also likes to insist that "the record company made us a 
one-hit wonder," claiming that Cameo-Parkway--the label, run by future KISS and 
Donna Summer impresario Neil Bogart, to which the  Mysterians  were signed--kept
every penny the band ever made, eventually leading to the breakup of the band.
Certainly, there are worse things than a  Mysterians  reunion: Do You Feel It
Baby?--the band's second live album in 14 years, following 1985's The Lost
Dallas Tapes, recorded at the Arcadia--is actually a thrilling little reminder
of what rock and roll used to be and can still allow when performed by men
forever trapped in a time warp. It's nasty, funky, silly, exhilarating, and
utterly disposable, the music still alive because so much of it has long since
disappeared (Abkco, which owns the rights to the  Mysterians'  two albums,
refuses to re-release them on CD for some unfathomable reason). Songs such as
"Make You Mine," "Can't Get Enough of You Baby," "Girl (You Captivate Me)," and 
"Don't Tease Me" sound as fresh as tomorrow even though they're the products of 
a thousand yesterdays. But that's the great thrill of 1960s garage-rock: Its
pleasures are all surface, constructed from the most rudimentary elements rock
and roll has to offer. Lust, a screaming frontman, and a four-four backbeat
never get old--even if the men making such a righteous racket do.
"When we started, I wanted that edge, I wanted that rawness," says the
mile-a-minute Rudy Martinez, who answers only to the name Question Mark. "I
wanted to see how close you could get to that edge before someone said,
'Unh-unh, you can't say that.' We created hip. We created that attitude.
Everyone else had a suit and a smile--that phoniness. We're cool."
Perhaps the  Mysterians'  reunion has been greeted with so many huzzahs
because of Question Mark himself, a man who even now looks like a
south-of-the-border Joey Ramone. It is three in the afternoon, he is on the
phone from his home near Flint, Michigan, and he insists that at this very
moment, he is wearing his ubiquitous sunglasses. He's the very definition of
eccentric frontman, claiming he's from Mars and in constant contact with "the
people from the future," who told a young Rudy to stop dancing--as a child, he
dreamed of getting on American Bandstand as a hoofer--and start singing. They
have also informed him that in the year 10000, he will still be on a stage
performing "96 Tears"--which is not so unbelievable when looking at the
discography. Oh, yes--he also needs to get in touch with the Pope to relay that 
message he recently received from Jesus.
"You don't have to print it, but Jesus said we're selfish," Question Mark
reveals. "Why do we wait for him to return? He said, 'When I decide to come
back, I'll make the decision. Why do they wait for me? They can praise me
instead.'" He also mentions something about how peanut butter contains a secret 
ingredient--it begins with an H is all he knows--that makes kids horny, leading 
to so many teen pregnancies.
At least he's still got that voice, that teen-preen swagger that allows men
in their 50s still to wear tight leather pants and prance around the stage in
orange pirate shirts opened to the belly button. Hell, if you believe Question
Mark, he didn't just invent rock and roll--it stopped dead once the  Mysterians 
disbanded in 1969.
"Rock and roll died after '96 Tears,'" he says. "Out of there came folk
music, and I wasn't gonna do folk music. Bob Dylan was a great writer, but that 
ain't rock and roll to me. Jimi Hendrix was great, but it was acid rock,
psychedelic rock. Everybody was getting stoned. Nobody was dancin' anymore. I
wanted people to dance, and everybody wanted to do songs a trillion minutes
long, and they wanted to do solos. If I was a musician, maybe that's fine. But
I'm a dancer. What do I do during the 30 minutes of the guitar solo?"
Question Mark speaks often of wanting to film his life's story. To him, the
 Mysterians'  real-life tale is far more compelling than, say, Tom Hanks'
fictionalized version told in That Thing You Do! And it's probably not such a
bad idea: Kids so poor they didn't even have grass in their front yards form a
band in 1962, join up with a charismatic singer who claims to talk to people
from the future, bounce around from tiny label to tiny label, record a song that
makes them famous for a split-second, land on American Bandstand, and break up
while recording in Ray Charles' studio at Capitol Records.
Only this time, the story has a happy ending. Thirty years later, those
One-hit wonders get back together and bask in a spotlight grown cold a very long
time ago, revered as punk-rock forefathers by children too young to remember
them the first time around. Like the man says, "The people from the future knew 
I was gonna be back."
? and the  Mysterians  perform March 19 at Club Clearview. The Gaza Strippers
and The Mullens open.
Chicago Tribune
Friday December 4, 1998
  ? (Question Mark) and The Mysterians

Empty Bottle
 
1035 N. Western Ave.

Last year, these off-kilter '60s legends
 delivered what proved to be a consensus "Top 10" show of 1997,
 but as great as that set was, some of its appeal
 was attributable to surprise that
 the band was still so tight and so much fun.
 Whether they'll measure up to heightened 
expectations this time is anyone's 
guess, but they're definitely worth checking out.

-Rick Reger

 
Chicago Reader, December 4, 1998
The Detroit News
October 23, 1998, Friday
SECTION: Weekend; Pg. Pg. D1
HEADLINE: Beat Girl: Big Barn has nose for success with German tour
BYLINE: By Wendy Case / The Detroit News
Question Mark and the  Mysterians  will be hitting the road Oct. 30 for the
first (unbelievably) European trip of the band's 32-year career. The boys are
off to England and Spain for just over a week (though rumor has it that the
venerable Question Mark was loathe to remove his trademark black shades for the 
passport photo).
   Send tip-offs, tidbits and frequent-flier miles to Beat Girl, attn: Features,
The Detroit News, 615 W. Lafayette, Detroit 48226. Call (313) 223-4647; fax
(313) 222-2451; e-mail address is beatgirl@detnews.com; Beat Girl can also be
heard Thursdays at 8:30 a.m. on 105.1 FM "The Edge."
The San Francisco Chronicle
OCTOBER 18, 1998, SUNDAY, SUNDAY EDITION
SECTION: SUNDAY DATEBOOK; Pg. 42; POP CDS
HEADLINE: Fatboy's Immature Baby'
BYLINE: Neva Chonin, Colin Berry, James Sullivan, Beth Winegarner, Aidin Vaziri,
Lee Hildebrand, Gary Graff 
RED-HOT SOUNDS FROM BLUES EXPLOSION
4 stars
THE JON SPENCER BLUES EXPLOSION
Acme
Matador/Capitol, $16.98
   On the shrinking roster of Great White R&B acts, the Jon Spencer Blues
Explosion stands -- well, if not alone, then in a corner, brooding and smoking
Dunhills with a few shady friends. 
On "Magical Colors," which evokes ? and the  Mysterians'  "96 Tears," the
Explosion delivers smooth organ, chicken-scratch gee-tar and Jaggeresque vocals.
And "Lovin' Machine" crosses '80s rap with blues. The result is pure pleasure.
-- Colin Berry
The Guide [The Guardian] -
 Saturday October 24 - Friday October 30
The Riddle of Question Mark & The Mysterians 
Byline: Miriam Linna
SHOW OF FAITH
The chart-topping 96 Tears gave Question Mark & The 
Mysterians a glimpse of the big time.  More than 30 years on, 
they're still hoping for a second chance. MIRIAM LINNA 
believes their time has come.
And on the 96th day, somewhere between the lilies of the field 
and peanut butter, God created Question Mark and saw that it was 
good. And then, brothers and sisters, the mould was broken and 
the pieces cast into the heavens as a sparkling, celestial allegory. 
Yes, of course, it's so. Just ask that effusive guy in the skin-tight 
orange Lurex pants and the wraparound shades over there. That 
would be Question Mark, the riddle-me-this soul struttin' 
sensation born on Mars, on constant call with an invisible 
empire's People from the Future, help the evils of all things 
boring, Guinness Book Of Records-worthy contender for he-who-
hath-sported-tinted-eyewear-the-longest-without-removing-them-
ever-not-even-in-the-shower-or-in-bed, and oh yes, creator of 96 
Tears, the immortal 1966 snotball garage band classic chartbuster 
ram-packed with enough blatant innuendo to make Louie Louie 
shrink like a salted slug.
Granted, radio was boss in 1966. Hanky Panky, Paint It Black, 
Wild Thing, and Little Red Riding Hood had all hit number one 
by the end of the summer, when the organ-driven little steamer 
punctured the charts. By Halloween, 96 Tears made number one in the US and its
purveyors, a Mexican-American garage band called Question 
Mark & Mysterians, were top dawgs not only on their home turf 
of Saginaw, Michigan, but on radio playlists and teen canteen 
jukeboxes worldwide. Their story is a unique one, filled with 
hilarity and heartbreak, an incredible tale of unity, separation, 
reunion and ultimate victory for the reassembled combo,
which has reconvened today as though they had Rip Van Winkled 
through three decades to be revived as gloriously arrogant as they 
were as the first generation Tex-Mex/Michigan teen implants 
who'd innocently dynamited themselves a permanent niche in 
20th-century history with a trite little ditty about rise and fall of 
civilisation, or whatever you'd prefer to call it.
"I've always been famous in all my lives," sighs Question Mark 
deeply, who insists that he be referred to solely by his chosen tag. 
"I've always had to deal with the media. I've always been an 
entertainer. My parents were contacted telepathically and told to 
put me onstage when I was five years old. I had sunglasses back 
then, too. I've never tried to he like anybody else. I just get 
information from the People from the Future and I act on it.
I always knew I was a dancer. I wanted to go on American 
Bandstand and show those kids how to dance. I meant did you 
ever see that show? They were so stiff! They needed help! So my 
parents had me dancing at benefits, the Salvation Army, county fairs and all.
"And then I was told, by the People, you know, that I should make 
a record, so I did everything - I picked cherries and potatoes, 
shovelled snow, raked leaves, sold produce from a truck in the 
neighbourhood, all to make seven dollars so I could buy a 
recording machine that I'd seen them selling in the back of comic 
books. It was seven dollars and it took me a long time to make the 
money, but I got it and I sent away for the machine. Oh, I was 
disappointed when I got it. It wasn't anything like how the comic 
book had pictured it. But I made my first record that way!
"I played my sister's record of Huey Piano Smith And The 
Clowns` Rockin' Pneumonia and I sang my own words over it, my 
first song, called Shake-A-Ma-Roll. It was a dance I had madeup. 
I was little, then. Barely into the two digits. I never listened to the 
radio I just watched American Bandstand, that's all. I'd see some 
little Mexican groups playing around but it wasn't really 
rock'n'roll. The first real rock'n'roll show I saw was Johnny And 
The Hurricanes and Jerry Lee I.ewis - he had the long blonde 
locks and all, but he didn't set the piano on fire. I guess he 
couldn't do that every night!
"I was raised Catholic, which was very solemn music, but I would 
walk by a Baptist church and there was music coming out that 
was very uplifting, with clapping and shouting and tambourines.I 
wanted my church to be more like that. I could never see intothe 
Baptist church because the windows were barred up and covered. 
But I could hear it all right! It's like, you know, you can't always 
see through to the other side!
"I decided I wanted to play an instrument, so I could make music 
for all the lyrics I had in my head and a girl at the music instore 
town told me her father taught piano. So I ventured to his house at 
night. He was it pudgy, grey-haired man with bifocal glasses and 
he told me I had to start from the beginning with the scales and 
stuff. I said, 'Uh-uh, I don't have time,' and so I told him what to 
play and I sang, 'Too many teardrops for one heart to be crying' 
and 96 Tears came right out. 
"Well, the man, he said it would cost me $10 a week for lessons. I 
was poor, my parents couldn't give me a penny for bubblegum - 
where was I going to get $10 a week? So I decided that I would 
try to get men like him to come to my house to play music for me. 
And soon after that, I got introduced to Bobby and Larry, and 
Robert, of course - the Mysterians - and we became a group."
The original combo had formed as an instrumental trio in 1962, 
with Bobby Balderrama on guitar, his nephew Larry Borjas on 
bass, and Robert Martinez on drums. The boys, all barely into 
their teens, had picked up their handle from a Japanese sci-fi 
movie called The Night Of The Mysterians. One night, they were 
heard sweating through Ventures numbers in the basement by a 
far-sighted neighbour friend who suggested they team-up with an 
aspiring local singer-dancer who was looking for a band.
"We got together in '62 and for three years we played teen hops,  
college parties, everywhere, playing some original songs, some 
Supremes, some soul, Midnight Hour, Shout. I never knew the 
real lyrics to songs, so I'd make up my own. Nobody complained. 
We had a manager who gave us all names. X, Y, and Z - well, 
they are the most mysterious letters in the alphabet. I was 
supposed to be W but I didn't like that, so I became Question 
Mark. Although I've always been Question Mark," he adds 
quickly, "Since forever."
"We made a recording of two songs in 1965 and the man who was 
going to take the tape to Detroit was killed, shot dead. There was 
a lady in Bay City named Lilly Gonzales who ran a store and she 
had started her own record company, Bago. I went to her in 
February and played a tape for her. She loved it and she said she 
would like to make a record with us.  But then, in March, Robert 
and Larry went into service, so we didn't have a drummer or a 
bass player. Well, not for long, Robert got us Eddie (Serrato, 
drums) and Eddie got us Frank (Lugo, bass). Those two had been 
doing mostly Mexican music, so things really changed! The 
Mysterians - Bobby, Robert, Larry and I - had been together for 
four years and we were really tight! Now we had to start over!" 
Neighbourhood keyboard wiz Frankie Rodriguez was called in for 
organ duties during the changing of the guard, adding a new 
dimension to their sound, and as luck (or the People of the Future)  
would old have it, Little Frankie's impromptu four-fingered intro 
on what was to be their first recording would come to define the 
signature Mysterians sound. "We were under a lot of pressure, 
getting ready to record at Lilly's," explains Question Mark. "We 
didn't even know what we were going to record, but it came to 
me, the song I had played for the old man years before - 96 Tears."
On March 14, 1966, the boys arrived at the home of  Lilly 
Gonzales, ready to enter the studio. "I was devastated when we 
walked in the door," says Question Mark "I had envisioned a 
recording studio like what The Beatles and The Rolling Stones 
had. I had been like in an elevator on the way there and then 
when we got there, the elevator just shot down! We set up on her 
patio and just went and made the record! Midnight Hour and 96 
Tears. We didn't have headphones, nothing. It was pretty 
primitive! When it got released, 780 copies, I was mad because it 
was supposed to be on the Bago label (Bernard A Gonzales) and 
instead it came out on Pa-Go-Go, and I hated trends, I hated that 
word 'Go-Go' on the label! But I said, 'Oh, well' and spent the 
next eight months taking it to every radio station I could getto. I 
stamped up a hundred postcards and tried to give them to friends 
to send in to the DJs to ask them to play 96 Tears. I had to send in 
a lot of those cards myself! I'd write left-handed, right-handed, 
backwards, all kinds of ways to make it look different.  I don't  
know if it was the cards or what, but it worked! Soon they were 
playing the record all the time. Suddenly everybody wanted us,all 
the labels. We went with Cameo because the label was orange. 
Boy was I mad when they changed the label to black and Red!
The reissued record on Cameo-Parkway shot out of the cannon 
into the top 100 and clawed up to numero uno by the end of 
October.  96 Tears may have spent a total of only 15 sweet weeks 
in the '66 hit parade, but it's undoubtedly one of the most 
unforgettable teen anthems ever.
The Mysterians issued a handful of fine follow-up 45s and two 
excellent long-players, all on Cameo-Parkway.  They toured 
massively, recorded here and there, issued a couple of goodpost-
Cameo singles, splintered off, occasionally coming back together 
in different brief combinations.  In the eighties a fine liveone-off 
cassette was issued, proving that where original Mysterians 
convened, spontaneous combustion followed.  But then again, 
there was a parting of the ways and a void of several years forthe 
fans. 
  Now, again, a light.  Triggered by the mind-boggling 
impact of their reunion show in New York served-up on the 
double LP/CD Do You Feel It, Baby? (Norton Records), the 
Mysterians have taken to blowing the collective minds of 
rock'n'roll fans worldwide with unwaveringly fabulous raunch 
that delivers the real deal in unadulterated spades. 
"I knew it was 
all going to happen again," murmurs Question Mark," I knew 
everyone would be there still. Why not?  Did you hear about what 
just happened on Mars?  The floods, from underground at 300 
miles per hour? That's where I'm from you know. Mars! And what 
did I tell you? You can always see what's on the other side. Mmm-
hmmm.  And you look up in the sky at night and you say, 'What's 
the biggest and best constellation up there?  Mmm-hmmm! You 
know - the Question Mark!" 
And once again he's right as rain. Next clear eve, cast your orbs 
skyward to Ursa Major and marvel at the sparkling seven-star 
celestial allegory. Big Dipper, my ass. That there's a Question Mark.
[Question Mark & The Mysterians play the Dome, London N19 
on Sunday November 1 as part of Wild Weekend.]
THE HARTFORD COURANT
October 1, 1998 Thursday, 7 HARTFORD NORTH FINAL
SECTION: TOWN NEWS; Pg. B4 
BYLINE: JOHNNY MASON JR.
   All right, so it's not the pope.
   Englishman Jeremy Filsell is a prize-winning concert pianist and organist who
has performed in nearly every major cathedral and town hall in the United
Kingdom.
   Yes, but he can play Question Mark and the  Mysterians  "96 Tears?"?
   "He may, privately -- I don't know," said Phillip Truckenbrod, Filsell's
agent. "But, in terms of public performances, he hasn't done that type of
music."
The Santa Fe New Mexican
September  18, 1998, Friday
SECTION:  Pasatiempo; Pg. P-64
HEADLINE: Terrell's Tune-up
BYLINE: STEVE TERRELL
A megashot of '60s garage-band sound fuzz guitar, Farfisas and defiant vocals
 I love country music. I love the blues. I love traditional Irish music.
But the true cradle of my musical roots is not a Texas honky-tonk or a
Mississippi juke joint or a misty Celtic bog. It's a suburban garage.
From the frat-party fun of Louie, Louie (by The Kingsmen) and The Swingin'
Medallions' Double Shot (Of My Baby's Love) to the dumb-ass psychedelia of
Journey to the Center of the Mind (The Amboy Dukes) and The Electric Prunes' I
Had Too Much to Dream (Last Night), this is the music that got me fired up as a 
youth.
A megashot of good old '60s American garage-band sounds with all their
trademark fuzz-tone guitar hooks, fiery Farfisas and sneering, defiant vocals is
now available in Nuggets Vol. 4 (subtitled Original Artyfacts From the First
Psychedelic Era 1965-1968), a four-disc Rhino Records box set.
The original Nuggets, a double album compiled by rock critic-turned-Patti
Smith guitarist Lenny Kaye, came out in 1972. That long-out-of-print collection,
never before released on CD, makes up the first disc of this set.
Indeed, Nuggets is a treasure trove. But, like any decent box set, there are 
some obvious tunes left off. Despite the 100-plus songs here, the absence of  96 
Tears  by ? & The  Mysterians  is as noticeable as Moulty's missing hand.
Probably some weird contractual deal kept it off the collection.
But there's a lot of wonderful joys in this garage. And if you don't like it,
flake off.
Win a Nuggets sampler CD on Terrell's Sound World, 10 p.m. to midnight
Sunday, Sept. 20, on KSFR.
GRAPHIC: 1.'Nuggets Vol. 4' CD cover
LA Weekly
September  11, 1998
SECTION: Music; Pg. 53
HEADLINE: EASTSIDES A-SIDES: THE CASUAL CULTURE OF BACKYARD JAMMING
BYLINE: Jonny Whiteside
LAND OF A THOUSAND DANCES: Chicano Rock 'n' Roll From Southern California
By DAVID REYES and TOM WALDMAN
University of New Mexico Press
178 pages
$50 hardcover
   The way-boss East Los Angeles sound of Thee Midniters, the Premeirs, the
Blendells, Cannibal & the Headhunters -- one of the greatest-ever eruptions of
street-level rock & roll -- certainly deserves a serious account of its history 
and development. Which is precisely what co-authors David Reyes and Tom Waldman 
had in mind with this rather-too-slim volume, loaded with tantalizing glimpses
and patchy recollections of ELA's Chicano pop-music culture. From the early
bedrock of prewar singer-songwriter Lalo Guerrero and postwar musician and disc 
jockey Chico Sesma, straight into the feverish R&B era, when honking saxmen Big 
Jay McNeely, Joe Houston and Chuck Higgins began drawing thousands of
hard-grooving pachucos, it's a fascinating subject.
Another major problem is the lack of a national context: Chicano hitmakers
Santana and ? and the  Mysterians  are mentioned only once, and SoCal-based Chan
Romero, whose frequently covered "Hippy Hippy Shake" was even performed by the
Beatles, gets the brushoff. Most disturb-ing, though, are the sloppy research
and unaccountable omissions. (There are no notes, source credits or lists of
interview subjects -- weird for a university-press job.) 
   Minor errors and omissions on the whole, but errors and omissions
nonetheless, and with a subject as underdocumented as this, the accrual of
questionable data leaves the queasy reader wondering who, if anyone, was minding
the store. At 178 pages, this is more like a proposal than a finished manuscript
-- one crying out for a serious rewrite and a severe edit. Despite its value as 
a skeletal primer on ELA rock & roll, Land of a Thousand Dances ultimately
raises more questions than it answers.
SEATTLE POST-INTELLIGENCER
September  4, 1998, Friday , FINAL
SECTION: WHAT'S HAPPENING, Pg.21
HEADLINE: BUMBERSHOOT
Schedule for Sunday and Monday
3-4 p.m. ? and the  Mysterians  - '60s group, Rock Arena.
The News Tribune (Tacoma, WA)
September  04, 1998, Friday
SECTION: SoundLife; Pg. SL3
HEADLINE: BUMBERSHOOT: MUSICAL MIX OFFERS CHOICES, INTERESTING COMBINATIONS
BYLINE: Stephanie Simons; The News Tribune
   * Before Prince became a symbol, there was ? and the  Mysterians.  And ? was 
even weirder than the purple one, delivering a monster hit in "96 Tears" then
disappearing. He will perform with the original  Mysterians  (3 p.m. Sunday,
Rock Arena).
SF Weekly
September  2, 1998, Wednesday
SECTION: Music
HEADLINE: House of Tudor
BYLINE: By Silke Tudor
In 1966, Michigan's ? & the  Mysterians  topped the charts with "96 Tears" --
three chords, an organ, and a heck of an attitude. A few decades later, ?
(usually called "Question Mark" out loud) still hasn't taken off his wraparound 
shades and the  Mysterians  are still performing creamy garage rock that leaves 
like-minded youngsters such as Falcon and Maltese swaying in their Sta-Prest.
The  Mysterians  perform at Bottom of the Hill on Wednesday, Sept. 2, with Go Go
Market opening at 9 p.m. Tickets are $10; call 621-4455.
Sun-Sentinel (Fort Lauderdale, FL)
September  1, 1998, Tuesday, Broward Metro EDITION
SECTION: LIFESTYLE, Pg. 3E
HEADLINE: TO NAME A BAND, JUST THROW WORDS TOGETHER
BYLINE: J.D. CONSIDINE; The Baltimore Sun
People thought band names were wacky in the '60s, when all they had to deal
with was acts like Moby Grape, and the  Mysterians,  and the Who.
 
They didn't know how good they had it.
Anything goes in band names today. Bad spelling, bad grammar, bad taste -
they're all there, and in abundance. Some bands have names even their fans are
embarrassed to utter.  
The Village Voice
August  25, 1998
HEADLINE: THE SOUND OF THE CITY
Garage Rock Retooled
ROCK ON! ' felt like a rallying cry for those making the pilgrimage to
Maxwell's for Saturday night's double bill of the Prissteens and ? and the
Mysterians.  The front page of the day's Jersey Journal blared the news most
Of the crowd must have already known: after a two-year nadir as an unwelcome
upscale microbrewery, Maxwell's reopened last month to reclaim its place as
Hoboken's hallowed hall of punk--new wave--alterna-everything. The revamped
restaurant and club retains many of its longstanding pluses (excellent
sound,enthusiastic audience) along with a couple of minuses (the awkward
quasi-bleacher seating along one wall, partially obstructed views). But perhaps 
what's most notable is that the club temporarily lacks a liquor license--making 
Maxwell's 100-plus house a mixed blend of highly caffeinated early arrivals and 
otherwise wired latecomers from neighboring bars.
? and the  Mysterians  followed with the whirling organ--bouncing guitar
sound that has left a Tex Mex--meets-surf imprint on pretty much all good-time
garage rock since. Their precise set culminated in the timeless ''96
Tears''--also reprised in the encore.
As the truism goes, everything old is new again. And on a Saturday night back
at a familiar haunt, you couldn't ask for much more.
  --J. Wilkins
The San Francisco Chronicle
AUGUST  23, 1998, SUNDAY, SUNDAY EDITION
SECTION: SUNDAY DATEBOOK; Pg. 53; LIVELY ARTS/NIGHTLIFE
HEADLINE: Mare's Music Not Just an Act
BYLINE: Chuy Varela
Those '60s crazies ? and the  Mysterians  headline September 2 at the Bottom of the
Hill 
The San Diego Union-Tribune
August  20, 1998, Thursday
SECTION: ENTERTAINMENT Pg. NIGHT & DAY-23
BYLINE: Chris Woo
ROCK: ? and the  Mysterians,  "Do You Feel It Baby" (Norton) * * *
This one-time Michigan garage band is mostly known for its Farfisa-driven,
1966 chart-topping "96 Tears," a song since covered by the Stranglers, Garland
Jeffries and Aretha Franklin.  The band has reunited a second time (the first
was a brief 1984 Dallas show, documented by the Roir label), and it's almost as 
if it had never been away. This live collection of 19 rare and popular tunes was
recorded primarily at New York City's Coney Island High "Cave Stomp '97"
festival with all five original members.  Themes of displaced romance are
apparent on the zealous "Do Something to Me" and the infatuation of "Girl (You
Captivate Me)." But it's the trademark organ embellishments that preserve the
 Mysterians  as a timeless enigma. -- Chris Woo 
? & The  Mysterians  perform
Wednesday at the Casbah in Middletown.
The New York Times
August  14, 1998, Friday, Late Edition - Final
HEADLINE: Pop and Jazz Guide
? AND THE  MYSTERIANS,  Maxwell's, 1039 Washington Street, Hoboken, N.J.,
 (201) 798-0406. The garage-rock legacy wouldn't be the same without the immortal Vox organ riff that drives "96 Tears," which was recorded in a living room and
went on to reach No. 1 in 1966. The former Rudy Martinez, now known as ?, leads 
a band that sounds as if it climbed straight out of a 1960's time capsule: the
missing link between Tex-Mex music and the Doors. He likes to call the crowd
"baby!," and he still sounds like a hopped-up, hormonally agitated teen-ager.
Tomorrow at 11:30 P.M., with the Prissteens opening at 10 P.M.; tickets are $10 
(Pareles).
The Washington Post
August  14, 1998, Friday, Final Edition
HEADLINE: QUESTION MARK AND THE  MYSTERIANS:  "Do You Feel It Baby?"; Norton  
BYLINE: Mark Jenkins
The principal audience for Question Mark and the  Mysterians  is garage-rock 
cultists and collectors, so it's understandable that the band's leader
introduces many of the songs on "Do You Feel It Baby?" by label or release date.
Listeners who don't have advanced degrees in '60s one-hit-wonders, however, will
want to hear only one song: "96 Tears," the pumping, taunting rocker that topped
the charts almost 32 years ago.
Recorded live at two shows in New York in 1997 and 1998, this disc shows that
the  Mysterians  -- a Mexican-American quintet originally formed in Saginaw,
Mich. -- haven't lost their vigor or forgotten such admittedly simple licks as
the organ riff that drives Question Mark's famous "you're gonna cry,
cry-cry-cry" refrain. The rest of the group's repertoire, however, doesn't bear 
revisiting. In fact, it's now hard to imagine how the band's other national hit,
"I Need Somebody," made it into the Top 30.
   Appearing Friday at the Black Cat with the Prissteens and Ruby Dare.  To hear
a free Sound Bite from Question Mark and the  Mysterians,  call Post-Haste at
202/334-9000 and press 8133. (Prince William residents, call 690-4110.)
The Washington Post
August  14, 1998, Friday, Final Edition
HEADLINE: ON THE TOWN: Nightclubs
   BLACK CAT -- Question Mark & the  Mysterians,  the Prissteens and the Ruby
Dare, Friday: 1831 14th St. NW. 202/667-7960 or 202/667-4490.
LA Weekly
July  24, 1998
HEADLINE: THE SIX-STRING MYSTIQUE
BYLINE: CHUCK EDDY
A few years ago, bored by grunge and late speed metal and still lamenting the
loss of pretty glam in prettier haircuts, I thought loud guitar bands had
entirely run out of both options and steam -- the only stuff I was liking was
sung in Spanish, which I don't even speak! But somewhere along the line, as
tends to happen whenever I stop paying attention to a musical style, either the 
tables or my ears turned. So now in 1998, here are 11 ways to make metal
interesting (i.e.: beautiful or danceable while tugging my heart and mind --
none of that hokey Nashville Pussy/REO Speeddealer/Zeke
let's-pretend-we-drive-Mack-trucks horseshtick), a decade or two past the
expiration date on the genre's cereal box.
The Prissteens Scandal, Controversy & Romance (Almo Sounds). Opening a spring
tour for a reformed ? and the  Mysterians  (finally potential two-hit wonders
now that Smashmouth covered the B-side of "96 Tears"!), these
blond/brunette/redhead (one each) chickadees plus male drummer got the
street-light broken hearts of primordial '60s ooze right without skimping on its
street-fight broken bones. Their CD has them fucking the meanest hound in town, 
finger-snapping through a Wreckless Eric skinny-tie classic about searching
Tahiti for love, telling their baby to beat you up but getting devastated when
they catch him cheating, and wisely hiring the guy who produced Blondie's first 
two albums to help them pull off their unprecedented hybrid of the Sonics and
Shangri-Las.
Daily News (New York)
July  17, 1998, Friday
SECTION: New York Now; Pg.  65
HEADLINE: LIVE MUSIC SCENE
BYLINE: By JIM FARBER and PATRICIA O'HAIRE
UPPER CRUST
Coney Island High
15 St. Marks Place
(212) 674-7959
   They may be rock's best sight gag since KISS. Upper Crust plays AC/DC-style
metallic rock while dressed like 17th-century fops. It's clear novelty stuff,
but of a dizzying order. If you want something with more musical originality,
this same bill features ? and the  Mysterians,  as well as Alex Chilton, who'll 
give this evening heart. (J.F.)
Tomorrow at 8. $ 12.
The New York Times
July  17, 1998, Friday, Late Edition - Final
SECTION: Section E; Part 1; Page 28; Column 1; Movies, Performing Arts/Weekend
Desk
HEADLINE: POP AND JAZZ GUIDE
   Here is a selective listing by critics of The Times of new or noteworthy pop 
and jazz concerts in New York City this weekend. * denotes a highly recommended 
concert.
 * ALEX CHILTON, Coney Island High, 15 St. Marks Place between Second and Third
Avenues, East Village, (212) 674-7959. Having settled into the strange role of
the obscure pop legend, Alex Chilton has made it his mission to preserve the art
of his peers. He can get down with some weird blues, pep things up with surf and
rockabilly, go all lush on an Italian pop number, or break out his falsetto for 
some 70's soul. His trio is the thinking slacker's party band. This weekend he
shares two nights with a bunch of fellow fractured rockers, headlining tonight
and coming on midway in the evening tomorrow, when those venerable weirdos, ?
and the  Mysterians,  continue blazing their comeback trail as bill-toppers.
Tonight at 8 and tomorrow at 7:30 P.M; tickets are $12 (Ann Powers).
 
The News Tribune (Tacoma, WA)
July  17, 1998, Friday
SECTION: SoundLife; Pg. SL20
HEADLINE: HEADLINERS ANNOUNCED FOR 28TH BUMBERSHOOT ARTS FESTIVAL
BYLINE: News Tribune staff
   The lineup for this year's Bumbershoot arts festival has Screaming Trees,
Live, Buck Owens, Bonnie Raitt, Rickie Lee Jones, Eric Bogosian, Cracker, Third 
Eye Blind, Dar Williams, Doug Elkins Dance, Jethro Tull, Burning Spear and
researcher Dr. Jane Goodall.
   The 28th annual Bumbershoot will be at Seattle Center over the Labor Day
weekend, Sept. 4-7.
The headliners will join more than 2,000 other artists in music, dance,
theater, performance arts, visual arts, film and video, literary arts, comedy
and kids performances. Returning this year are the 1 Reel Film Festival of short
films; the BumberSlam Poetry event; and the freestyle percussion extravaganza
BumberDrum XI. New for '98 will be the BumberTrip DJ & Electronica Showcase;
Ride & Glide bike exhibition and stunts; outdoor film at the Northwest Court;
and the Independent Exposures outdoor video showcase.
Sunday, Sept. 6, headliners include: Teva Spirit of Unity reggae/ska tour,
They Might be Giants, Bio Ritmo, Morphine, Squirrel Nut Zippers, Eric Bogosian, 
Marcia Ball, Irma Thomas & Tracy Nelson, Hankdogs, Joan Baez, Gas Huffer, ? and 
the  Mysterians,  Harvey Danger, La Bottine Souriante, Leonard Eto,
Whiskeytown, New Orleans Klezmer All-Stars, Battlefield Band, Martin Sexton,
Kelly Joe Phelps and the Doug Elkins Dance Company.
   A complete schedule of events is posted on the Bumbershoot Web site:
http://www.bumbershoot.org.
   Adult daily tickets are $ 10 in advance through Sept. 3 and $ 14 at the gate.
Two-day passes cost $ 18; four-day passes are $ 32. Daily admission for kids 12 
and under accompanied by an adult is free, and senior admission for adults 65
and older is $ 1. Tickets are good for all Bumbershoot activities on a
first-come, first-served basis.
   Tickets are available at the Bumbershoot Web site, and will be available
starting Aug. 3 at Western Washington Rite Aid Stores, Ticketmaster and by
calling 206-628-0888. More information is available on the Bumbershoot Hotline
at 206-281-8111.
The New York Post
July  13, 1998, Monday
SECTION: Entertainment; Pg. 039
HEADLINE: JESUS, MARY AND JOE GRACE THE LINEUP
BUZZ acts performing at the Intel Music Festival include Victoria Williams,
Alex Chilton, Steve Wynn, Talking to Animals, Modest Mouse, ? and the
 Mysterians,  the Prissteens, the Dictators, Mike Watt, Chris Whitley, Joe Ely
and a rare appearance from the Jesus and Mary Chain.
Here are some hot picks:
SATURDAY CBGB: Mike Watt, Greg Garing, Trona. Knitting Factory: Modest Mouse, 
Jad Fair/Kramer, Dismemberment Plan. Irving Plaza: Tuli Kupferberg, Gary
Lucas, Elliot Sharp, Plastic People of the Universe (pals of Czech President
Vaclav Havel). Also: ? and the  Mysterians,  Alex Chilton at Coney Island High, 
The Cucumbers at Spiral, Nashville Pussy at Tramps, Ruth Ruth, Inger Lorre at
Westbeth.
THE HARTFORD COURANT
July  9, 1998 Thursday, STATEWIDE
SECTION: CAL; Pg. 4
HEADLINE: CONCERT CALENDAR
This week's concerts are listed on Page 33.  Below are some upcoming concerts
for which tickets are on sale. Not all shows are listed; the newest listings are
in bold type.
? and the Mysterians  Tune Inn, New Haven  Friday, July 17
Daily News (New York)
July  03, 1998, Friday
SECTION: New York Now; Pg.  54
HEADLINE: THE FIREWORKS AREN'T THE ONLY WAY TO GET A BANG OUT OF NEW YORK
A BURST OF ACTIVITY
BYLINE: By PATRICIA O'HAIRE
Summerstage at Central Park (Rumsey Playfield, enter at 72d St. and Fifth
Ave.): Tomorrow, the music is trash, smash, glitter and pop '50s rockabilly,
'60s pop and '70s punk join with the '90s group Rocket from the Crypt, sharing
the bill with Question Mark and the  Mysterians.  Music starts at 3.
The New York Times
July  3, 1998, Friday, Late Edition - Final
SECTION: Section E; Part 1; Page 26; Column 1; Movies, Performing Arts/Weekend
Desk
HEADLINE: POP AND JAZZ GUIDE
* ROCKET FROM THE CRYPT AND ? AND THE  MYSTERIANS,  Central Park Summerstage,
Rumsey Playfield, mid-park at 72d Street, (212) 360-2777. Two generations of
manic garage rock share this bill, addressing the pitfalls of romance with
fundamental guitar riffs. Rocket From the Crypt backs up its punky guitar riffs 
with the muscle of a horn section, and Speedo's growly vocals promise an
adrenaline-laced courtship. Rocket From the Crypt is likely to be taking notes
when ? and the  Mysterians  play. The garage-rock legacy wouldn't be the same
without the immortal Vox organ riff that drives "96 Tears," which was recorded
in a living room and went on to reach No. 1 in 1966. The former Rudy Martinez,
now known as ?, leads a band that sounds as if it climbed straight out of a
1960's time capsule; it's the missing link between Tex-Mex music and the Doors. 
He likes to call the crowd "baby!," and he still sounds like a hopped-up,
hormonally agitated teen-ager. Tomorrow at 3 P.M. Free (Pareles).
The Boston Globe
July  2, 1998, Thursday, City Edition
SECTION: CALENDAR; Pg. 31
BYLINE: By Jim Sullivan, Globe Staff
Tip for tonight: Check out ? and the  Mysterians  at the Middle East Down.
Also on the bill, the New York-based, gal/guy combo the Pristeens.
The New York Post
July  2, 1998, Thursday
SECTION: Entertainment; Pg. 051
BYLINE: FAYE PENN
CENTRAL PARK SUMMERSTAGE:
Rocket from the Crypt join ? and the  Mysterians  Saturday at 3 p.m. Africa
Fete with Salif Keita and the Wanda Band, Papa Wemba, Molokai, Chekh Lo and
Maryam Mursal perform Sunday at 2 p.m.
Newsday (New York, NY)
July  2, 1998, Thursday, ALL EDITIONS
SECTION: NIGHT BEAT; Page C01
BYLINE: By Isaac Guzman 
ROCKET FROM THE CRYPT. Having recently decided to play second fiddle on The
Foo Fighters' summer tour, Rocket From the Crypt gets a headlining slot this
weekend when it plays a free show at the Central Park SummerStage. The band's
semi-self-titled new release, "RFTC" was produced by the same guy who made
Journey a smash, but the band's raging blend of punk, ska alterna-rock and funky
backbeats won't have you humming "Streetlight People." All that, plus the crazed
'60s psycho-pop of Question Mark & The  Mysterians. 
The Patriot Ledger (Quincy, MA)
July  2, 1998 Thursday ROP Edition
SECTION: FEATURES; Pg. 33
BYLINE: Jay Miller, For The Patriot Ledger
THURSDAY PICKS:
The  Mysterians  bring classic garage rock to the Middle East in Cambridge, with Quincy's Fathoms opening.
The Boston Herald
June  26, 1998 Friday ALL EDITIONS
SECTION: SCE; Pg. S2
HEADLINE: Boston Beat; Crimson spinoff quite a ProjeKct
BYLINE: By TRISTRAM LOZAW
Tuesday: The last night of Entrain singer Brian Alex' solo residency at
Kendall Cafe. Wednesday: Country and rockabilly sweetheart Rosie Flores at
Johnny D's. . . . The '60s psych-punk of ? & the  Mysterians  at the Middle
East.
Knoxville News-Sentinel (Knoxville, TN)
June  14, 1998, Sunday
SECTION: Showtime; Pg. T4
HEADLINE: Grand Funk Railroad; Despite what you might think, the band doesn't
subscribe to a 'bad boy' image
BYLINE: By Wayne Bledsoe, News-Sentinel entertainment writer
In the 1970s, rock tours were considered traveling bacchanals. Drugs and
drinks flowed freely. Groupies were on call to satisfy any and all carnal
desires. Hotel rooms, restaurants and backstage were turned into disaster areas 
worthy of federal relief. And, Dom Perignon became known as "rock star
mouthwash."
To all appearances, Grand Funk Railroad would've fit right into the rock's
non-stop hedonism. But founding drummer Don Brewer says it wasn't the case.
"Any conception that we were a 'bad boy' band is wrong," says Brewer from his
Florida home.
Grand Funk Railroad always seemed to be a sort of hometown band. Formed in
Flint, Mich., in 1968, the group was created from the remnants of Terry Knight
and the Pack, which had a minor hit with the song "I (Who Have Nothing)" in
1966.
Bassist Mark Farner took over vocals and lead guitar duties in the group and 
Mel Schacher, who had played with ? and the  Mysterians  ("96 Tears") was
recruited on bass. Knight kept his hand in the band by becoming the manager for 
the new trio.
The Detroit News
June  04, 1998, Thursday
SECTION: Showtime
HEADLINE: BEAT GIRL -- Intoxicats leave fans drunk on rockabilly
BYLINE: By Wendy Case / The Detroit News
Like most club-goers, I was kinda bummed on Saturday when the Mannequins show
with the Hentchmen and the Wildbunch got canceled due to a scheduling conflict. 
Mannequins is a "gentlemen's club" in Detroit, and since the girls were amenable
to our boys providing a little mood music for their stage show, it seemed like a
great idea. It's rumored that the extravaganza will be rescheduled for later
this month.
   My disappointment was quickly allayed when I realized that I would now be
able to catch White Stripes' early set at the Magic Stick.
Opening that night for Question Mark and the  Mysterians,  White Stripes are 
the primitive man and wife team of Jack White on guitar and vocals and Meg White
on drums. The band's sound is bare-bones-raw and pretty entertaining. Jack does 
a mighty dramatic turn on Bob Dylan's "One More Cup of Coffee" and the band's
originals are mostly powerhouse three-chorders.
The Detroit News
May  28, 1998, Thursday
SECTION: Showtime; Pg. Pg. F1
HEADLINE: Best Bets
A quick look at things to do
   Mysterious music
   "96 Tears" hitmakers Question Mark and the  Mysterians  headline a terrific
garage punk show also featuring the Dirtbombs and the White Stripes. 9 p.m.
Saturday at the Magic Stick in Detroit. Tickets are $ 8. Call (313) 833-9700.
THE HARTFORD COURANT
May  28, 1998 Thursday, STATEWIDE
SECTION: CAL; Pg. 5
HEADLINE: TORI AMOS LEADS THE WAY INTO INTIMATE OAKDALE
BYLINE: ROGER CATLIN; Courant Rock Critic
Upcoming shows at the Tune Inn include the Fleshtones with the
Reducers,Woggles and the Defenders June 5; a Connecticut ska and punk fest June 
6 and 7; New York's Dictators June 13 with Speedball Baby; Murphy's Law with
Fang June 19; Duke Robillard June 26; and the return of ? & the  Mysterians 
July 17.
Daily News (New York)
May  22, 1998, Friday
SECTION: Special; Pg.  2
HEADLINE: SCREAMS LIKE OLD TIMES
THE SUMMER CONCERT LINEUP HAS THE HOTTEST NEW THINGS, ALONG WITH MANY WARM
MEMORIES
BYLINE: By JIM FARBER The listings in this special section were compiled by
Carol Pacifico, Andre Martinez and Ed Tahaney, under the supervision of Pacifico
CENTRAL PARK SUMMERSTAGE:
   7/4: Rocket from the Crypt/Question Mark & The  Mysterians 
The Record (Bergen County, NJ)
May  22, 1998; FRIDAY; ALL EDITIONS
SECTION: LIFESTYLE / PREVIEWS; Pg. 021
HEADLINE: IT'S SEVENTIES DEJA VU
BYLINE: BARBARA JAEGER and BOB IVRY, Staff Writers
   JULY 4. ROCKET FROM THE CRYPT and ? AND THE  MYSTERIANS,  3 p.m. C. Park.
Free.
The Detroit News
May  21, 1998, Thursday
SECTION: Showtime; Pg. Pg. F3
HEADLINE: BEAT GIRL -- Here's the drill: Attending area rock shows can chase
away pain
BYLINE: By Wendy Case / The Detroit News
DETROIT -- Man, I hate going to the dentist. And to demonstrate just how much
I loathe this activity, I'll tell you this: On the rare occasions that I visit, 
it is significantly more painful and expensive than the trip before.
   My visit last Friday was particularly gruesome. A reconstructed root canal
left me so traumatized that I spent most of the beautiful weekend hiding in my
apartment. I don't have to worry about the dentist reading this. I'm sure he's
currently busy tormenting some other poor soul.
   Before the Novocain wore off completely, I managed to make it out to
Ascension UK in downtown Detroit for a performance by space rock duo Windy and
Carl.
   The band's new CD, depths, on the Kranky label, could easily be mistaken for 
New Age music, but if you took it home and played it for your plants, they would
probably die. It's kinda creepy like that.
   The band is very dynamic live. Surprisingly so. Its ambient soundscapes
combined with a cinematic backdrop of pastoral nature scenes were so soothing
that I forgot about my dental troubles. Until Saturday. ...
   By then I was in mind-numbing pain. Unable to feed myself, much less go out
and play, I decided to spend some quality time with the new Motor City's Burnin'
double CD set recently released on the L.A.-based Total Energy label.
   Leave it to the folks in California to assemble a truly remarkable
compilation of Michigan bands. Sold separately, both volumes contain a
progressive documentary of Metro Detroit punk rock from the '60s to present day.
By no means comprehensive (you would need about a 50-volume set), the
collection is a pretty studied lesson in the evolution of the "Detroit sound." I
should tell you right now that Volume 2 contains a track by yours truly's old
alma mater Ten High. Throw rocks if you want, but there are too many other great
bands on here for me to ignore it.
   Iggy Pop, the MC5, Mitch Ryder, Sonic's Rendezvous Band, the Rationals,
Question Mark and the  Mysterians  -- all Michigan rock 'n' roll royalty. And
that's just the old guys!
   There are bands on here that I had only heard rumors about. Late '70s punks
like the Boners, for example, or Coldcock (Lovemaster Bob Mulrooney's early
band, which I first heard on a bootleg in San Francisco). The '80s bands include
international underground heroes the Gories and major label threat Big Chief
(with Detroit diva Thornetta Davis). Modern lovers like the Hentchmen and the
Dirtys represent the current climate of Michigan rock with mondo dignity.
   Each CD contains a booklet detailing the histories of the bands and many of
these tracks are previously unreleased, which is an even better reason to march 
down to your local music retailer and demand your copies.
Send tip-offs, tidbits and a week's supply of Anbusol to Beat Girl, attn:
Features, Detroit News, 615 W. Lafayette, Detroit 48226. Call (313) 223-4647 Fax
(313) 222-2451. Beat Girl can also be heard Thursdays at 8:30 a.m. on 105.1 FM
"The Edge."
The Detroit News
May  20, 1998, Wednesday
SECTION: Special; Pg. Pg. H10
HEADLINE: Clubs: Watch for these hot local bands this summer
BYLINE: By Wendy Case / The Detroit News
* Magic Stick, 4120 Woodward, Detroit. (313) 833-9700
May 30: Question Mark and the  Mysterians  with the Dirtbombs and the White
Stripes
The Detroit News
May  20, 1998, Wednesday
SECTION: Special; Pg. Pg. H8
HEADLINE: Clubs: The joints are jumping: Local club scene will sizzle with hot
shows from live bands
BYLINE: By Wendy Case / The Detroit News
As usual, the Magic Stick has a stunning array of local acts booked for
summer including May shows by the Volcanos, the Imperial Swing Orchestra, the
Detroit Cobras and Michigan legends Question Mark and the  Mysterians. 
The Detroit News
May  20, 1998, Wednesday
SECTION: Special; Pg. Pg. H3
HEADLINE: Critics' picks: Detroit News critics answer the question: "If you
could see just one event this season, what would it be?"
BYLINE: Detroit News Staff
CLUBS
   * Question Mark and the  Mysterians  (above) with the Dirtbombs and the White
Stripes -- Three generations of Michigan rock legends all in one show. May 30 at
the Magic Stick, 4120 Woodward, Detroit.
   -- Wendy Case / The Detroit News
The Toronto Star
May  14, 1998, Thursday, Edition 1
SECTION: ENTERTAINMENT
Clubs
CLUB SHANGHAI (247 Spadina Ave. 593-8498): Question Mark,
 Mysterians,  Deadly Snakes, etc. tonight (Seraphim, Think Freud
4th floor); Blast Caps Fri. (Temp 4th floor); Blow Up Sat.;
Thrush Hermit and Raisenbag Sun.; Maichicks and Grendel Mon.;
Suicide Machines, Limp, Telegrah Tues.; Rabblerousers CD release
Wed.
The Toronto Star
May  14, 1998, Thursday, Edition 1
SECTION: ENTERTAINMENT
HEADLINE: NOSTALGIA'S BACK, BABY -- NO QUESTION ABOUT IT
BYLINE: Pop Notes Jenny Punter
Nostalgia tours usually follow two formats.
There's the big-venue mega-splash - a recent example being
Fleetwood Mac - with tie-ins like the inevitable live album and
MTV special. And there's the package-deal of reconstituted '50s
and '60s pop acts, often missing key members.
But then along comes ? and the  Mysterians,  a Detroit-based act of
mostly Mexico-born members. The band had a rapid rise in 1966
with the million-selling hit single 96 Tears'' (covered by
Garland Jeffreys and The Stranglers among others) and its
much-imitated organ riff was followed by an equally rapid descent
into virtual oblivion after a couple albums.
Back, baby, and grooving with the original five-piece lineup, ?
and the  Mysterians  are now playing memory-lane shows in the kind
of dark rock clubs where they first became local heroes in Motor
City. And they've had rave reviews in L.A, New York and Rolling
Stone magazine.
A recent recording of a gig at New York's Coney Island High, Do
You Feel It Baby? (Norton Records), finds the band picking up its
roots rock without missing a beat, anchored by the truly
mysterious ?, who still sports wrap-around shades, an abiding
love of orange shirts and a flamboyant, swaggering stage
attitude.
The group ascends to the lofty enclave of Club Shanghai (247
Spadina) tonight. ? says the last time the group played Toronto
was roughly 30 years ago in a big arena.
The kids were wild,'' he says.  I threw my purple jacket into
the audience and people tore it up. I'd like to know if anyone
still has a piece of it.''
In a hard-to-get-a-word-in-edgewise interview, ? revealed he gets
messages telepathically via People From The Future, who have
helped him understand his destiny and given him insight into the
world's problems, which he freely imparts through anecdotes about
dinosaurs, the African wildebeest and life on Mars.
What the People From the Future didn't tell him was that the
group would get shafted in the late '60s, which is how ? explains
it.  Everything that is, was meant to be. But we weren't one-hit
wonders,'' he says, despite the rock encyclopedia labels that say
so.  We were breaking ground, but the record company put a stop
to it. We were signing away rights and we had no idea.
The man who broke ( 96 Tears') for us was a young man, too,
along for the adventure, but it turned out he was getting paid to
take advantage of us. So many groups before and after us have
been abused in the same way. Why does this continue to happen?
But now I can tell my story. I think that success comes from
within yourself. I've written songs every year, so I feel I'm
already successful. But I feel my fans should be able to hear my
songs, without any of the red tape in the way.''
? hates labels: One-hit wonders, garage rock and Hispanic are
particular pet peeves.  We're an American group and that's it,
baby,'' he says.  We're making a profound statement with our
music.''
The Toronto Sun
May  14, 1998, Thursday, Final EDITION
SECTION: ENTERTAINMENT, Pg. 6
HEADLINE: T.O. TONIGHT THINGS TO DO IN T.O. TONIGHT
BYLINE: JIM SLOTEK
Club Shanghai expects a fun night
with proto-garage punkers, ? And The  Mysterians,  they of the '60s hit 96
Tears. Meanwhile, covering all bases, Shanghai's got the entire fourth floor
dedicated to the Seinfeld screening. Maybe you and ? can catch it between sets
(593-8498)
The Detroit News
May  07, 1998, Thursday
SECTION: Showtime; Pg. Pg. F3
HEADLINE: BEAT GIRL -- No Question, Detroiters know how to rock in N.Y.
BYLINE: By Wendy Case / The Detroit News
New York City had a big party last weekend and it seemed like all of Detroit 
was there. The reason for the celebration was the release of the new ? and the
 Mysterians  CD/LP Do You Feel It Baby? on Norton Records.
   A live album of recordings from two previous shows in NYC, it's a fitting
tribute to one of the finest rock and roll bands ever to come out of Michigan.
For the uninitiated, the  Mysterians  was a group of Mexican teen-agers from 
the Bay City area who recorded 2.56 minutes of genius in a Saginaw living room
back in 1966. "96 Tears" became a hit worldwide and was but a small sample of
the band's capabilities. But a lack of business savvy and repeated bullying by
record companies nearly finished them off. Until now.
   Norton Records chiefs Miriam Linna and Billy Miller put together a series of 
parties and shows for the band last Friday and Saturday in Manhattan.
Unfortunately, the show with the Jon Spencer Blues Explosion Friday night had to
be canceled due to a medical emergency in Spencer's ranks, but that left ? and
the gang free to party all night and that's exactly what they, and the rest of
the Michigan cotillion (including yours truly), did. The spot du jour was a
Lower East Side converted pharmacy called the Barmacy.
   It's ironic that the two cities with reputations for being "the towns that
can beat up your town" make such good playmates. New Yorkers welcomed Detroiters
with open arms and vice versa. Among the revelers were members of the Detroit
Cobras and the "fresh off the road" Hentchmen who drove in for their Saturday
night show with the  Mysterians.  ? held court with the rest of the band in the 
back of the bar, signing autographs, posing for pictures and genuinely enjoying 
themselves. As is usually the case in New York, those who did go to bed didn't
do so till after 4 a.m.
The second party started Saturday at 6 p.m. at Coney Island High (a club, not
a school) on St. Mark's Place. Later that night in the same locale, New York got
treated to a knock-out show by some of Detroit's finest.
   The Hentchmen opened with one of the most powerful (and loudest) sets I've
ever seen them do. After 45 minutes of burning Farfisa (organ) frenzy, the
audience was in a state of total submission. The Demolition Doll Rods laid on
its savage sounds in the second set, with black G-strings and police caution
tape struggling to contain the band members' ample charms. The only New York
band to play the show, the all-femme Prissteens, were third on the bill,
throwing down garage sounds in preparation for the masters.
   By the time the  Mysterians  came on, the place was in a panic.
Uncompromising and untainted by the whims of rock and roll, they made one feel
damn proud to be from Michigan. New York legends Lenny Kaye and Joey Ramone,
along with Detroit legend and recent New York transplant Andre Williams, watched
as the  Mysterians  had their say.
   It was a stunning finish to an incredible weekend. Don't miss your chance to 
see for yourself when ? and the  Mysterians  come home to the Magic Stick in
Detroit on May 30. In fact, let's invite the entire city of New York. ...
Send tip-offs, tidbits and a subway token to Beat Girl, attn: Features,
Detroit News, 615 W. Lafayette, Detroit, MI 48226. Call (313) 223-4647 or fax
(313) 222-2451. Beat Girl can also be heard Thursdays at 8:30 a.m. on 105.1 FM
"The Edge."

The New York Times
May  1, 1998, Friday, Late Edition - Final
SECTION: Section E; Part 1; Page 30; Column 4; Movies, Performing Arts/Weekend
Desk
HEADLINE: POP AND JAZZ GUIDE
Here is a selective listing by critics of The Times of new or noteworthy pop 
and jazz concerts in New York City this weekend. * denotes a highly recommended 
concert.
   * ? AND THE  MYSTERIANS,  Coney Island High, 15 St. Marks Place, East
Village, (212) 674-7959. The garage-rock legacy wouldn't be the same without the
immortal Vox organ riff that drove "96 Tears," a song that was recorded in a
living room went on to reach No. 1 in 1966. The former Rudy Martinez, now known 
as ?, leads a band that sounds as if it climbed straight out of a 1960's time
capsule: the missing link between Tex-Mex music and the Doors. When the
 Mysterians  start leaning on a basic two-chord vamps, they create pure
garage-rock Minimalism, while ? -- who likes to call the crowd "baby!" -- still 
sounds like a hopped-up, hormonally agitated teen-ager in search of the next
romance. Tomorrow night, the band shares the bill with the Priss Teens and
others, and should go onstage after midnight. Tickets: $10 in advance, $12
tomorrow (Pareles).
The Detroit News
April  30, 1998, Thursday
SECTION: Showtime; Pg. Pg. D3
HEADLINE: Randolph's Grin is most certainly contagious
BYLINE: By Wendy Case / the Detroit News
   I was strolling down Woodward one day when Showtime Clothing owner Dan
Tatarian invited me into the music section in his Detroit store to check out a
disk by a local band called Randolph's Grin.
   Another band that is reclaiming its throne is ? and the  Mysterians.  Our
home-state boys will be rocking New York City this weekend along with the Doll
Rods and the Hentchmen. I'll have a full report for you next week.
   Send tip-offs, tidbits and frequent flier miles to Beat Girl, attn: Features,
Detroit News, 615 W. Lafayette, Detroit 48226. Call (313) 223-4647. Fax (313)
222-2451. Beat Girl can also be heard Thursdays at 8:30 a.m. on 105.1 FM "The
Edge."
The Plain Dealer
April  29, 1998 Wednesday, FINAL / ALL
SECTION: ENTERTAINMENT; Pg. 4F
HEADLINE: GRAND(PA) FUNK: AN OLDER AMERICAN BAND
BYLINE: By JANE SCOTT; PLAIN DEALER ROCK REPORTER
   Now the trio - bassist Mel Schacher, drummer Don Brewer and Farner - are
going full steam ahead with a show tomorrow night at the Palace Theatre and a
concert-talk tonight at the Rock and Roll Hall of Fame and Museum.
Grand Funk's story began at a sock hop in Detroit when Radio CKLW disc jockey
Terry Knight heard Brewer's band, the Jazz Masters, and asked to join.
"The band became Terry Knight and the Pack. I first replaced Herm Jackson on 
bass, played elsewhere, then later replaced Curt Johnson on guitar," said
Farner.
   "After Terry went solo, I got up the courage to do lead singing. We were in a
Bay City building when we heard a great bass player rehearsing with [Question
Mark &] the  Mysterians.  He turned out to be Mel Schacher, whom we knew from
Schwartz Creek near Flint, and he joined us that same day."
   They got permission from Knight to use the title of one of his songs, "Grand 
Funk Railroad" as the group's name and registered it. And Knight signed on as
manager.
LA Weekly
 April  24, 1998
SECTION: News; Pg. 19 Outlaw LA
LENGTH: 1400 words
HEADLINE: HOW TO ROB A DRUG DEALER: ANDREW AND CREW FIND RECIPE FOR HAPPY, BUT
SHORT, LIVES
BYLINE: EDDIE LITTLE
The night is soft like velvet, smog lifting after a hot day. The sound of
engines and horns muffled by residential streets that barely separate the
crumbling two-story Victorian from downtown traffic.
resisters into piles of bloody chorizo. Speaking in rapid-fire Spanish, Andrew
and his men tear the place apart, stacking bags full of cash, heroin and
cocaine, then rush the evidence into a van waiting on the street below.
   As he's running down this story for me, Andrew flips carne asada on the
barbecue and sips at a wine cooler. The band ? & the  Mysterians  is playing
on the stereo, harmonizing the strains of "96 Tears," their one hit. The sun
hammers down as some of the fellas, kicking back in lawn chairs, throw in a
comment or joke. It's a nice day.
Information Bank Abstracts  
PHILADELPHIA INQUIRER
April  24, 1998, Friday
SECTION: Section WKD; Page 15, Column 1
HEADLINE: NO QUESTION: QUESTION MARK'S MYSTERY MAN
BYLINE: BY DAN DELUCA
JOURNAL-CODE:  PHI
 ABSTRACT:
 
Dan DeLuca interviews Question Mark, member of music group  Mysterians;  photo
(M)
GRAPHIC: Photograph
The Boston Herald
March 27, 1998 Friday ALL EDITIONS
SECTION: SCN; Pg. S20
HEADLINE: BOSTON BEAT; Punk rocker finds mature sound
BYLINE: By Tristram Lozaw
 The reformed Sex Pistols sounded like a good Pistols cover band. A month back, ? & the  Mysterians  surprised everyone with a spry, crunching, garage-punk blast. 
Chicago Sun-Times  
March 20, 1998, FRIDAY, Late Sports Final Edition  
SECTION: WKP; FEEDBACK; Pg. 5; NC  
HEADLINE: On the record with Permanentz  
BYLINE: Jim DeRogatis  
   Q. Dear Jim: As if it weren't enough to take a pot shot at them when they
opened for Question Mark and the  Mysterians,  your misdirected spite toward the
Permanentz was revisited in your article about Bow Wow Wow (Weekend Plus, Feb.
27). Why bother? If you don't like a band you see, unless they were throwing
things at you from stage, why slag them in your column? This is a band that
plays out maybe once or twice a month. They are certainly not making any money
opening at the Empty Bottle, and they are likewise not getting famous. Your
claim that they are only doing it to "garner attention" is really a stretch.
THE HARTFORD COURANT  
March 15, 1998 Sunday, 7 HARTFORD NORTH FINAL  
SECTION: CONNECTICUT; Pg. B7  
HEADLINE: GARAGE ROCK FIRE BURNS IN  MYSTERIANS 
BYLINE: ROGER CATLIN; Courant Rock Critic
   Like rockabilly and other rock uprisings that paved the way for generations
of bands, garage rock flourished briefly in the mid '60s to lay the groundwork
for all punk revolutions to come.
   Although not known for an extensive body of work, Question Mark and the
 Mysterians  needed only one monster single -- "96 Tears" -- to place them near 
the top of the all-time garage rock roster.
The indelible organ riff, the walking bass and the tough, unforgiving lyrics 
made the single immune to nostalgia: Every time it plays on an oldies station,
it holds its transfixing power.
   After living up to their name and retreating into enigma in central Michigan 
decades ago, Question Mark and the  Mysterians  have improbably risen. Friday,
31 years to the day after the original "96 Tears" session, they were tearing
through the song again at the Tune Inn in New Haven.
   It was a small but reverent rock 'n' roll crowd -- mostly male, lots of
leather, some middle aged Brian Jones haircuts -- that came to witness the
return. And the band lived up to the legend. Through a long set of more than 20 
songs that played until nearly 2 a.m., the all- original lineup of the
 Mysterians  showed the power of simple melody, basic chords and a gritty,
soulful delivery.
   Besides being garage rock kings, the  Mysterians  are also one of the
greatest Mexican-American rock bands. The Tex-Mex influence is felt mostly in
the keyboard work of Frank Rodriguez, whose cheesy roller-rink sound has
influenced scores of bands, first on an old Vox Continental and now on a modern 
Roland.
Nearly as important is the rhythm section of bassist Frank Lugo, an
effortless sound with a nice rolling touch, and drummer Robert Martinez, who
keeps a steady bass drum beat but doesn't get too fancy. Guitarist Bobby
Balderrama holds back until key solos.
   The undisputed star is Question Mark, the flamboyant lead singer once known
as Rudy Martinez, who, despite being in his 50s, wore tight satin pants and a
transparent shirt. With his big cowboy hat and long hair, he rather looked like 
Darlene Love. His fast between- song patter sounded more like James Brown,
though, talking about "keeping it moving, for all of you grooving."
   The set made a case for Question Mark's contention that the band was full of 
hits that just didn't get played on the radio. The catchy and rocking fare would
have enlivened mid '60s radio. But they hope to continue, by introducing a pair 
of songs they were to record in New York Saturday, both informed by the classic 
"96 Tears" sound.
   Opening the show were more recent acolytes to the garage band sounds --
Boston's Lyres, whose Jeff "Mono Mann" Conolly uses a Vox Contental for his own 
catchy, gritty songs, dating back now more than a decade; and the hard-hitting
New Jersey trio the Swingin' Neckbreakers, who hone a note- perfect salute to
the era through mostly original songs. They'd be welcome in Question Mark's
garage any time.
The San Francisco Chronicle  
 MARCH 15, 1998, SUNDAY, SUNDAY EDITION  
SECTION: SUNDAY DATEBOOK; Pg. 12; LETTERS TO THE PINK  
HEADLINE: LETTERS TO THE PINK  
    NONTRADITIONAL CASTING RAISES QUESTIONS
KEEP THOSE UPDATES ON OLDIES COMING
   Editor -- What's with you people? First stories on Question Mark and the
 Mysterians  and the Delphonics in the January 25 Pink section, then the Zombies
in the February 15 Pink! Whew! I've got to take another heart pill on Sunday
morning before I open the Datebook. Terrific! Keep it up.
   JOHN MACK FLANAGAN
   Colma
   Send letters to Sunday Datebook, The San Francisco Chronicle, 901 Mission
St., San Francisco 94103; or fax to (415) 495-2067; or e-mail to
pink(atsign)sfgate.com. Include name, city and phone number for verification.
Letters may be edited for space or content.
THE HARTFORD COURANT  
 March 12, 1998 Thursday, STATEWIDE  
SECTION: CAL; Pg. 5  
HEADLINE:  MYSTERIANS  MAKE COMEBACK WITH ORIGINAL BAND MEMBERS  
BYLINE: ROGER CATLIN; Courant Rock Critic  
   There was always a mystery surrounding the classic '60s group Question Mark
and the  Mysterians  -- and not just because lead singer Rudy Martinez insisted 
on calling himself Question Mark his whole life.
   After recording one of the most indelible hits of the era, a virtual
definition of hard-edged garage rock, "96 Tears," the band disappeared into the 
Michigan obscurity from which it came.
But Question Mark, talking nonstop over the phone from his Clio, Mich., home,
insists, "I've been saying all along we're not a one-hit wonder -- the record
company made us a one-hit wonder. We have been writing hits all along. Nobody's 
ever heard them, that's all."
   Against all odds, more than 30 years after "96 Tears," the original lineup of
the band, with organist Frank Rodriguez, drummer Robert Martinez,bassist Frank
Lugo and guitarist Bobby Balderrama, has been getting rave reviews for gritty
club shows in New York and Providence -- and for a new CD of their classic songs
from Collectables Records.
   "96 Tears" was recorded with a flipside "Midnight Hour" (only a coincidental 
relation to Wilson Pickett's song, Question Mark claims) for $50 in a small Bay 
City, Mich., studio where the band returned last year to re-record the new CD.
   "I knew it was a million-seller," said Question Mark of the original '66
session. But he had to convince the  Mysterians.  "My own group didn't believe
in the song, they liked 'Midnight Hour.' "
   "96 Tears" became a quick national hit with its Vox organ riff becomingone of
the classic figures of the era.
Question Mark claims that he got the idea for the song, his career as a
singer (he wanted to be a dancer on "American Bandstand") and even the reunion
of his band from people from the future, who spoke to him telepathically.
   "They also told me I'm going to come back in the year 10,000 and sing "96
Tears," he says.
   If you can't wait until then, Question Mark and the  Mysterians  play the
Tune Inn in New Haven Friday for an over-21 show with a pair of bands who
continue the garage rock tradition, the Lyres and Swingin' Neckbreakers.
The Toronto Sun  
March 7, 1998, Saturday, Final EDITION
SECTION: ENTERTAINMENT, Pg. 28, CLUB SCENE
HEADLINE: SLAVES ON DOPE NOT SLAVES TO THE BIZ  
BYLINE: KIERAN GRANT, TORONTO SUN
WHERE IS ??: Psychedelic social club Blow Up has reached deep into left field
for its live series at Club Shanghai. ? & The  Mysterians  -- yes, that Question
Mark and The  Mysterians,  of 96 Tears fame -- dust off the old Farfisa organ,
and presumably the monumentally catchy 1966 garage-rock hit, for a March 27 date
at the club.
   And don't call it a comeback. The Detroit-based  Mysterians  -- ? is a record
producer named Rudy Martinez -- has gigged around for the past 32 years,
original lineup intact.
   Joining them will be junior organ-grinding punks The Deadly Sankes, Satan's
Arch Enemy G.O.D. and DJ Davy Love.
GRAPHIC: photo SLAVES ON DOPE ... Play a showcase at the Generator tonight at 9 
p.m.  
THE HARTFORD COURANT  
 March 5, 1998 Thursday, STATEWIDE  
SECTION: CAL; Pg. 4
HEADLINE: CONCERT CALENDAR
   ? & the  Mysterians  Tune Inn, New Haven Friday, March 13
The San Francisco Chronicle
FEBRUARY 15, 1998, SUNDAY, SUNDAY EDITION
SECTION: SUNDAY DATEBOOK; Pg. 6; LETTERS TO THE PINK
HEADLINE: LETTERS TO THE PINK
   CANADIAN STATION BOOSTED  MYSTERIANS  
   Editor -- Your Pink section article on ? and the  Mysterians (''Mysterians 
Reappear,'' January 25) incorrectly refers to Detroit radio station KCLW. It is 
actually a Canadian station from Windsor on the other side of the river -- CKLW 
-- that had a tremendously strong signal and was the major AM station in the
Michigan- Northern Ohio area in the '60s when I was living there.
   GLENN JACKSON  
Telegraph Herald  
 February 15, 1998, Sunday  
SECTION: Features; Pg. e 3
HEADLINE: Compilation sums up Hawkins' story
BYLINE: Associated Press
   "Wolf Songs for Lambs" (DreamWorks) - Jonathan Fire Eater
   Jonathan Fire Eater? Sounds like some new wave cocktail drink.
   Nope. Jonathan Fire Eater is a New York City quintet of former garage band
delinquents who've graduated to their own distinct rhythm and blues style - a
shuffle-stepping, organ-inflected sound.
   Fire Eater's songs contain elements of The Animals, The Attractions, Big
Audio Dynamite, Booker T & the MGs, Garland Jeffreys, ? and the  Mysterians, 
the Small Faces and Yardbirds among others.
Miami New Times  
 February 12, 1998, Thursday  
SECTION: Music  
HEADLINE: City of Night
BYLINE: By Lisa Derrick
   Poptopia popped up all over LA last week, but one of the most awesome pop
shows wasn't even part of the festival schedule. ? and the  Mysterians  were
joined by the Bomboras at Dragonfly Monday night, where the 50-year-olds put on 
a show that rivaled the energy of the upstart pop tarts gigging around town over
the next six days. Squashed into the Dragonfly with the goateed and tattooed,
twisting and shouting roots-rockers were Senor Amor and Joey Seehee, along with 
the Mello Cads's David Ponak who had bounced over from the Negro Problem/Cockeyed Ghost/Muffs/Fastbacks show at the El Rey....
Austin American-Statesman
February 8, 1998
SECTION: Metro/State; Pg. B8
HEADLINE: Best Bets
BYLINE: JAMES HIBBERD
   City beat
... Known for the 1966 hit 96 Tears,'' garage-rock pioneers ? ANDTHE  MYSTERIANS  play a reunion show at Electric Lounge. 
Austin American-Statesman
February 7, 1998
SECTION: Entertainment; Pg. C10
HEADLINE: What's the ?; Tex-Mex garage band aims to revive career with '96
BYLINE: Chris Riemenschneider
   Right behind Louie, Louie,'' the 1966 hit 96 Tears'' is probably the second
most memorable garage-rock hit ever. Its influence is immeasurable, stretching
from British punkers like Elvis Costello in the '70s to the most rhythmic Tejano
bands in the '90s. Its organ riff -- bouncy, whirling and catchy as can be --
virtually introduced the electric keyboard sound in rock 'n' roll.
   And yet, so few people actually remember the band behind 96 Tears,'' which
can still be heard on oldies radio stations and in cover-band bars around the
world. You could say it's a mystery.
   The group was actually ? and the  Mysterians  and, 32 years later, they're
back to reclaim that song, and, according to singer ? (Question Mark), possibly 
further their career.
    Why not?'' ? asked in a telephone interview in November, when the band was
planning the tour.  (Question Mark) and the  Mysterians  are the greatest garage
band that ever lived. We always did what we wanted to do, in our own style, and 
people appreciated that. I think they can still appreciate it 30 years later."
   One of the odd things -- and there are many -- about the ? and the
 Mysterians'  reunion tour, which hits the Electric Lounge on Sunday, is that
all of the group's original members are involved, including one-time Austinite
and Joe King'' Carrasco guitarist Bobby Balderrama.
   The band didn't just get back together for a tour, though ; they also
recorded a new album. Well, a sort of new album. The disc, self-titled, features
new versions of the songs ? and the  Mysterians  did on its 1966 96 Tears''
album, including, of course, 96 Tears."

I think the songs all sound better on the new record,'' ? said.  Of course, 
it's partly because recording studios have advanced so much, but it's more than 
that."
   He pointed to other versions of 96 Tears,'' done by the likes of Carrasco,
Aretha Franklin, the Residents and Garland Jeffreys, as proof that his band
still has magic.
    With a song like '96 Tears,'' it's great to hear it anywhere, done by
anyone,'' ? said.  But there's nothing like hearing it done by the original
band."
   While they're all sons of Mexican immigrants with roots deep in Texas, ? and 
the  Mysterians  were based in Flint, Mich., when they formed the band and first
recorded 96 Tears.'' The single, and the band, started out as a regional hit
around Detroit, but Cameo Records soon signed them and re-released 96 Tears''
nationally. It went to No. 1 and sold more than a million copies.
   The high times were brief, though. In fact, members Robert Martinez and Larry
Borjas entered the Army before they could enjoy the band's success. New players 
were added, and the group toured, but it only came up with one more minor hit, I
Need Somebody,'' which peaked at No. 22. By 1968, the group had called it
quits.
   The  Mysterians  have gotten back together a few times since, most notably in
1984, when they toured with Carrasco. But for the most part, they quietly
drifted into the rock annals as one of the original one-hit wonders.
   During the band's down time, ?, whose real name is believed to be Rudy
Martinez, was said to have gotten weirder and weirder. The 52-year-old singer,
never seen or photographed without his dark, wraparound sunglasses, claims to be
from another world and to have lived many lives. He also has ESP, he says.
   One thing's for sure: He beat a certain other symbol-man to the strange
rock-star punch.
    I was a symbol before Prince could even play the guitar,'' ? said.
   To hear the '98 version of 96 Tears,'' call Inside Line at 416-5700 and enter
category MARK (6275). The new CD is available through Collectables at (800)
336-4627.
GRAPHIC: ?(Question Mark), middle, and the  Mysterians  will be in Austin on
Sunday. The garage band's leader, whose name is thought to be Rudy Martinez,
is never seen without his wraparound sunglasses.
Austin American-Statesman
February 5, 1998
SECTION: XL Ent; Pg. 4
HEADLINE: UPFRONT: QUICK PICKS  
   SUNDAY: The reunion tour of ? and the  Mysterians  reunion tour that comes to
the Electric Lounge Sunday has less of a money-grubbing vibe and more of a
let's-get-the-ol'-band-back-together feel to it. There probably isn't much money
involved, anyway, since the group only had one hit, 96 Tears,'' in 1966. What a 
hit it was, though, and what a treat it is to have all the original members
back, some of whom are from Texas, including former Joe King'' Carrasco
guitarist Bobby Balderrama. Will they be any good? That's still a mystery. --
Chris Riemenschneider
The Denver Post
February 5, 1998 Thursday 2D EDITION
SECTION: LIVING; Pg. E-05
HEADLINE: Comeback never too late for '96 Tears' innovators
BYLINE: By Mark Harden, Denver Post Popular Music Writer
No question about it: One of the most influential rock singles of all time
was an odd 1966 hit called "96 Tears."
   But plenty of questions surround the manic rock genius who wrote and sang the
song.
   Lately, the biggest question about Question Mark and the  Mysterians  is: Can
they make a comeback?
They're giving it a try with a reunion tour that stops tonight at the
Bluebird Theater, featuring the same  Mysterians  who recorded "96 Tears."
   With its quavering vocal and organ riff, "96 Tears" stood out in the mid-'60s
like spiked hair and nose rings on a "Monkees" episode.
   It briefly held No. 1 on the Billboard chart until it was nudged aside by a
tune more characteristic of the era: The Monkees' "Last Train to Clarksville."
   "I knew it was a million seller, even though nobody believed in it," says the
man called Question Mark - Q to his friends.
   The song epitomized what later came to be called the garage-band sound - even
though it was recorded on a patio, not in a garage.
   Some people credit - or blame - Question Mark and the  Mysterians  for
inspiring new-wavers and punk rockers by the dozens. You can hear their
influence, for example, in Elvis Costello's early work.
   And "96 Tears" has been covered by other performers countless times - even
Aretha Franklin recorded a version.
"When '96 Tears' came out, we shined just as bright as the Beatles and the
Rolling Stones," said Question Mark in a recent interview. "And people still
remember that light, and that light influenced a lot of people. ... We created
hip in music."
   So who is the man behind the band's name?
   Legally, his name is listed as Question Mark. Ignore the fact, he says, that 
"96 Tears" and most other  Mysterians  tunes are credited to one Rudy Martinez. 
"To get paid, I had to come up with that name," he explains. Another mystery
   The instrument behind the trademark organ sound on "96 Tears" is another
mystery. Question Mark tells The Post it was produced by a Farfisa organ, but in
1982 he told Goldmine magazine a Vox Continental was used.
   But perhaps the biggest question is why the band couldn't sustain its
success. Certainly, it wasn't for lack of solid material.
   "The record companies have made us a one-hit wonder," Question Mark says.
"Every year since '96 Tears,' I have written songs that could be hits that no
one has heard."
Unlike a lot of '60s garage bands, Question Mark and the  Mysterians  did
score a few more minor hits in the mid- to late 1960s, including "I Need
Somebody," "Can't Get Enough of You Baby" and "Girl (You Captivate Me)."
   But nothing approached the commercial success of "96 Tears," and except for
periodic revivals featuring new musicians, not much has been heard from the band
in 30 years.
   Now, four musicians from the band's golden years have rejoined Question Mark 
for a tour, which has garnered strong reviews in other cities. Last year they
released "Question Mark and the  Mysterians"  (Collectables), a surprisingly
vital re-recording of their classic material.

   Question Mark and most of his bandmates were born in Mexico, the sons of
migrant farm workers who settled in the Saginaw Valley of Michigan. After four
years of performing locally, the band recorded "96 Tears" - a reworked version
of a poem that Question Mark penned earlier called "Too Many Teardrops" - for
Pa-Go-Go, a small regional label. Caught Cameo's eye
   Prodded by Question Mark, deejays at radio stations in Detroit and Flint
began pushing the song. It soon attracted the attention of the Cameo label and
its chief, Neil Bogart (who years later oversaw disco diva Donna Summer's
career). Cameo released "96 Tears" nationally, and in two months it shot
to the top of the Billboard chart.
   As significant a song as "96 Tears" was, Question Mark hopes the new tour
will show fans that there's more to his band than one monster hit.
   "It's just like the tip of the iceberg," he says. "The waters are receding a 
little bit now, and more is being revealed.
   "There's a lot of originality that one day will surface, whether I sing it or
not. When I pass away, somebody will say, 'Well, what else did he write?"'
   The  Mysterians  have a local connection. Mark Bliesener of Denver's Morris, 
Bliesener and  Associates, who, with partner Chuck Morris, man- ages Big Head
Todd & the Monsters and other rock acts, is a former professional drummer who
played with the  Mysterians  in 1974 and '75.
   "He never changes," Bliesener says of Question Mark. "He's always worn those 
shades. Four in the morning, the day the band broke up,  he's wearing the
shades."
Bliesener says he regrets he won't be in town to see the band's show.
   "I'm really glad to see him back out there because he deserves some credit.
And anytime anyone over 50 wears his shirt open to the waist with shades on, I'm
all for it." IN CONCERT  WHO: Question Mark and the  Mysterians,  with Boss 302 
and the Down & Outs WHEN: 8 tonight  WHERE: Bluebird Theater, 3317 E. Colfax
Ave. All ages admitted. TICKETS: $ 8, through Ticketmaster; 830-8497.
GRAPHIC: PHOTO: Four musicians from the band's golden years have rejoined
Question Mark for a tour, including a stop in Denver.
The Denver Post
February 5, 1998 Thursday 2D EDITION
SECTION: LIVING; Pg. E-05
HEADLINE: 'Louie Louie' the national anthem of '60s garage sound
BYLINE: Mark Harden
   In the mid-1960s, bands like Question Mark and the  Mysterians  pioneered the
garage sound - off-kilter music recorded on the cheap by obscure groups with
weird names on small labels. Many garage bands scored one or two hits, then
slipped into obscurity.
   Garage bands planted the seeds of punk and sparked the do-it-yourself spirit 
that lives on today in the indie-rock scene.
TELEGRAM & GAZETTE (WORCESTER, MA.)
February 5, 1998 Thursday, ALL EDITIONS
SECTION: TIME OUT; Pg. C5; SCOTT MCLENNAN
HEADLINE: Swingin' Neckbreakers meld guitar fury with raucous fun
BYLINE: Scott McLennan
The Swingin' Neckbreakers is a trio from Trenton, N.J., that has
been keeping its rock 'n' roll honest since 1992.  The band is as
beloved as ? and the  Mysterians  and the Lyres in certain circles. 
Los Angeles Times
February 4, 1998, Wednesday, Home Edition
SECTION: Calendar; Part F; Page 3; Entertainment Desk
HEADLINE: POP MUSIC REVIEWS; 
 MYSTERIANS  REVIVE THEIR 'TEARS' GENRE
BYLINE: STEVE HOCHMAN 
   The instant it burst onto the radio in 1966, ? & the  Mysterians'  "96 Tears"
was a rock 'n' roll classic, a slice of primal urgency with a dark edge built on
a pulsing, insistent Vox organ figure drawn from Mexican polkas, all shrouded in
a purposefully sketchy image keyed to the band's name. Singer Rudy Martinez even
legally changed his name to the punctuation symbol.
But who at the time--or since--would have guessed that the Mexican-rooted,
Michigan-based one-hit wonder's vintage lineup would be putting on dynamic shows
more than three decades later? On Monday at the Dragonfly, the group, reunited
last year after breaking up in 1968, showed such spirit that it seemed bent not 
just on bringing itself back but also on reviving its whole realm of music.
   Along with Texas' 13th Floor Elevators, L.A.'s the Seeds, Chicago's Shadows
of Knight, San Jose's Count Five and dozens of others around the country, the
 Mysterians  forged a rough-hewn alloy of James Brown shouts, bubble-gum pop
hooks and nascent psychedelia--not the peace 'n' love kind but anger 'n'
confusion. Though acknowledged as a punk progenitor, the genre has largely been 
obscured through wave after wave of '60s nostalgia by Beatlemania and flower
power.
   It was never a complex formula, but it was--and remains--compelling in its
unique way. The whole show Monday was essentially variations on "96 Tears": two-
and three-chord workouts, organist Frank Rodriguez's pumping Tex-Mex evocations 
and ?'s desperate pleas. But it was plenty to get the room of '60s rock
connoisseurs and Hollywood club regulars into a dancing frenzy.
   And not to be dismissed is ?'s own colorful presence. Skittering soul
revue-style around the stage in an orange flamenco shirt and black leather
pants, he at times brought to mind another pop showman who changed his name to a
symbol: He seemed nothing if not the proto-Prince.
   Is this comeback going to storm the late-'90s pop charts? Not likely. But
does it prove this music worthy of more than pop encyclopedia footnotes? No
question.
The Daily News of Los Angeles
February 1, 1998, Sunday, VALLEY EDITION
SECTION: L.A. LIFE, Pg. L12
HEADLINE: FEBRUARY
BYLINE: - Compiled by James Hames
   ? & The  Mysterians,  Dragonfly, 6510 Santa Monica Blvd., (213) 466-6111
THE ORANGE COUNTY REGISTER
January 30, 1998 Friday MORNING EDITION
SECTION: SHOW; Pg. F04
HEADLINE: HOT TICKETS
BYLINE: BEN WENER, The Orange County Register
 Pollstar reports that ? and the  Mysterians,  the one-hit wonder from the '60s _ remember "96 Tears"? _ is slated to play the Dragonfly on Tuesday.
The Rocky Mountain News(Denver, Co.)
January 30, 1998, Friday,
SECTION: ENTERTAINMENT/WEEKEND/SPOTLIGHT; Ed. F; Pg. 24D
HEADLINE:  HAPPENINGS / CONCERTS
? and the Mysterians,  rock, 8 p.m. Thursday, Bluebird Theater, 3317 E. Colfax Ave.
 
The Detroit News
January 29, 1998, Thursday
SECTION: Showtime; Pg. Pg. F2
HEADLINE: There's no question, the  Mysterians  are in again
BYLINE: By Wendy Case
   OK, I confess.
   I'm not a native. I was born in Akron, Ohio, which is a pretty swell place.
But though I may have sprung from the loins of the Rubber City, I take an
unapologetic pleasure in saying I'm "from" Michigan. One reason being that I get
to say I'm from the same place as ? and the  Mysterians.  (How to say it? It's
Question Mark and the  Mysterians. )
For those of you who live in a cave, the  Mysterians  are the guys who cut
the brilliant single "96 Tears," in a Saginaw living room back in 1966. Now,
after 30-plus years of getting bullied by record labels, swindled by lawyers and
politely ignored by critics, they're back to have their say.
   ? called the other day from his Clio compound to spread the news. Their
recent show at Coney Island High in New York City was a smash.
   ?'s subsequent appearance on Comedy Central's The Daily Show, a glowing
review in the New York Times, a photo shoot for Rolling Stone (which resulted in
a little candle incident rendering ? with a new coif) all point to one glorious 
thing: Their star is on the rise.
   A live recording of the Coney Island High show will be released by Norton
Records next month, then the boys are off to the left coast to do some shows.
   Rumor has it that they'll drop in to Detroit before they leave, so keep your 
ears peeled.
   Send tip-offs, tidbits and a case of Yoohoo to Beat Girl, attn: Features,
Detroit News, 615 W. Lafayette, Detroit 48226. Call (313) 223-4647 or fax (313) 
222-2451.
The Denver Post
January 25, 1998 Sunday 2D EDITION
SECTION: A SECTION; Pg. K-02
HEADLINE: Key promoters in Denver music scene
BYLINE: By Mark Harden, Denver Post Popular Music Writer
   A look at the key promoters in Denver's live-music industry:
   Bluebird Theater, Denver
Notes: Offers an eclectic mix of up-and-coming national acts, established
niche veterans and local acts emerging as headliners. It's often used by
Universal.
   Bookings: Robert Bradley's Blackwater Surprise (Jan. 31), Dan Hicks (Feb. 4),
? and the  Mysterians  (Feb. 5), Radiators (Feb. 7).
The San Francisco Chronicle
JANUARY 25, 1998, SUNDAY, SUNDAY EDITION
SECTION: SUNDAY DATEBOOK; Pg. 36
HEADLINE:  Mysterians  Reappear
'60s Mexican American band created sound that has endured
BYLINE: Chuy Varela
 Rock 'n' roll has a long history of personalities who have concocted the
perfect cocktail of sound and attitude: Elvis Presley, Mick Jagger, Lou Reed.
But there are just as many unsung rebels who make up the heart of the music.
   Take Rudy Martinez, the son of Mexican migrant workers, who says he had a
musical epiphany at age 5 at a dance in Flint, Mich.  Martinez would later drop 
his real name and identify himself by a symbol: the question mark. As ? and
the  Mysterians,  he and his group climbed the charts in the mid-'60s with their
song ''96 Tears.'' The band broke up a few years later.
   Now, the original members have reunited and will perform Saturday at the
Great American Music Hall.
   ''We started in '62 just like the Rolling Stones and the Beatles, except we
didn't know what was happening,'' says Martinez, 52, from his home in Michigan's
Saginaw Valley. ''They didn't know us, and we didn't know them. But one song can
make a big difference, and they know us now.''
   A song with a menacing lyric over a two- chord vamp, ''96 Tears'' became an
AM-radio rock anthem, shooting to No. 1 on the Billboard charts in October 1966.
Accomplishing an unheard-of feat for a Chicano band, ? and the  Mysterians 
became a link between Ritchie Valens and Los Lobos in the evolution of raza
rock.
   The unforgettable song features Li'l Frank Rodriguez's high-pitched Vox
Continental keyboard laying down the classic riff, backed by Bobby Balderama's
low, rumbling guitar, the tight bass and drums of Ed Serrato and Frank Lugo, and
Martinez's bad-boy attitude.
''We were rehearsing, and Li'l Frank came up with this riff,'' Balderama
says. ''I began playing these two chords over and over, and out of the blue,
Question Mark started singing these lyrics.''
   The eccentric Martinez, who says he believes he was born on Mars and is
guided by cosmic beings, claims he was not in control of his actions at the
time. ''The song just popped into my head. It was very profound.''
   First recorded for a small label in Flint, ''96 Tears'' became the most
requested song on the city's WTAC radio and Detroit's KCLW. This led to a
national deal with Cameo Records, the Philadelphia-based record company started 
by songwriters Bernie Lowe and Kal Mann. It was a black-oriented label with
close ties to Dick Clark's ''American Bandstand,'' and it featured a roster that
included Chubby Checker, the Orlons and Dee Dee Sharp.
   In a few weeks, the ''96 Tears'' single sold more than a million copies, and 
each of the members were awarded gold records. The group appeared on
''Bandstand'' at the height of the song's popularity. The Detroit Free Press ran
a story proclaiming ''Singers Strike It Rich'' and a photo of the band
surrounding Martinez, who was wearing his trademark wraparound shades. (He says 
he still wears them 24 hours a day.)
''The best years we had were '66 and the first half of '67,'' Balderama says.
''Then we had a lot of problems with our recording company, and it caused a lot 
of tension in the group. A couple of guys got married, and soon their wives
wanted them home.''
   Overall, the group recorded two albums and five singles for Cameo.
Follow-ups such as ''I Need Somebody,'' ''Can't Get Enough of You, Baby'' and
''Girl'' made minor dents in the charts, but nothing like the debut hit.
   The musicians made very little money on their music. Cameo, which evolved
into Abkco (with rock impresario Allen Klein at the helm), eventually gave up on
the group.
   ''We were taken by our record company,'' Martinez says. ''We were naive, and 
we trusted everyone.''
   The  Mysterians  broke up in 1968, and the members went their separate ways. 
Most took day jobs, but Martinez continued in the music business, hitting the
''oldies'' circuit with pickup versions of the  Mysterians. 
   ''I'm not just a singer going through the motions,'' he says. ''I become the 
song.''
Balderama moved to Texas and in the '80s joined Joe ''King'' Carrasco and the
Crowns on lead guitar. But the  Mysterians'  big hit refused to die, covered by 
artists such as Carrasco, Aretha Franklin, Garland Jeffreys, Big Maybelle, the
Residents and Primal Scream.
   To a large degree, ? and the  Mysterians  were the antithesis of the
bubble-gum pop and Motown sound that emanated from Detroit.  Musically, they
drew from the Tex-Mex influences of San Antonio bands such as Sam the Sham and
the Pharaohs, Sunny and the Sunliners, and the Sir Douglas Quintet. It was an
evolving tejano sound, combining the grit of rock and R&B with modern
instrumental textures such as organ and electric guitars.

   With a new album of remakes out on Collectibles Records and a live album due 
later this year from Norton, ? and the  Mysterians  are back.
   ''We brought rock 'n' roll back to America after the British invasion,''
Martinez says. ''We were like a bright star exploding into space. Now people are
picking up on it again, and the music industry is starting to realize that we
had impact and influenced a lot of people. We just kept the faith.''
    ? AND THE  MYSTERIANS 
The band plays at 9 p.m. Saturday at the Great American Music Hall, 859
O'Farrell St., San Francisco. The Merry Makers open.  Tickets: $ 10 in advance, 
$ 12 at the door. Call (415) 885-0750.
GRAPHIC: PHOTO,Rudy Martinez (center), otherwise known as Question Mark, and the
 Mysterians. 
The Denver Post
January 23, 1998 Friday 2D EDITION
SECTION: WEEKEND; Pg. H-06
HEADLINE: Soul singer Bradley, new band touring Colorado
BYLINE: By Mark Harden, Denver Post Popular Music Writer, CONCERT BUZZ
   EARLY WARNING - Tickets go on sale today for Joe Jackson, who performs at the
Ogden on Feb. 11. Reportedly he will offer selections from his pop albums as
well as instrumental material from his recent LP "Heaven and Hell" ... ? and the
 Mysterians,  the legendary garage band whose '60s hit "96 Tears" inspired a
generation of punks, plays Feb. 5 at the Bluebird 
The New York Times
January 21, 1998, Wednesday, Late Edition - Final
SECTION: Section E; Page 5; Column 4; The Arts/Cultural Desk 
HEADLINE: POP REVIEW;
Still in the 60's and Groovy, Baby
BYLINE:  By JON PARELES 
Question Mark and the  Mysterians  performed at Coney Island High on Saturday
night as if they had popped out of a 1960's time capsule. Question Mark, whose
original name was Rudy Martinez, had shoulder-length hair, sunglasses and a
frilly cuffed orange shirt; in motor-mouthed raps between songs he declared
everything "groovy" and called the audience "baby." The band members have been
with Question Mark since the 1960's, and his songs were full of the mixture of
cockiness, lust, frustration, nasal vocals and insistent, organ-driven
two-chord vamps that made them punk progenitors.
   The  Mysterians  entered the rock-and-roll annals with "96 Tears," a No. 1
hit in 1966. But it wasn't the band's only snappy riff. In a set that stretched 
nearly two hours, the group was the essence of 60's Cal-Mex music, like a
missing link between the Doors and the Sir Douglas Quintet, veering from the dry
keyboard lines and buzzing lead guitar of psychedelia to the ebullient bounce of
Tex-Mex polkas. Every few songs, the band would lock into a two-chord vamp that 
was pure garage-rock Minimalism, taut and unstoppable. The group made a live
album from its an October show at Coney Island High called "Do You Feel It,
Baby?," to be released in the spring by Norton Records.
    The songs proclaim their raging hormones, with titles like "Don't Tease Me" 
and "Can't Get Enough of You"; if Question Mark isn't chasing girls, he's
avenging himself after a rejection, as in "96 Tears." And while it's three
decades after the band's original heyday, Question Mark and the  Mysterians 
still sound like hopped-up, insatiable teen-agers.
GRAPHIC: Photo: Question Mark, foreground, and the  Mysterian  Frank Lugo, left.
(Rahav Segev)
The Herald (Rock Hill, S.C.)
January 16, 1998 Friday 1ST EDITION
SECTION: LIFESTYLES; Pg. 7D
HEADLINE: Grand Funk still rolling down the tracks
BYLINE: By Chris Ayers Special to The Herald
   How about just the facts: After quitting? and the  Mysterians,  bassist Mel
Schacher joined guitarist/vocalist Mark Farner and drummer Don Brewer to form
Grand Funk Railroad. A mere three years later, they broke the Beatles record at 
Shea Stadium when they sold out a two-day stand in 72 hours and grossed more
than $ 300,000.
The New York Times
January 16, 1998, Friday, Late Edition - Final
SECTION: Section E; Part 1; Page 28; Column 5; Movies, Performing Arts/Weekend
Desk
HEADLINE: POP AND JAZZ GUIDE
Here is a selective listing by critics of The Times of new or noteworthy pop and
jazz concerts in New York City this weekend. * denotes a highly recommended
concert.
? AND THE  MYSTERIANS,  Coney Island High, 15 St. Marks Place, East Village,
(212) 674-7959. The garage-rock legacy wouldn't be the same without the immortal
Vox organ riff that drove "96 Tears," a song that was recorded in a living room 
and went on to reach No. 1 in 1966. Rudy Martinez, who became ?, has been back
on the road with new  Mysterians  since the 1980's. Secret Service, the Swingin'
Neckbreakers, the Lyres and the Prissteens are sharing the bill, which begins at
8 tomorrow night; ? and the  Mysterians  are scheduled for 1 A.M. Admission is
$10 (Pareles).

The Boston Globe
January 10, 1998, Saturday, City Edition
SECTION: ARTS & FILM; Pg. C4
HEADLINE: No question, garage pioneers still rock;
MUSIC REVIEW;
? AND THE  MYSTERIANS; 
With the Lyres and the Fleshtones;
At: the Middle East Downstairs, Thursday night
BYLINE: By Jim Sullivan, Globe Staff
DATELINE: CAMBRIDGE 
The Middle East Downstairs used to be a bowling alley. Thursday night, it
became a garage - or at least the howling space for a trio of
generation-spanning garage rockers. You don't often get this kind of lineage on 
one bill: ? and the  Mysterians,  which helped invent the genre via their 1966
No. 1 hit "96 Tears," along with Boston's Lyres and New York's Fleshtones, two
of the key bands that kept the tattered flag flying high and proud during the
1980s.
   Garage rock, or garage rock revivalism, is not what it was 15 years ago, at
least in terms of popularity. But it has become an enduring form of American
music - simple, brash, upbeat rock 'n' roll with a triumphant feeling - and
about 400 folks braved the "Bladerunner"-like weather and made the pilgrimage to
rock and worship.
   Among those doing both was Lyres main man Jeff Conolly. "This," he said
reverently as ? and the  Mysterians  played, "is great cheesy entertainment. He 
is the king of cheese." Indeed he is. Way before Prince thought of turning into 
a glyph,  Mysterian  singer and frontman Rudy Martinez became ?. He also claims,
like the late Sun Ra, to have unearthly origins.
   A speed-talker and a flamboyant, hyperkinetic performer (and by far the
leanest of the  Mysterians) , ? led his raucous band through "I Need Somebody," 
"Can't Get Enough of You, Baby," and "Girl (You Captivate Me)." Get the drift
here? The last time they played this area was at the now-defunct Channel in
1985. One nice thing about this incarnation is that original keyboardist Frankie
Rodriguez - who was saluted by the avant-post punk band Suicide in "Frankie
Teardrops" - is back in the fold, and those two-note riffs sounded delicious.
   The knock on garage rock is that it occupies the department of redundancy.
Fans can shout that down easily enough with "So what?!" and point to Chuck Berry
and the Ramones. At its best, and all three bands were flying high Thursday,
garage rock is grand rock with no delusions of grandeur. The Fleshtones' Peter
Zaremba bonded with the crowd by entering it, accepting beer from customers and 
downing it. The band made a wondrous clatter, and Zaremba charted the course of 
the evening early when he sang, "We're going to party!/Listen to some records!" 
The 'tones have a sound not unlike the early Kinks: raw, unvarnished guitar-rock
spiked with harmonica, with lyrics based on emotional want or need: "I Wanna
Feel Something Now," "I Hate You," "I've Gotta Change My Life."
   The Lyres, anchored by Conolly's Vox Continental (which Rodriguez later
borrowed), kept it uptempo and put their hammer down when Conolly sang "Help You
Ann." Through covers and originals, Conolly understands the way trashy rock 'n' 
roll can be a godsend, a comfort in a world gone mad.
   The headlining ? and the  Mysterians  knocked it out for an hour, peaking
near the end with "96 Tears," and bringing the house party to a climax. Yes,
at one level, ? seemed bizarre, trapped in a time warp. But at another level, ? 
and company transcended time and simply affirmed that what worked more than
three decades ago can work just as well now. No one was laughing at them. A lot 
of people were smiling (and sweating) with them. It's doubtful anyone went home 
sad.
The Boston Herald
January 10, 1998 Saturday ALL EDITIONS
SECTION: ARTS & LIFE; Pg. 023
HEADLINE: Music review; Garage-band fans don't question this show
BYLINE: By Robin Vaughan
? and the  Mysterians,  Lyres and the Fleshtones at the Middle East Thursday night.
   For the garage-rock faithful who filled the Middle East's downstairs club
Thursday night, the music bill was pretty nearly perfect.
With opening sets by two still-vital veteran bands that helped fuel the
'60s-rock revival of the 1980s - the Fleshtones and Boston's own legendary Lyres
- and a headlining performance by one of the most eccentric and influential of
the '60s originals, ? and the  Mysterians,  the show drew an enthusiastic crowd 
of younger revivalists as well as a big turnout of local heroes from the '80s
garage scene.
   Longtime scene followers in attendance included oddball garage fan P.J. (also
known as "the puppet man"), who has been bellying up to local stages with an
arsenal of furry hand puppets to help him in his cheerleading duties for two
decades. "Let's show all these idiots!" P.J. screamed from his stagefront post. 
   The sentiment was echoed more quietly all around the room as the vets
expressed hope that another revival might be under way. The prospect of new
albums by the Fleshtones ("More Than Skin Deep" will be released next week) and 
? and the  Mysterians  (later this year) gives the prospect some promise.
   The bands on the Middle East bill haven't lost much fire over the years. The 
Fleshtones, who have managed to stay together nearly intact since their debut EP
on the I.R.S. label in 1980, put on a classic show of chestnuts, obscure covers 
and new true-to-form originals, laying into every 4-4 groove with an arsenal of 
vintage Fender gear and the energy of teenage boys at a '60s dance party.
Garage hero Jeff Conolly (also known as "Mono Mann") put out some of the old 
charisma as he led his Lyres (including the original rhythm section from
Conolly's '70s garage-punk outfit, DMZ) through a set of groovy, hook-laden hits
and cover rarities, shaking a tambourine with one hand and playing infectious
organ leads with the other.
   Conolly boosted the show's power further by lending his beloved, trademark
Vox Continental organ to founding  Mysterian  Frank "Little Frankie Teardrop"
Rodriguez, who would otherwise have resorted to churning out the history-making 
organ riff of the  Mysterians'  single No. 1 hit, 1966's "96 Tears," on a
digital keyboard.
    Mysterian  leader ? (born Rudy Martinez), whose style as a showman has
provided inspiration for music personalities from Iggy Pop to Michael Jackson,
showed up with his cheesy rock-stud look intact, swiveling his pelvis in a
orange silk shirt open to the navel, black wraparound shades, skin-tight shiny
black pants.
   The band, including original members Rodriguez, Frank Lugo and Bobby
Balderrama and featuring ?'s son Robert Martinez on drums, played their set of
pure, ragged-edged garage pop with undiminished conviction, evoking a slew of
'60s rock and r & b associations from the Animals to Wilson Pickett.
The Providence Journal-Bulletin
January 9, 1998, Friday, ALL EDITIONS
SECTION: LIFEBEAT/WEEKEND, Pg. 6E
HEADLINE: POP WRAPUP Starship at Mohegan Sun; Geri Verdi at CAV
BYLINE: Steve Smith
Tonight
   Sixties rock stars ? and The  Mysterians  perform at the Met Cafe along with 
The Swingin' Neckbreakers, The Lyres and Mr. Rogers Project.
The Providence Journal-Bulletin
January 9, 1998, Friday, ALL EDITIONS
SECTION: LIFEBEAT/WEEKEND, Pg. 6E
HEADLINE: POP WRAPUP Starship at Mohegan Sun; Geri Verdi at CAV
BYLINE: Steve Smith
   Sixties rock stars ? and The  Mysterians  perform at the Met Cafe along with 
The Swingin' Neckbreakers, The Lyres and Mr. Rogers Project.
Chicago Tribune
January 9, 1998 Friday, NORTH SPORTS FINAL EDITION
SECTION: FRIDAY; Pg. 63; ZONE: CN
HEADLINE: POP STARS ARE ALREADY PLANNING 1999 PARTIES
BYLINE: By Neil Strauss, New York Times News Service.
DATELINE: NEW YORK
In scurrying to find the biggest and best year-end party last week, many
revelers no doubt realized that it's time to start thinking about what to do the
night the calendar turns to 2000. With the millennium two years away, concert
promoters and party planners are beginning to think seriously about putting on
huge end-of-the-century blowouts.
   QUESTION MARK OF QUESTION MARK and THE  MYSTERIANS:  The first thought I ever
received telepathically was between 1st and 6th grade, and it said: "Figure out 
how old you're going to be in the year 2000." I didn't know the answer because I
was bad at math, but something told me way back then that something's going to
happen in the year 2000. Is that when I die? Will we perform at Madison Square
Garden? It's a mystery. The people from the future also told me that I'm going
to come back in the year 10000 -- by myself.
The Patriot Ledger (Quincy, MA)
January 8, 1998 Thursday ROP Edition
SECTION: FEATURES; Pg. 24
HEADLINE: The music scene ;
Beat Soup still having fun after starting from scratch
BYLINE: Jay Miller, For The Patriot Ledger
SOURCE: For The Patriot Ledger
   NEW NAME, SAME ADDRESS -- You may have noticed a new title in the logo at the
top of this column. As I enter my second year writing The Patriot Ledger's
popular music column, we've changed the name from Rock Report to The Music
Scene. The idea is to reflect the wide range of musical styles, tastes and
events we report on here.
You can still reach me by mail, c/o Features Dept., The Patriot Ledger, P.O. 
Box 9159, Quincy MA 02269-9159; by fax, (671) 786-7335; or by E-mail:
newsroom(AT)ledger.com. Keep those cards and letters coming.
THURSDAY PICKS: Happy birthday Elvis, wherever you are. Quincy punksters
Bottom brings its skewed wit to O'Brien's Pub in Allston, on a bill with The
Modifiers. Quincy alt-rockers Forgetful Jones headline the Middle East upstairs 
rooms, while the downstairs of the Cambridge complex hosts ? and the
 Mysterians. 
The Boston Globe
January 4, 1998, Sunday, City Edition
SECTION: ARTS & FILM; Pg. N3
HEADLINE: The symbol of great rock;
? returns with his original  Mysterians 
BYLINE: By Elijah Wald, Globe Correspondent
They're back, like the ghosts of rock 'n' roll past: More than three decades
after "96 Tears" hit No. 1 on the charts, ? and the  Mysterians  have reformed. 
A new album finds them looking virtually unchanged, sullenly posed in their
leather and shades, and sounding as raw and energetic as ever.
   "We were like a bright star that shone for only the millionth of a second," ?
says, on the phone from his home near Flint, Mich., in advance of his show
Thursday night at the Middle East in Cambridge. "But that light has carried on
through all these years, and people remember what they saw. And a lot of people 
haven't seen it and now they're catching up."
   "96 Tears," with its infectious two-note organ riff and ?'s soul scream
driving home a hypnotically repetitive lyric, was three minutes of pure energy, 
the defining garage rock single of the 1960s (it hit the top of the charts in
September 1966). The group went on to make three albums, including one for Ray
Charles's Tangerine label, but never equaled that success. Their place in
history was assured, though, when rock critic Dave Marsh saw ? (backed by a
somewhat different group) in 1971 and referred to his music as "punk rock,"
apparently the first time the term was used in print. Marsh also called ? "the
greatest dancer in the history of rock and roll," and the years have apparently 
done little to slow down the skinny frontman's acrobatic, split-laden routines. 
   The superlatives Marsh and others have heaped on him, though, are easily
bettered by ?'s own view of his work. He will point out that "96 Tears" was the 
culminating point of rock 'n' roll; after that the music could go no further and
became simply "rock." And that is only part of the story. "I created 'hip' in
rock 'n' roll," he says. "Which a lot of people don't realize. I said, 'OK,
there's got to be a change, this is too stale.' So I put that attitude in there.
Then, as far as the writing, I did songs like '8 Teen,' written with the '8'
and the 'Teen.' Now, everybody does things like that, but I was doing it long
before Prince or anybody else."
   Speaking of he-who-once-was-Prince, ? was also the first to use a symbol
rather than a name. "People don't realize that I actually was the symbol, and I 
still am," the former Rudy Martinez says. "But it's kind of hard to communicate 
with earthlings if they don't know how to telepathically pick your thoughts up. 
Like if I called you and I said 'extended pause . . .' I'm telling you, 'This is
Question Mark,' but you can't pick me up because you don't have that ability
yet."
   Anyone perplexed by that "earthlings" reference deserves an explanation. The 
 Mysterians  are usually described as the great Chicano rock band, a group of
Mexican immigrants based in Michigan. As ? explains, though, that is not really 
correct. "The other four guys were born in Texas," he says. "And I'm from Mars."
   He will not expand on that theme, as he is trying to get two books published 
and doesn't want to give away his secrets, but he quotes from a New York Times
interview: "I was born on Mars many eons ago. I've lived many different lives. I
was around when dinosaurs were around." Other bits of personal information he
will let drop include that he is telepathically in touch with people from the
future and is trying to reach the pope and the president to pass on vital
messages.
   In the protean monologue that constitutes a ? interview, he does occasionally
say a few words about his music. He started out as a dancer, with dreams of
appearing on American Bandstand, before voices (he only recently realized theywere from the future) told him to take up singing. He enjoyed Buddy Holly and
the Crickets, Bill Haley, and other early rock 'n' rollers, but says that from
the first he had his own sound.
   "My only influence was being Catholic; the church organ, you know. Then after
church we would go to the ice cream parlor, and next door they had a Baptist
church and you could hear the people wailing, the tambourine, and I said 'Man,
why can't we do our music like that in our church?' And then when my mom took me
to see 'Gone with the Wind,' I was so captured by that music, the sound. So
those three elements, that was my influence."
   It is the organ that propelled "96 Tears" to the top of the charts, and this 
tour marks the first time in almost 30 years that Frank Rodriguez Jr., who
played the original riff, is back in the band. "Little Frank as distinguished
from bassist Frank Lugo, he moved down to Texas because he didn't like the cold 
weather up here," ? says, "so it was kind of hard to have practice sessions."
Rodriguez moved back to Michigan a year ago, and soon the classic band was
back together, with Lugo, rhythm guitarist Robert Balderrama, and drummer Robert
Martinez. While ? had been touring off and on with various pseudo- Mysterians,  
this was the moment the fans had been waiting for. Soon they were back in the
studio and out on the road (as well as the Internet, at www.96tears.com).
Another album is planned this year, featuring new material, and ? is ready to
conquer a new generation.
   "I really want to reach the young kids," he says. "I have a lot of messages
for them, and I want to teach them what music should be all about. Because
what's out there right now, it's not music, it's just blech, trash. You turn on 
the radio, and subconciously you know it's junk, but you accept it, because
without music what are you gonna do? But hopefully, in the back of your mind,
you're thinking, 'When is something good gonna come along again?' And if you
wonder why we're coming back, that's the reason. Because we've got real good
music. We always had good music. And we're resurfacing again because we want to 
let people know what music is all about."
The Providence Journal-Bulletin
January 4, 1998, Sunday, ALL EDITIONS
SECTION: ARTS WEEK, Pg. 7E
HEADLINE: MUSIC THIS WEEK
SATURDAY
   There's a garage rock festival at the Met Cafe, 130 Union St., Providence,
starring ? & The  Mysterians,  best known for their classic 96 Tears. Also
performing will be The Lyres, The Swingin' Neckbreakers and Mr. Rogers Project. 
Admission is $ 8; for information, call 861-2142.
The Boston Herald
January 2, 1998 Friday FIRST EDITION
SECTION: SCE; Pg. S15
HEADLINE: BOSTON BEAT Winter Wonders; Hub club concerts generate heat
BYLINE: By TRISTRAM LOZAW
   With the Middle East, TT the Bear's, Green St. Grill, Phoenix Landing, the
Cantab and Plough and Stars, Central Square in Cambridge remains the Hub's rock 
mecca. The Middle East presents Polvo and Trans Am Jan. 11. Also at the Middle
East: 1960s garage legends ? & the  Mysterians  Jan. 8.
Chicago Tribune
January 2, 1998 Friday, NORTH SPORTS FINAL EDITION
SECTION: FRIDAY; Pg. 40; ZONE: CN; Music. Play on.
HEADLINE: ROCKING UP A STORM;
13 LIVE SHOWS THAT SHOOK UP THE WINDY CITY LAST YEAR
BYLINE: Greg Kot.
   Out of hundreds of sets of music witnessed in 1997, here is a baker's dozen
of the best:
3. ? and the  Mysterians  at the Empty Bottle, Nov. 1: Thirty years after
storming the pop charts with "96 Tears" and then virtually disappearing, this
Latin-American quintet by now should have turned into a moldy lounge act. But
the songs still have a nasty edge that easily transcends nostalgia, and the band
does too, particularly the lean-as-a-whip Question Mark.
The New York Times
January 1, 1998, Thursday, Late Edition - Final
SECTION: Section E; Page 1; Column 1; The Arts/Cultural Desk
HEADLINE: THE POP LIFE;
Last Night? It's History. Think 1999.
BYLINE:  By NEIL STRAUSS
In scurrying to find the biggest and best year-end party last night, many
revelers no doubt realized that it's time to start thinking about what to do the
night the calendar turns to 2000. With the millennium two years away, concert
promoters and party planners are beginning to think seriously about putting on
huge millennial blow-outs.
   QUESTION MARK OF QUESTION MARK and THE  MYSTERIANS:  The first thought I ever
received telepathically was between first and sixth grade, and it said: "Figure 
out how old you're going to be in the year 2000." I didn't know the answer
because I was bad at math, but something told me way back then that something's 
going to happen in the year 2000. Is that when I die? Will we perform at
Madison Square Garden? It's a mystery. The people from the future also told me
that I'm going to come back in the year 10000 -- by myself.

Chicago Reader, November 7, 1997
Chicago  Tribune
November  4, 1997 Tuesday, NORTH SPORTS FINAL EDITION
SECTION: TEMPO; Pg. 2; ZONE: C; ARTS WATCH. Pop review.
HEADLINE: NO QUESTION: '60S GARAGE-ROCK PIONEERS STILL HAVE IT;
REUNITED ? AND THE  MYSTERIANS  RETURN WITH REFRESHING FOCUS ON MUSIC, NOT
NOSTALGIA
BYLINE: By Greg Kot, Tribune Rock Critic.
His name intentionally obscured, his face perpetually hidden by wraparound
shades, the lyrics to his greatest song--"96 Tears"--the subject of continued
debate by garage-rock fanatics, ? (Question Mark) and his band, the
 Mysterians,  remain a fascinating enigma 30 years after their breakup.
So even though the band is merely a blip on the rock 'n' roll time line, a
quintet of emigres from Mexico and Texas who forged an improbable assault on the
pop charts from Michigan's Saginaw Valley in 1966-67 and then disappeared, their
reunion performance over the weekend at the Empty Bottle was that rare
can't-miss event for disciples of punk, garage and early rock 'n' roll that
actually exceeded expectations.
   Though the 90-minute set consisted almost entirely of vintage material from
the band's heyday, there was nothing particularly campy or nostalgic about it.
This was because the five rarely overdressed their songs: two-minute odes to
sexual paranoia, jealousy and revenge shot through with organ riffs that
suggested a psychedelic merry-go-round and terse guitar eruptions that sounded
like a swarm of mosquitoes buzzing in a cavern.
   Though the band at times blended obvious sources--"You're Telling Me Lies" is
a thin rehash of the Sir Douglas Quintet's "She's About a Mover" and the Rolling
Stones' "19th Nervous Breakdown"--the pre-punk fervor was undeniable and
Question Mark's lyrics, delivery and stage presence were the full package: the
equal of early Mick Jagger and an obvious role model for Iggy Pop.
   The  Mysterians  dedicated themselves to the carnality of the groove rather
than to showy instrumental passages; their secret weapon was bassist Frank
Lugo, whose rhythmic thrust was integral to classics such as "96 Tears" and
"Ain't It a Shame." And there was Question Mark himself, who even in his 50s was
lean as a whip and writhed like an exotic dancer in his orange-and-black finery.
   His vibrato-tinged voice cut through the sonic barrage, issuing threats and
oozing desire that crossed Casanova with Bela Lugosi. "It's too late," he warned
his girl on "Ten O'Clock." "You missed your train and your name's been erased." 
On another tune he taunted an ex-best friend: "I'm taking your woman . . .
you're gonna loser her, loser." Then there was the immortal "96 Tears,"
delivered twice, triumphantly--part party anthem, part revenge fantasy. "And
when the sun comes up, I'll be on top," he vowed, but it looked like he was
already there, arms raised, hips thrusting, fingers snapping like a Mod mariachi
dancer.
   Openers the Goblins roared through a set just slightly longer than their
15-minute debut album, "Goblin Pride." With a thumping back beat and incisive
bursts of guitar, they came on like the Misfits--part metal, part punk--with
thinner songs, less macho chest-thumping and a whole lot more humor.
GRAPHIC: PHOTOPHOTO: Backed by his band, the  Mysterians,  and decked out in his
signature wraparound shades?  (Question Mark) performs at the Empty Bottle.
Photo for the Tribune by James Crump.
Chicago  Sun-Times
November  3, 1997, MONDAY, Late Sports Final Edition
SECTION: FTR; REVIEWS; Pg. 32
HEADLINE: ?and the  Mysterians  at the Empty Bottle
BYLINE: Jim DeRogatis
   ? and the  Mysterians  at the Empty Bottle
   For some rock fans, 1997 will be celebrated for the return of Fleetwood Mac. 
For others, it will be remembered for the Jane's Addiction "relapse" tour.
   But for my money, it will be hard to top the reunion of ? and the
 Mysterians. 
Punk forefathers best known for the timeless garage-rock anthem "96 Tears,"
the Clio, Mich., quintet is the missing link between Ritchie Valens and Los
Lobos in the history of Hispanic rock. The band borrowed the Motown rhythm, the 
Kinks' fuzztone guitar and a cheesy Farfisa organ that vaguely recalled the
accordion of traditional conjunto music, and the combination made history.
   Nearly 31 years after their first and only hit, ? and the original
 Mysterians  played to an enthusiastic crowd at the Empty Bottle on Saturday
night. The group is supporting a new indie release featuring re-recorded tunes
from their first two albums.
 And though it might seem hard to believe, the band 
seemed to have even more energy than it did when its members were all pushing
20.
   ? (who has never gone by any other name and has never been photographed
without his trademark sunglasses) bounded out onto the stage wearing an orange
silk shirt open to the waist. He never stopped jumping throughout the two-hour
show, just as the bassist never stopped flashing a mile-wide grin.
   The band played with a tightness that James Brown would envy, and if every
song sounded a bit like "96 Tears," well, it's such a great song, no one was
complaining. The  Mysterians  saved their big hit for the end of the night, and 
then they obliged their fans by playing it twice, as ? proved he's lost none
of the soulful growl that carried the original.
   Paving the way for the headliners were  Chicago's  Goblins, a quartet that has developed into a ferocious unit that mixes good-time Dictators punk with the vintage aggression of a '60s garage band like the Mumps.
   The band at the top of the bill also were history buffs, but they were
nowhere near as satisfying. The Permanents delivered an unbearably kitschy set
of late '70s New Wave covers, which would have been awful even if the drummer
could sing and the musicians could play. As it was, it was beyond painful to
endure.
Chicago  Sun-Times
October  31, 1997, FRIDAY, Late Sports Final Edition
SECTION: WKP; CLUB HOPPING; Pg. 5; NC
BYLINE: Mary Houlihan-Skilton
   ? AND THE  MYSTERIANS,  10 p.m. Saturday, Empty Bottle, 1035 N. Western.
   ? (yes that's his legal name) and all the original members of the '60s rock
band are still crying "96 Tears." Also on the set list: mysterious new material.
Admission is $ 10 at Empty Bottle (773) 276-3600.
Chicago  Tribune
October  31, 1997 Friday, NORTH SPORTS FINAL EDITION
SECTION: FRIDAY; Pg. 29; ZONE: CN; Music. Concertline.
HEADLINE: LINK HARDLY MISSES A BEAT
BYLINE: Rick Reger.
   THE A LIST
   ? and the  Mysterians,  Saturday at the Empty Bottle: Yep, it's the original 
"96 Tears"  Mysterians  led by one of rock's genuine, off-the-wall legends, ?.
Normally, one shouldn't expect much from bands with this much mileage, but
Arthur Lee and Love were superb a few years ago at Cubby Bear, so why not these 
guys? 1035 N. Western Ave. 773-276-3600.
The Toronto Star
October  27, 1997, Monday, FINAL EDITION
SECTION: ENTERTAINMENT; Pg. E6
HEADLINE: X-Files stars frosty friends
   ARTIST KNOWN AS ?: ? And The  Mysterians  are back. The band that gave the
world "96 Tears" back in the '60s has regrouped in their hometown of Clio,
Mich., and has a new album. The leader of the group still goes only by the
punctuation mark ? and told the  Chicago  Tribune that's because he never wanted
to open his life up to the public. "I was a symbol long before Prince!" he says.
Chicago  Sun-Times
October  26, 1997, SUNDAY, Late Sports Final Edition
SECTION: SHO; A COOL DOZEN; Pg. 2; NC
   9. ? and the  Mysterians  will fill the Empty Bottle, 1035 N. Western, at
midnight Saturday. Cover is $ 7.
Chicago  Tribune
October  26, 1997 Sunday, CHICAGOLAND FINAL EDITION
SECTION: ARTS & ENTERTAINMENT; Pg. 17; ZONE: C; Rock.
HEADLINE: ANSWERS FROM MR. ?;
 MYSTERIANS'  LEADER'S NOT CRYING OVER '96 TEARS'
BYLINE: By Rick Reger. Special to the Tribune.
Anyone who was paying even the slightest attention to Top 40 radio in 1966
can probably remember hearing it for the first time.
   That insolent, repetitive two-chord organ riff. That sneering voice mouthing 
a series of threats culminating in the lines: "And then I'm gonna put you way
down here/ And you'll start crying/ 96 tears."
Even in a year that was rife with garage-punk hits like the Music Machine's
"Talk Talk," the Seeds' "Pushin' too Hard" and the Standells' "Dirty Water," ?
and the  Mysterians'  "96 Tears" stood apart. It was the nastiest and most
willfully rudimentary of the year's bad-boy anthems. And in the last week of
October 1966 it was No. 1 on the Billboard charts.
   Although ? and the  Mysterians  never repeated the success of "96 Tears," the
saga of the band and the song continued well beyond the '60s. "96 Tears" became 
a widely covered standard, numbering Aretha Franklin, Jimmy Ruffin, Garland
Jeffreys, the Music Explosion, Joe "King" Carrasco, Big Maybelle, the Residents 
and Primal Scream among its many interpreters. It was especially popular in the 
wake of the mid-'70s punk revolution.
   And the  Mysterians  continued to resurface in one form or another, always
fronted by their enigmatic leader ?, who responds only to the name "Question
Mark," who won't reveal his true identity and who has reportedly never been
photographed without his trademark shades.
   Currently, ? is leading the re-grouped original  Mysterians  on a tour to
support a new LP of re-recorded band classics entitled "Question Mark and the
 Mysterians. " 
I recently phoned the reclusive Mr. ? at his home in Clio, Mich. 
(where the  Mysterians  originally formed) to discuss the mystique that
surrounds the band and the seemingly eternal "96 Tears."
   The following was culled from ?'s wildly digressive, rapid fire,
stream-of-consciousness musings.
   Q--Why did you adopt a question mark as your name?
   A--I've never really wanted to open up to the public, and I've never told my 
story until recently. Before that, I never publicly said anything about myself
other than that my favorite color was orange.
   Q--What was special about the  Mysterians  when you first appeared in 1966?
   A--We were for real. We dressed the way we felt. If I felt like having my
shirt tails hanging out, then my shirt was hanging out. I didn't want suits. I
didn't want ties. The record company made us do that a couple times, but I hated
it. When we first came out, we were for real, and our sound was for real.
   Q--Weren't The Beatles and the Rolling Stones real?
   A--The Beatles weren't real. They were emulating the sounds of American
music. They were into that black leather and wavy black hair look. The Stones
have said that they played the bad guys opposite the Beatles good guys image.
So, without the Beatles, you couldn't have had the Stones. We were an American
group playing our music. We weren't emulating anyone.
   Q--Why do you think that "96 Tears" was such a big hit in 1966? What was
special about it?
   A--It was the attitude of the lyrics. Motown was big then, but it was all
lovey-dovey. I loved the Supremes. They were a really good rock 'n' roll group. 
But everything was so lovey-dovey back then. I said no, no, no. There's got to
be more attitude in rock 'n' roll. You've got to show what life is all about.
You shouldn't try to cover it up.
   Q--The song also had a real distinctive sound, that droning organ, the
menacing beat. Where did all that come from?
   A--I was raised a Catholic, so I was used to going to church and hearing that
solemn organ. Then, after attending church, I'd go to the ice cream parlor,
which was right next door to a Baptist church where they'd be hitting a
tambourine, wailing and clapping their hands. And I always loved the big sound
of movie soundtracks like "Gone with the Wind." If you combine those three
elements, you don't need much more.
Q--Why do you think so many people have covered "96 Tears"? What is it about 
that song that resonates with so many different artists?
   A--I don't explain my songs. People should take the song the way they want to
take it. When a roomful of people hear a song, they'll all come up with
different interpretations of it. Once you explain what a song is all about, you 
limit it. It becomes the artist's song rather than the listeners'. That spoils
the whole thing.
   Q--Are there any versions of the song that you think are especially good, or 
not so good?
   A--Thelma Houston covered it in 1981, and the music she used in the
background sounded like that disco song "'Funky Town." I've heard most of the
different versions of "96 Tears," and I liked Aretha's. And I liked Big
Maybelle's. But I didn't like Thelma Houston's interpretation. "Funky Town"?  My
goodness.
   Q--There were a lot of covers of "96 Tears" during and right after the punk
era. Do you think the song qualifies as a punk anthem?
A--I don't know. Remember Wendy O. Williams (lead singer of the Plasmatics)? 
Is that what rock 'n' roll is all about? Bringing an old vehicle on stage and
destroying it just so you can get attention and be successful?  Come on. I'm not
breaking old cars. I'm writing good rock 'n' roll music.  That's real.
   Q--Some artists who are associated with one signature song come to view it as
a curse. Others see it as a blessing. Has "96 Tears" been a curse or a blessing 
for you?
   A--It was a blessing for us because everybody knows that song. People from
all kinds of different music know it. In the '60s, when you listened to AM
radio, you heard rock 'n' roll but you also heard Johnny Cash, John Denver, the 
Singing Nun, whoever. So when our song became a hit, people who liked country
and blues and whatever also heard it. It reached a lot of people. If it came out
today, only people who listened to that kind of rock 'n' roll would know it. So 
back then, being a one hit wonder wasn't so bad. A lot of people heard your
music. Also, if we had been successful with a lot more No. 1 hits, I sometimes
wonder if I would have gone the way of Jimi Hendrix or Janis Joplin.
   Q--What's the legacy of ? and the  Mysterians? 
A--Write this down. ? and the  Mysterians  are the world's greatest garage
band. They have an attitude, and they're ready to rock and roll!"
   Q--Anything else you want to add?
   A--"Yeah. I was a symbol long before Prince!"
   ----------
   ? and the  Mysterians  headline Saturday at the Empty Bottle. 1035 N. Western
Ave. 773-276-3600.
GRAPHIC: PHOTOPHOTO: In 1966, ? and the  Mysterians'  "96 Tears" was the
nastiest and most willfully rudimentary of the year's bad-boy anthems -- and No.
1 on the Billboard charts. ? is the guy in the middle.
'FLASHBACK' PUTS RAVINIA CROWD BACK IN THE '60S 
CHICAGO TRIBUNE, JULY 29, 1990 
Page: 5 
Section: TEMPO
Edition: FINAL EDITION
The place was as steamy as a sock hop, circa 1968, with the music rockin' just as loud.
There were Capri pants, tie-dyed T-shirts, perfectly teased hairdos and a rainbow of colorful balloons. A few people tried a line dance. Even more couples danced the jitterbug. One blanketful of eight actually executed a perfectly respectable hand jive.
This was not some high school gym, though, but Ravinia on Friday evening.
Move over, Mahler, let Lou Christie on stage.
Indeed, from the moment Christie pitched his falsetto and ''I'm Gonna Make You Mine'' out over the thousands who filled the pavilion and lawn area, the crowds had long since left 1990 and had rock 'n' rolled back to high school. 
True, there were a few gray hairs and receding hairlines among the ''teens'' and ''teen idols.'' And there may have been more white zinfandel and pate than colas and Chex Mix. 
But that didn't seem to diminish the youthful spirit of those who showed up for the night dubbed ''Sixties Flashback'' at Ravinia. 
Nor did the steam factor, pushed beyond the sultry level with a little rain from Mother Nature, seem to get in the way of a good time. Why, folks just pulled out hundreds of mammoth golf umbrellas or created tents with plastic tablecloths. 
Besides, Christie was on hand to sing ''Rhapsody in the Rain.''

''We're that vintage,'' said Beth Abrams, with a laugh and a nod toward the stage where Question Mark of the Mysterians was singing ''96 Tears.'' 
Caption:
PHOTO Lou Christie (left) helps the folks at Ravinia return to their childhood, circa 1968, including picknikers in the meadow. Tribune photos by John Bartley.

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