Here is a review of the Toadies, Butthole Surfers show in Dallas Texas.

BUTTHOLE SURFERS
TOADIES
The Reverend Horton 
Supersuckers
Friday June 14, 1996

The Dallas Morning News 
pg. 35A
by Thor Christensen

Texas bands serve up all-out alt-rock - raw

     There's no such thing as one definitive "style" of Texas rock.  But the
Butthole Surfers, the Toadies, and the Reverend Horton Heat staged an
impressive rally under a single flag Friday night at Artist Square: Each band
played brooding guitar-based rock at full-throttle intensity.
     The Dallas-based Reverend (singer-guitarist Jim Heath) and his clergy
(bassist Jimbo Wallace, drummer Scott Churilla) came up just as the sun was
going down and the rain was subsiding.  Gazing across the muddy throng, Mr.
Heath paid homage to Woodstock by cranking out the guitar overture from
Santana's Black Magic Woman.
     But this was by no means some long-winded '60s-rock jam.  The band
played a series of taut thrashabilly tunes before moving into twisted country
turf: The Rev'.s upcoming album might be titled It's Martini Time, but the
kinetic title track sounded more like Chet Atkins on steroids than breezy
cocktail music.  Another fine new tune, Cowboy Love, is without question the
first honky-tonk song about interracial gay dating.
     Mr. Heath showed up again at the end of the Toadies' set to present them
with a gold album for thier Rubberneck disc ("Congratulations for being rock
stars," he teased), and to help steer the band through an atomic version of
his song 400 Bucks.
     But the Toadies weren't in need of any guest-starpower.  The Fort Worth
quartet played with a crazed gusto that put to shame the memory of its last
Dallas show (New Year's Eve at the Bomb Factory).  Singer Todd Lewis snarled
like a mountain lion in Tyler and I Burn while Darrel Herbert roughed up his
guitar and bassist Lisa Umbarger bounced and headbanged with more abandon
than usual.
     Success definitely hasn't turned the Toadies soft: New songs, such as Una
ttractive (from The Cable Guy soundtrack) and the unreleased Waterfall, were
as raw and menacing as the band's older tunes.  The crowd, meanwhile, rocked
as hard as the group, mud-moshing and leaping in unison during Away and Possum
 Kingdom.
     The Butthole Surfers' esoteric show-closing was almost anticlimactic by
comparison.  While the Toadies roared and raged, head Surfer Gibby Haynes
fiddled with his sound-effects machines with a minimum of motion.
 Occasionally, he uncorked a mad laugh or a drug reference to keep the crowd
on its toes, but he mostly put the showmanship in the hands of the
lights-and-smoke crew.  The Surfers' music, however, was as delightfully
manic as ever - from the new opening tune (the rap-a-delic Pepper) to the
classic Dadaist set-closer, The Shah Sleeps in Lee Harvey's Grave.