Higgins - zs

Higgins write songs. Higgins compose music. Higgins are performers. Higgins is a band.

My, how Higgins have grown. No really. What used to be two has now grown to six. You would think there should be the obvious signs of growing pains or the usual good and bad traits exhibited by most large families. Higgins have somehow escaped the expected and as always never do the obvious. In this day and age of studio trickery the possibilities are endless when it comes to recording sounds to tape. In most cases the magic of the ones and zeros in the digital realm expands those options to the ends of the Universe. Not so for Higgins. The band is home in the studio and the musicians interact as friends and family would. There is a mutual respect and admiration amongst the musicians and this is no better represented then by simply listening to Zs. A typical Higgins composition is complex and deep with similarities to such greats as David Axelrod, Brian Wilson, Richard Evans, and the like. Higgins get the most out of each musician because they would not have it any other way. Live they are raw and real. Raw like an exposed nerve and not like a drunken Punk band. On stage the band performs as a well oiled machine. Their performances have enough loose moments to separate studio from club. The connection the musicians have to the music and to one another is awe inspiring and is sure to send a chill down your spine. These are performances that as a musician you can only hope to one day be a part of and as a fan you know years later you will proudly detail how, you were there.

Making comparisons of one sound to another or one band to another is only useful if the listener, reader or audience know the points of reference. To make obvious comparisons to Higgins seems unfair. There is something in their sound that harks to a more professional time in the world of music. A time when all musicians were musicians and schooled or rehearsed as such. This and this alone does not make a great band. Look to the rawest and best of Punk and Garage bands and you will know that professionalism is not even last on their list of priorities but not on the list at all. No, I am talking about music performed by true artists and craftsmen who are just as concerned with the notes as they are with the arrangements. To say their music is wise beyond their years is only appropriate because we don't expect this level of quality from the pedestrian performances and complacency with levels of mediocrity that are praised now-a-days by fans and sadly critics alike. Higgins stand above all in the studio and the music halls both of which seem to long for great sounds. This is not to say that Higgins don't know what it means to be primitive. They know that raw is no more powerful than polish and can embrace the two qualities with equal understanding and finesse. A typical Higgins song is layered with sounds, instruments and vocals all of which blend together like a chef preparing a signature dish. If Higgins were painters they would be Impressionists. If they were a movie they would be Film Noir.

Zs is a journey. Zs is an expression. Zs is music and it deserves to be heard.

Zs:

"There He Is"
Brian Kantor-Drums/Tambo/Shaker
Kevin Fish- Vocals/Guitar/Piano/Organ
Josh Kaufman-Guitars
Andrew Fuller Condon-Bass

There is always something sweetly familiar about a Higgins song. Maybe it is the perfectly placed aggression reminiscent of bands like The Faces against the warmly laid down harmonies of so many late 60's and early 70's masters from the Raspberries to Badfinger. Maybe it is just their ability to interpret these sounds and make them their own. Many bands claim this, but fall deeply into the pit of good intentions and poor imitations. "There He Is" never loses itself in clichés and Pop trappings. Perfectly short the way a great Pop song should be and lastingly memorable.

"Always Something"
Brian Kantor-Drums/Tambo
Kevin Fish-Vocals/Guitars/Piano/Wurlitzer
Josh Kaufman-Guitar Solos
Andrew Fuller Condon-Bass
Eric Jackson-Guitar Solos
Annie Nero-Cellos/First Bass Coach
Karen Waltuch-Violas
Travis Harrison-Mouse Gong

Kevin Fish can do more with his voice than most bands can with an orchestral backing. Sublime and wise beyond his years like Peter Sellers in "Being There." His words and delivery float through the compositions as a true storyteller and not just a singer songwriter (a title which is tragically thrown around and handed out far too easily). You can feel his presence around you as he walks through his life, and yours, as both observer and participant. The chorus, "There is always something to keep someone from loving me" is turned a few times to even include, "...to keep someone from mugging me." Our hero comes to his realization not sadly, but with full understanding that he has only himself to blame.

"Wall Of Dumb"
Brian Kantor-Drums/Tambo
Kevin Fish-Vocals/Acoustic Guitar/Piano/Wurlitzer
Josh Kaufman-Classical(30something)Guitar/Electric Guitar/Banjo
Andrew Fuller Condon-Bass
Eric Jackson-Electric Guitar
Jordan Crowell-Shakers/Muted Triangle/Awesomeness

The piano intro to "Wall Of Dumb" sounds so similar to something you know that as it pulls off into unfamiliar territory your stomach drops like a ride up and down rolling hills. The rolling hills continue and so does the breeze as Mr. Fish's voice stretches to reach the top of each peak and then happily glides to the bottom as his sorts the meaning of life. Maybe not the big meaning, meant to answer all of our insecurities, but just enough to get him through another day. The band rattles along like an old car, cranked up just enough to carry him from one revelation to the next but not simply as a vehicle but also fellow passengers on this journey. To great effect the Guitars, banjos and keyboards pluck and bounce along with the broken beat of the drums and tastefully placed percussion never allowing things to become settled.

"Jamy"
Brian Kantor-Drums/Extensive Percussion/Bongos in the style of Travis Harrison
Kevin Fish-Vocals/Wurlitzer/Piano/Synth/Wah Wah/Bass
Josh Kaufman-Banjo/Josh and Kevin's sampled voice Keyboard
Eric Jackson-Trombone/I'm Gonna take a Solo.....Guitar
Travis Harrison-Bongo Arranger
The Suffolk County Man Pipes-Group Vocals

Each subsequent track on Zs becomes more layered with sounds. The level of composition goes up and so do the chances the band takes. "Jamy" has one of the coolest intros I have ever heard. There is even a synthesized breeze to make the point more definitively and by all rights should be corny yet feels perfectly genuine. Right before the first chorus passage there is a Guitar, Electric Piano and Drum part that passes in a fraction of a second but one I can get hung up on for a lifetime. It comes again and never loses its affect. Simple, pure and soulful. It is a moment that cannot be spoken, a moment when words are not enough or maybe too much to do it justice. Somehow Banjo manages to come off just as soulful as the more obvious choices of instrumentation but then with the swirling Wurlitzer and spectacular Guitar solo it would be hard to break the mood.

"Roy G. Business"
Brian Kantor-Drums/Percussion
Kevin Fish-Wurlitzer/Vocals/Organ
Josh Kaufman-Drop D Guitar/Piano
Eric Jackson-Guitar
Andrew Fuller Condon-Bass
The Suffolk County Man Pipes-Group Vocals

Somber and zombie like "Roy G. Business" lumbers in with the band. There are moments when you can feel them lose their balance as if the band is playing on the deck of a storm tossed boat. Cymbals crash and tom toms roll like the waves crashing to the deck or at times trying to roll the boat and end the misery. The Suffolk County Man Pipes drunkenly try to save their souls with a sea worthy chant. Hopelessly trying to raise the dead or alert rescuers through the darkness but sadly all is in vein. No one hears, no one is coming; all is lost and the world has gone calm.

"Yes I Know"
*Brian Kantor-Drums
Kevin Fish-Vocals/Guitar/Piano/Glockenspiel/Shakers
Josh Kaufman-Guitars
Andrew Fuller Condon-Bass
Travis Harrison-Tambo

Pure Pop perfection has had its moments and nothing is more pure than "Yes I Know." You can almost hear the crowd singing along with Kevin as he repeats "I found a new way" throughout the song. The band raises the excitement and tosses us around just because they can. The singer remains grounded and determined to make sure that we know he is enjoying a moment. This is a moment of clarity and happiness, a moment of pure bliss. At these moments we are best on our own. We are no longer needy, no longer wanting. We have reached a simple state of being. Egoless. This is what a flower must feel. In typical Higgins style, mere seconds before the song concludes Mr. Kaufman treats us to just enough of a guitar solo that we are both left wanting and satisfied.

"Write It Down"
Brian Kantor-Drums
Kevin Fish-Vocals/Guitars/Bass/Organ/Wurlitzer
Karen Waltuch-Violas/Violins
Josh Kaufman-String arrangement

"Write It Down" is sentimental. Thinking of all the great things you could have said; the perfect sentiment, the timely quote or the humorous finish at the end of a thought. All the things you wish you would have said and sometimes things you should have said. Write it down, it doesn't mean any less. Sometimes it may even mean that much more. Drums drive a sharp string arrangement and lilting keys throughout. At times the voice peaks out of the darkness as if lost in thought, clouded by the possibilities to say the right thing.

"OK"
Brian Kantor-Drums/Shakers/Guitar Manipulation
Kevin Fish-Vocals/Acoustic & Electric Guitars/Wurlitzer/Synths/Synth Bass & Electric Bass
Eric Jackson-Electric Guitar/Fuzz Box Amp Guitar

Fuzz Guitar threatens to shatter the gentle sounds that open "OK." The mood is mist like and airy. Eric Jackson cuts the atmosphere with layers of feedback exposing the storm that is raging inside. Brian Kantor opens up and attacks his kit as if to prove that sometimes what we think is so delicate and fragile is actually quite stable.

Prelude To A Charly"
Brian Kantor-Drums/Bass/Electric and Acoustic Guitars/Piano/4th Drum solo
Travis Harrison-Drums/Special Effects/3rd Drum Solo
Dan Crowell- Drums/Bell Riding/Fire Cracker Fills/2nd Drum Solo
Kevin Fish- 1st Drum Solo

A band is only as good as its drummer. Period. Regardless of genre. Higgins is not a good band. Higgins is a great band. What makes them so is drummer extraordinaire, Brian Kantor. Rarely on a Pop record does the drummer get to express his or her greatness in such an overt way. Not only does "Prelude To Charly" demonstrate his aggression and skill but he invites and arranges three other drummers to pound his point home. "Prelude" whirls and crashes in what can only be described as a moment of Prog Rock brilliance. Big beats coming at you from all sides, Percussion, heavy Bass and Keyboards come together as one and at times separate as if unaware of each other. You are trapped in the vortex as the musicians surround you driving you closer and closer to the edge of insanity. Suddenly the mood shifts lulling you to sleep with rim shot driven rolls and gentle piano. The nightmare or ecstatic moment, depending on your perspective, builds back up before we are dropped hard and shot through the grease.

"Charly"
Brian Kantor-Drums/Percussion
Kevin Fish-Vocals/Guitar Left/Guitarmonies/Flute Organ
Josh Kaufman-Guitar Right
Andrew Fuller Condon-Bass
Eric Jackson-Slide Guitar
Scot Gropper-Hammond Organ

Southern Rock with a boogie base is a very good place to land after the prelude. Kantor continues his brilliant assault and the band seems very revved and ready to join him. Fish comes on like he is ten feet tall and the band have an invincible quality to their sound. The addition of Hammond Organ is a great choice and one that more new bands need to explore as it is one of the greatest inventions of the 20th Century. Grooving with harmonies, several slashing guitars and thunderous bass "Charly" is one bad mother-fucker. The Prog flavor is evident in the vocals but the band is all business up front and you guessed it, you know what's going on in back. The outro shows just how sharp the band can be even in territory that is not necessarily familiar to them. This is like Queen meets Black Oak Arkansas.

"Everybody (Thunder Mountain)"
Brian Kantor-Drumkit Left/Acoustic Guitars
Kevin Fish-Vocals/Acoustic & Electric Guitars/Piano/Harpsiboard
Josh Kaufman-Vocals/Acoustic Guitars/Electric Guitars/Autoharp
Andrew Fuller Condon-Bass
Eric Jackson-Trombones/Electric Guitars
Jordan Crowell-Tambo
Travis Harrison-Drumkit Right
Billy Filo-Acoustic Guitars
Karen Waltuch-Violas
Meryl Joan Lammers-Flutes

Saying goodbye with a mix of what has come before is a nice way for a band to go out. "Everybody (Thunder Mountain)" combines all of what makes Higgins great and is certainly no throw away at the end of side two. By this point the band has grown to ten players all of whom complement each other as well as shine brightly. The rhythm section continues to kick up some dust, strings and flute dart back and forth avoiding the percussion and ducking cymbals while the keys challenge the bass and trombone to be heard. This is an explosive closer but after you catch your breath and begin to process what you just heard you will want to start it all over again from the beginning.

Primitive Sound System, Bill Dolan and Joe Raaen go Back To School - Thurs Sept 4th at D.C.'s Tavern

Hello Y'all,
Back to school days! If there is a more joyless time of year I dare you to name it. Back to school signifies the dead last second of Summer and even if it isn't your favorite time of year no other season's activities and features are missed more. Long days begin to give way to long nights and the weather becomes even less predictable. God I love this time of year! Let's stay inside and listen to records. Speaking of, I picked up a lot of records this Summer for very cheap from a friend selling off some 45's to make room for his 78 collection. Some of these are records I have been looking for, for a long time and others were a complete surprise. Tonight school is back in session with your scantly dressed teachers Bill Dolan, Joe Raaen and my sexy damn self. Please come to class prepared. Requirements for this evenings course are notepad, pencil, a hearty thirst and dollars to stuff in the barkeep's school uniform.

- pat.

Primitive Sound System
VINYL RULES!
"Audio Visual Triumphs and Disasters" - http://primitivesoundsystem.blogspot.com

Primitive Sound System, Bill Dolan & Joe Raaen
Thursday September 4th 9PM to Closing
D.C.'s Tavern
505 8th Street
Between Jefferson and Madison
BACK IN BACK
Hoboken, New Jersey
PH: 201-792-5550
http://www.dcstavern.com
http://myspace.com/dcstavern

What's in my lunch box:
The Voxpoppers - "The Last Drag" (Mercury cat. 71282X45)
With the most time stamped sound from intro to finish The Voxpoppers grind their way through one street racers last race and a blown chance to impress his lady. The talked vocal moves slowly but we are slammed head on into one of the best 50's guitar sounds there is. Both twangy and raw with a big sound that needs no accompaniment to tell its story. Happily this solo goes on longer than the average 50's vocal track making it almost a guitar instrumental. One mile later the pistons blow and sadly not only is the race lost but so is the car and any chance of having a little fun in the back seat.

Dottie Wright - "Eclipse Of A Lover" (F - M Records cat. 471)
Mmmm... this is one of the tastiest 45's I have picked up in a long time. Les McCann's "Compared to What?" has long been one of my favorite songs and a few songs come close to its feel. Dottie Wright not only comes close but this little disc gives me chills. Bright piano and steady drums ride atop a heavy bass line in a perfect combination of Jazz and Soul. Ms. Wright has a very young sounding voice and one that also is reminiscent of the modern ladies of soul like Elizabeth Shepherd, Alice Russell, Dionne Charles, etc. I assume this record is from the late sixties or early seventies and hopefully Ms. Wright is an influence on the aforementioned ladies of Soul.

Dee Dee Sharpe - "You're Just A Fool In Love" (Atco Records cat. 6576)
Holy cow. Early Dee Dee Sharpe has always been a regular spin for me. I have practically worn a groove through her "All The Hits" LP. So while visiting Mr. Fine Wine on his radio show I was amazed to find out that this was Dee Dee Sharpe. This is one funky little groover and it even comes with a nice break. Sharpe's voice is big and soulful here as opposed to her younger cuts like "Party Lights." There is something similar to a Staple Singers side with spectacular guitar, big arrangement and deadly rhythms. Ms. Sharpe whoops and hollers after the choruses giving it a Marva Whitney thing as well. Simply perfect and this is what record collecting and DJing is all about. I hope you enjoy as much as I do.

Bobby Womack - "Arkansas State Prison" (Minit Records cat. 32093)
From one of my favorite Bobby Womack LP's comes this down and dirty tale of imprisonment. Bobby Womack has one of the strongest voice that carries him effortlessly from the quiet moments to the shouts. Musically he provides distinctive guitar riffs and his band his always sharp as a razors edge. Similar to Arthur Alexander, Bobby Womack sits comfortably in the world of Soul as he does in the Rock world. "Arkansas State Prison" is at times bare and sparse and at others lush and and emotional. Tony Joe White minds a similar territory but never so beautifully.

Johnny Hallyday - "MAL "Hush"" (Philips cat. Bf370489b)
Johnny Hallyday tackles Joe South's incredible "Hush" with the same aggression that Deep Purple did but does it in a Mod Soul groove worthy of any dance party. The band never pushes Hallyday aside and lets him shine but they are certainly not taking it easy or sitting back on their heels. Hallyday has had an insanely long career in France both acting and singing and In 1969 he was even backed by the Small Faces on his Rivière... Ouvre ton Lit. LP. His version of "Hush" shows that not all actors suck when the sing.

Mark Murphy - "Daddy Must Be A Man" (Capitol cat. F4021)
Mark Murphy is a pretty great Jazz singer who did some his best work in the 60's. This must be his first recording or at least pretty damn close to it and it is easily one of the oddest records I have ever heard. This is a wolf is sheep's clothing. At first the song comes off like a domestic disturbance where Dad is a feared ruler of the roost. Slowly it unfolds that Mom maybe less than faithful and is able to convince Dad that he is the only one that matters and King of his castle. The song is sung from the perspective of one of the children and is certainly warped as such. The music is a pretty basic 50's early 60's hand-clapping romp with sweet female backing. Somehow this adds up to one insane little ditty that makes me bob back and forth.

The Aquatones - "She's The One For Me" (Fargo Records cat. LF-B1001)
I love a song that has an intro contrary to the rest of the song and "She's The One..." is one such song. This opens with the lead singer testifying his love of his baby in a pleading tone. As soon as he is certain we understand the band kicks in full tilt and never lets up. I am not sure but it seems that every great song from the 50's / Early 60's has a screaming sax even if it is a brief burst and for me, that is what makes them so great. The group uses their voices in very unique ways changing tone and shape in ways that are almost silly yet work incredibly well in this setting. "She's as sweet as she could be and she gets rid of my misery... she's the one."

Lester Young - "Wobble Time" (Chase Record Co. cat. 1200)
Ahh, now this is just fucking great. Lester Young and band lead us through the Wobble and make sure we never get lost by supplying the dance steps right there in the lyrics. Despite his bands obvious geographical tribute, the California Playboys, there is a New Orleans sound that runs under this. There is nothing like a nice pause and "The Wobble" has some nice "freeze" moments throughout. The recording is insanely clean and loud as hell which is really impressive. Young talks to us as the band tightly walks at a medium pace with bass, drums and piano leading the dance floor and wobbling about. Let's wobble baby.

The Stance Brothers - "Youth Groove" (Ricky Tick Records cat. RT024)
The Stance Brothers, The Stance Brothers, The Stance Brothers! These guys just know how to kick. I am not certain how to even describe this. There is a little Meters in there, maybe some JB's, maybe some Kool and The Gang, oh hell this is ALL Stance Brothers. Beautiful Vibes, sharp Drumming, stabbing and flowing Guitar all leading the horns through the brighter moments of their own brand of Jazz, Soul and Funk. The drums treat us to a very un-typical break and the band gives a shout in approval. I have watched video of these guys they are definitely all about feel and mood. Each member embraces their instrument and unlocks the beauty within and usually they do it funky as hell.

The New Mastersounds feat. Dionne Charles - "All We Can Do" (One Not Records cat. ONR7004)
There is nothing like Dionne Charles and there is certainly nothing like the tight as a duck's ass New Mastersounds. Ms. Charles gives her voice and attitude to this polished and 100% funky groove. This band adheres to the repetitive style of Funk that grabs a groove by the balls and never lets up. Equally as impressive instrumentally as the powerful yell of Ms. Charles the band can at times sound like a tape loop. There is a subtle and moody keyboard solo about three quarters the way in that floats above the never changing base but shakes things up just enough to keep it from getting samey and boring. Hard and heavy.

Trio Valore - "Rehab" (Record Kicks cat. RK45 020)
"Rehab" was an amazing Soul song from the first time you heard it. Amy Winehouse's waste of a life attitude is the only thing that can tarnish it. It has become tiresome to hear one more story about her and if I hear this song played one more time by some idiot who seems to think actual rehab may be a cool I may explode. It is painful. Along comes this giant organ instrumental version to breath life back into it and remind us all how great it really is. Drums kick this wide open and the organ jumps in to state the theme. Please don't sing along, just let it be. The organ is masterfully handled here by Seamus Beaghen who has quite a history wrestling the Hammond. The drum throne is manned by none other than Steve White formerly of the Style Council. Damon Minchella gives the bass its voice and the extra heavy bottom which helps keep this from being too Loungey. Suffice it to say these gentlemen are the cream of the crop and it comes through loud and clear on this fantastic reworking.

Ken Morimura - "Descarga Para Ti" b/w The Soultwisters - "Soulpudding" from Nik Weston Presents The Funky Instrumentals 45 Volume Two (Mukatsuku Records cat. MUKAT 008)
Both sides of this are pretty great but for some reason right now I can't stop listening to "Soulpudding." I have no idea if this is an old or new song. It sounds very modern but who knows, it may be a reissue. The band is quite explosive with pounding drums and blaring horns. There is a very aggressive blowing sax but he is not the only stand out no matter how hard he tries. The guitar makes sure of that with a slightly Southern flavor to a blistering solo. The band knows a good thing when they hear one and they pick up the pace behind him but drop right back in the pocket to state the theme and hand the whole thing back over to the sax. nothing like some friendly competition to get the blood flowing and the bodies moving.

PSS; B. Dolan and special guest Justin Frohwirth - D.C.'s Tavern - Thursday Aug 7th

Hello Y'all,
This month Bill and are joined by Justin Frohwirth. Justin will be bringing a box of extremely rare and simply the best fucking Punk records you will ever hear. I think Bill and I are more excited than he his. We get to hear some amazing records, most of which we have probably never heard before, and unfortunately Justin has to deal with us two knuckleheads. Justin runs the amazing http://www.collectorscum.com website. Just take a look through the site and you will get an idea of what you are in for. Recently Justin said that he is into pure Punk rather than Hardcore, etc which we look forward to the focused set. He will grab the 10PM - 12 PM hours with Bill getting the action started at 9PM and as always I'll be entertaining the empty stools for two hours. It's all fun and games until My Brother the Bartender yells, "BOB GAUL!" "GET'DA'FUGH'OU'DA-ERE!" And of course, simply "GO HOME!" Since I wouldn't even want to compete with the likes of Justin, I'll be bringing some favorite, more common members of the Punk scene and some not-so-very Punk records including A LOT of recent acquisitions from the Iris Records Record Riot, and several other sources.

- pat.

Primitive Sound System
VINYL RULES!
"Audio Visual Triumphs and Disasters" - http://primitivesoundsystem.blogspot.com

Primitive Sound System, Bill Dolan & special guest Just Frohwirth (10PM - Midnight)
Thursday August 7th 9PM to Closing
D.C.'s Tavern
505 8th Street
Between Jefferson and Madison
BACK IN BACK
Hoboken, New Jersey
PH: 201-792-5550
http://www.dcstavern.com
http://myspace.com/dcstavern

Justin's site - http://www.collectorscum.com

Personal Punk Favorites:
I have written about each one of these on many occasions. Hey, they really are my favorites. So this time I took a different approach.

Pere Ubu - "Final Solution" (Hearthan cat. HR102)
Discovering Pere Ubu was one of the most important moments in my life. Not only did I discover the sounds of one of the most creative bands ever but also the works of Alfred Jarry whose book Ubu Roi gave the band its curious moniker. Pere Ubu or Ubu is the vulgar, oafish, greedy and moronic character created by Jarry and his schoolmates to mock a hated teacher. Jarry continued to shape and mold the character and his story into an elaborate play. When the work first appeared on stage Ubu stood alone and declared, "MERDRE!" This translates as "SHIT-RR!" just in case anyone present didn't catch the vulgarity. A riot immediately ensued and so was born the career of one of the greatest absurdists. The band Pere Ubu were born from the ashes of Ohio Garage / Punk band Rocket From The Tombs. The amazing Rocket also spawned The Dead Boys. After being asked to describe their music by fans and critics alike Pere Ubu created a genre of music for themselves, Avant Garage. Ironically the music of Pere Ubu is easily explained BUT no one single explanation will cover all of their works and sometimes not even an entire song. Yes they are that unique. At times the music is visceral and pounding with primitive screams, riffs and rhythms typical of most Garage bands and at other times the music is complex, experimental, intellectual and always purely original. Just listen to the lyrics of "Final Solution" and you will instantly recognize it as a teenage angst anthem but this is no "My Generation." The song is a perfect companion for the Dead Boys "Sonic Reducer" and has an obvious formal connection.

Final Soulution:
The girls won't touch me
Cos I've got a misdirection
Living at night isn't helping my complexion
The signs all saying it's a social infection
A little bit of fun's never been an insurrection

Mamma threw me out till I get some pants that fit
She just won't approve of my strange kind of wit
I get so excited, always gotta lose
Man that send me off
Let them take the cure

Don't need a cure
Need a final solution

Buy me a ticket to a sonic reduction
Guitars gonna sound like a nuclear destruction
Seems I'm a victim of natural selection
Meet me on the other side, another direction

Don't need a cure
Need a final solution

The Dead Kennedys - "Police Truck" (I.R.S. (International Record Syndicate) Inc. cat. IR-09016)
Having friends with older siblings doesn't always mean hours of endless torture. Sometimes it means you are exposed to things that can help you skip steps in the natural evolution from child to young adult. In this case skipping Classic Rock and landing directly in the pit. While most of the kids in school were learning about Classic Rock my buddy Joey's sister was listening to Punk and New Wave bands (Ramones, Talking Heads, The Clash, etc...). I spent a lot of time at his house. Joey was a great friend and his sister and her friends were really good looking. I endured lot of teasing from Joey in their pool since I was quite large by age twelve but it was all worth it as his sister and her friends shared the pool with us. They controlled the radio, which in most cases would suck, but in that backyard the music and visuals were both perfect. Soon Joey and I were listening to bands we discovered through the music of his sister. The Dead Kennedys were one such band and a logical progression. To this day I can listen to "Fresh Fruit For Rotting Vegetables" over and over and never once get bored and at one point want to launch myself across the room. "Police Truck" is not on that CLASSIC Rock LP but is easily one of my favorites. This is also an early example of looking to the B-Side. The B-side is a place I have always felt more comfortable.

minutemen - "Paranoid Time' (SST cat. SST-002)
The Minutemen are probably the most influential band to me as a musician, OK, I am a drummer but that is almost a musician. Minutemen drummer George Hurley takes the fast paced, hard strumming guitar of D. Boon and makes it all swing. Simultaneously he can join with Mike Watt and go from blistering Hardcore to Funk grooves that would make James Brown smile. The songs of the Minutemen are short but they are filled with tempo shifts, breaks and parts that may or may not go together yet flow beautifully. Politics and timings come together without ever being disjointed or preachy. As time went on the songs of the Minutemen became structured more like Pop songs. Choruses were not only repeated but clearly sung to ensure the messages were heard and the meanings not confused. The band never lost any its power but sadly came to an abrupt end after D. Boon died tragically in an car accident. "EVERYBODY, SWING TO THE LEFT!"

Melvins - "Snake Appeal" (C/Z Records cat. CZ-1705)
Soon after I lost my taste for all things Hardcore I stumbled upon a few bands from the Great North West. At the time there was no way to know what the future soon held for this area of the States but from the first few records I picked up I began to notice similar names from one record to the other and consistency from a handful of labels. C/Z Records, Estrus Records, EMpTy Records and later on Sub>Pop were obviously at the forefront and involved in something different than the rest of the country. The idea wasn't necessarily new but it really did sound fresh. There were a few bands already combining the sounds of Metal and Punk (Black Flag surely comes to mind) so the sound itself wasn't particularly Revolutionary as much as you could smell and taste the ooze dripping from the turntable. The sound could be slow and dirge like Flipper or fast like Hardcore but almost ALWAYS the music was aggressive and in many cases "loud" became an ingredient and not just the final expression. I can't remember which I picked up first, this 7-inch or the Deep Six compilation but that doesn't really matter. Deep Six introduced me to Green River, Malfunkshun, The Melvins, Skin Yard, Soundgarden, and The U-Men. All of these bands instantly became favorites (except for Malfunkshin who later birthed Mother Love Bone and finally Pearl Jam). The Melvins had it all; Dirge, Punk, Hardcore, Metal (something I had never developed a taste for but was now beginning to understand) and to me the best aspect of all... NOISE!

LONG LIVE ROCK! BE IT DEAD OR ALIVE!

Primitive Sound System at Lamp Post - TONIGHT! 07-30 from 10 to Closing

Hello Y'all,
Looks like I'll be slinging the tunes DOWNTOWN. That's right folks. Downtown Jersey City at the Lamp Post. I wish there was a drunken bum at the foot of the post just like those lights that were on every home bar in the 70's. "See the cute drunken hobo. Don't be scared Timmy, he can't hurt you...for now." I'll be stuffing my sack and box full of a lot of Mono sounds as I hear they may be deficient in the ability to spread Stereo sounds of joy. Luckily there's no lack of the goods in that department in my collection. As usual I'll be spinning through 5 decades of Instrumentals, R&B, Soul Funk, Latin, Garage, Punk and Rock. I have some great new records that I can't wait to play.

- pat.
Primitive Sound System - http://primitivesoundsystem.blogspot.com

Spinning from 10PM to Closing
Lamp Post Bar & Grill
382 2nd St
Jersey City, NJ 07302
(201) 222-1331

Set List July 31, 2008 at The Lamp Post - Jersey City, New Jersey

The Knockabouts - "Riot In Room 3C" (Shad cat. 5013)
Cyclones - "Bullwhip Rock" (Trophy Records cat. T-500)
Irving Ashby - "Big Guitar" (Imperial cat. X5485)
The Mysterions - "Transylvania" (Warwick cat. M 521)
The Shades - "Skip It" (Joey Records Inc. cat. J-6206
The Pacers - "Skeeter Dope" (Ally Records cat. 1013)
Tiny Fuller Group - "Turkey Jerk" (GAN Records cat. 1001)
The Vocaleers - "The Cootie Snap" (TwistTime cat. 45-T-11)
Sebastian and The House Rockers - "Nobody Can Do the Dog Like I Do" (Key Records cat. 302)
Bill Robinson and the Quails - "The Cow" (American Records Inc. cat. 45-6000)
Lester Young - "Wobble Time" (Chase Records Co. cat. 1200)
Dave Lewis - "Lip Service" (A&M Records cat. 735)
Bobby Boseman - "Astrological Soul Train" (Tangerine Records cat. TRC-1028)
The Turnarounds - "Soul Walk" (Tangerine Records cat. TRC-999)
Watson And The Sherlocks - "Funky Walk" (Soulville Records cat. SV-1015)
Charlie Earland's Erector Set - "Yes - Suh' " (Eldorado Records cat. 9969)
The New Way (Billy Guy of The Coasters) - "Lookin Like A Nut Nut" (GuyJim Records Inc. cat. GJ 587)
Alvin Robinson - "Down Home Girl" (Red Bird cat. RB 10-010)
Robert Parker - "Everybody's Hip Huggin" (NOLA Records cat. 735)
Allen Toussaint - "Soul Sister" (Reprise Records cat. REP 1109)
Baby Huey & The Babysitters - "Mighty Mighty Children - Pt II (Unite Yourself This Hour)" (Curtom cat. CR 1939)
Dr. John - ("Everybody Wanna Get Rich) Rite Away" (Atco Records cat. 45-6957)
The Watts 103RD Street Rhythm Band - "65 Bars And A Taste Of Soul" (Warner Bros. Seven Arts Records cat. 7222)
Trio Valore - "Rehab" (Record Kicks cat. RK45 020)
The Lifeguards - "Slow Swim" from the LP "C'mon And Swim" (Wyncote cat. W 9043)
Marsha Gee - "Peanut Duck" (Penniman Records cat. PENN 45 013)
Carol Jones - "Don't Destroy Me" (Mutt Records cat. M 27320)
Marlena Shaw - "California Soul" (Cadet cat. 5656)
Jodi Gales - "You Gotta Push" (Thomas cat. TH 808)
Mary Jane Hooper - "I've Got Reasons" (Power-Pac cat. 45-2053)
Betty Harris - "There's A Break In The Road" (SSS International cat. SSS-766)
Betty Davis - "If I'm In Luck I Might Get Picked Up" (Just Sunshine Records cat. JSA-503)
Vicki Anderson - "If You Don't Give Me What I Want (I Gotta Get It Some Other Place)" (King cat. 45-6109
Ruff Francis & The Illusions - "Give Me Mercy" (Essica Records cat. 002)
Shadows Of Knight - "Shake" (Team cat. TM 520)
Fever Tree - "I Can Beat your Drum" (Fever Tree cat. 661)
The Combinations - "Bump Ball!" (RCA Victor cat. 47-9482)
The Barbarians - "What The New Breed Say" (Laurie Records Inc. cat. LR 3321)
The Flower Children - "Mini-Skirt Blues" (Allied Records cat. 101)
The Kingsmen - "Get Out My Life Woman" (Wand cat. WND 1174)
The Juveniles - "Bo Diddley" (Jerden cat. 770)
Guess Who? - "Shake It All Over" (Scepter Records cat. S 1295)
Hal Blaine - "Drums A Go-Go" (Dunhill cat. D-4049)
Jimi Hendrix - "No Such Animal" (Audio Fidelity cat. AF-167)
The Troggs - "I Can't Control Myself" (Atco Records cat. 45-6444)
The Remains - "Once Before" (Epic / Sundazed cat. S 181 / BVM 27565)
The Monkees - "Goin' Down" (Colgems cat. 66-1012)
The Fabulous James Brown at The Apollo - "I'll Go Crazy" (King cat. K-EP-826)
The Rivingtons - "The Bird's The Word" (Liberty cat. 55553)
The Falcons & Band - "The Swim" (Lu Pine cat. L-1003)
Donald & The Delighters - "Wang Dang Dula" (Cortland cat. C-109)
Eddie Chamblee - Dayton Selby on Organ - "The Honeydripper" (Prestige cat. PR 45-302)
Jimmy McGriff - "The Worm" (Solid State cat. SD 2524)
David Batiste & The Gladiators - "Funky Soul, PT 1" (Instant Records cat. 3308)
The Touch - "Pick And Shovel" (Lifesaver Records cat. 45-100)
The Dynamic 7 - "Squeeze Me - (Part 2) (Monument cat. No. 680018)
Lee Dorsey - "Four Corners Part II" (Amy cat. AMY 11,031)
Dyke And The Blazers - "Funky Walk Part II (West)" (Original Sound cat. OS-79)
Syl Johnson - "I Feel An Urge" (Twinight Records cat. 108)
Andre Williams - "Humpin' Bumpin' and Thumping" (Checker cat. 1187)
Alvin Cash - "Different Strokes For Different Folks" (Mar-V-Lus cat. 6018)
James Young and the House Wreckers - "Barkin' Up The Wrong Tree" (Jet Stream Records cat. 808)
The Banana Splits - "Doin' The Banana Split" (Hanna-Barbera Productions Inc. / Kellogg's cat. #34579)
Lorenzo Holden - "The Wig" (Cee-Jam Records cat. #1)
Jimmy Bee - "Hot Pants - Do You Wear Em" (Cherry Red Records cat. CR-4502)
Terrel Purde - "Funky Soul" (Tangerine Records cat. TRC-959)
The Sheltons - "The Cat" (Dot Records cat. 45-17174)
Leo Valentine - "Behind The Out House" (Camelia Records of Richness cat. 45-100-66-CB)
Bill Cosby with the Bunions Bradford Band - "Hikky Burr - Part One" (Uni cat. 55184)
Lou Rawls - "Season Of The Witch" (Capitol cat. 2550)
Etta James & Sugar Pie Desanto - "In The Basement - Part 1" (Cadet cat. 5539)
King Curtis & the Kingpins - "Whole Lotta Love" (Atco Records cat. 45-6779)
Parliament - "Red Hot Mama" (Invictus cat. Is-9091)
Thin Lizzy - "Johnny The Fox Meets Jimmy The Weed" (Mercury cat. 73882)
Steppenwolf - "Hey Lawdy Mama" (Dunhill / ABC Records cat. 45-4234)
Iron-Knowledge - "Show Stopper" (Tammy records cat. T-1043)
Cheech & Chong featuring Alice Bowie - "Earache My Eye" (Ode Records cat. 66102)
The Stooges - "1970" (Elektra / Rhino Vinyl cat. R7 73206)
AC/DC - "Jailbreak" (Atlantic cat. 7-89614)
Enzo Bontempi - "Italian Spiderman Theme" (Soulful Torino Records cat. STR 003 / RK 45 017)
Bob McFadden And Dor - "The Beat Generation" (Brunswick cat. 9-55140)
Young-Holt Unlimited - "Soulful Strut" (Brunswick cat. 55391)
The Superlatives - "I Don't Know How (to say I love you) Don't Walk Away" (Westbound Records cat. W 144)
Curtis Davis - "Your Love And My Money" (Bev-Mar Records cat. BM 1001)
Elizabeth Shepherd Trio - "Reversed (Nostalgia 77 Mix) (Do Right! Music cat. DR018)

Primitive Sound System - Maxwell's - Sunday June 22 - before and after Polvo

Hello Y'all
Or better yet, in the immortal words of Mr. Steady Eddie, "Fuck all y'all!" Eddie Watkins was the original drummer of Polvo and seemed quite fond of saying that. He got me hooked and I couldn't stop. If anyone ever wondered why all these emails begin with "Y'all" now you know. POLVO. I never thought I would see the day that these guys would get back together. Polvo were one of the bands to connect aggressive rock with art school sensitivity or creativity depending on the song. Art fags who beat themselves up in gym class. At times the music is noisy even abrasive, others it is beautiful and repetitive and then again they can out Rock with the best of them and usually much better than all of them. I am not lying when I say the first time I heard "Can I Ride" back in 1990 I got chills. Just wait for Eddie's perfect open fill and you will too. The band is one of the few great bands the world will ever know and horribly they will be tagged with the "under appreciated" or "unkown" tag by the main stream. But you know what... to the main stream I say, "FUCK ALL Y'ALL! Guitarist Ash Bowie's vocals are nothing less than haunting and he is joined at the hip with Dave Brylawski also on guitar. At times there seems to be about twelve guitars humming, strumming and feeding back and the band will always sound as if they on the verge of a breakdown. The aforementioned Steady Eddie is partnered with the insanely deep and pounding bass lines of Steve Popson. Like all great Bass players poised on the verge of destruction they hold everything together, and when it is all over, gather up the parts and continue on for another day. Put down the channel changer and get to the show. (Eddie is no longer in Polvo and Brian Quast takes the throne.)

- pat.
Primitive Sound System

Sunday June 22 - 9PM
Polvo with Birds Of Avalon 9 p.m. $15
Primitive Sound System spinning Before and After
Maxwell's
1104 Washington Street
Hoboken, New Jersey
BUY TICKETS - http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&pl=&eventId=266307

Some Vinyl that RULES!

Batman & Robin - "I'm A Bat - I'm A Rock-N-Roll Animal!" "Gotham City Blues" "I Feel Pretty Good While Smashing Other People" and "Run - Joker - Run" (Bachelor Records cat. ???? (Inserts: Gotham Gazelle and a cut-out mustache)
That's right, the mighty Batman and Robin return with Vol. Twuh! Crazed and raw this duo is saving no one, not even themselves. "I'm A Bat - I'm a Rock-N-Roll Animal" certainly raises the bar pretty high for these guys but then again they are Super Heroes. "Animal" is frantic, sloppy frightening and if the Mummies were still active I could see them Batman & Robin as the perfect bill or dare I say... Dynamic Duo. Maybe somewhere in a Garage back in 1967 a group of possessed teens spit out similar brilliant audio destruction but I doubt it. Batman seems more focused than other but the poor Boy Wonder may have slipped into madness. "Gotham City Blues" has an actual chorus and even a melody. Batman truly has a classic Garage voice and Robin knows to keep it simple stupid. "Gotham City" is as much an anthem for their beloved home as much as it is its soundtrack. "I Feel Pretty Good While Smashing Other People" is proof that this is not the goody two shoes of the original Batman. This Dark Knight stalks the streets at night looking for a fight and if there is non to be had why not sucker punch some loser and get the mayhem started. It is always good to pay tribute to your enemy. But the dynamic duo rather taunt their villainous counterparts. That's right, "Run - Joker - Run" UH!

The Soft Boys - "Wading Through A Ventilator" from the ep Give it To The... (Raw Records cat. RAW 5)
I love when people are made uncomfortable. "Wading Through A Ventilator" is a song that seems to make people who claim to love Robyn Hitchcock very uncomfortable. It seems if they have not heard this and don't like what they are hearing they just wish it would stop. I feed on this anxiety created by music. The band is playing at a furious pace. Guitars sing in all directions, the bass rapidly bounces back and forth and the drums are caught in a death roll that would seem impossible to stop. Amazingly they do briefly come out and dive into a groovy little chorus but lurch back just before spiraling us down the drain on a trip reminiscent of the ferry boat ride in Willy Wonka. Hitchcock reminds us, "IF IT BOTHERS YOU YOU CAN TURN IT OFF." I have no intention of doing so but alas all things must pass.

Dymaxion - "Use Once and Destroy" and "Mice in Drain" (Duophonic Super 45's cat. DS45 - 24)
It is too easy to say that it is "impossible" to describe Dymaxion. Any time I find myself about to say that about any art I am reminded of getting my kid through the biting and hitting phase, "Use your words." "Use Once and Destroy," opens with a very sad growl from some Electronic and is met head on with a thudding bass and pounding drum groove that conjures visions of Robots at a dance. This is a band that really needs to concentrate to make these pieces fit. Several sounds and parts are stitched together with the precision of a surgeon. Sounds range from obvious electronics to sampled sounds. What makes Dymaxion so brilliant is that the must is never plodding nor does it come off as Mechanical. Tasteful, unique, moody, varied, etc, etc. What I love about Dymaxion is that they make Modern music that sounds like a Soundtrack for the "idea" of what 50's Sci-Fi thought "modern" would be. "One day in the future..."

My Bloody Valentine - "Soon" (Creation Records cat. CRE 073)
Like Spaceman 3, My Bloody Valentine are more about setting a mood and creating atmosphere than concerned with typical, common or ordinary song structure. "Soon" is a vibrating wall of feedback that has few equals. I can't make out one goddamn word but hell I appreciate that. The vocals pass through the music as if only a freak encounter and not a planned happening. Unlike Spaceman Three, the drums are pounding and creating what seems to be the only appropriate groove to buoy the sound. Sometimes repetition is next to godliness and Mr Shields and crew have certainly created a heavenly moment.

Offs - "Everyone's A Bigot" (415 Records cat. 009 (?))
Offs mine a similar territory as Konk. There is a little of everything here to make them appealing to a wide audience but not so appealing that you will here this booming from Tony's IROC. "Everyone's A Bigot" is a great twofer with "Ian Dury's "Hit Me With Your Rhythm Stick" or even "Reasons To Be Cheerful." There are a lot of sounds and possible sources of inspiration here but the band rolls them up nicely and turns them out in a danceable Punk song that is playable over and over. There is a definite Ruts like quality and X-Ray Specs certainly comes to mind. The vocals are shouted over a slightly Ska like groove though the drums never lay into any traditional beat of any genre. Horns burst in and out looping over and over making the whole thing quite mesmerizing. A very cool guitar blast announces the sax solo and soon after the pace is picked up and thrown around a bit. The bass is steady and strong throughout and as the pace is accelerated the vocalist abandons singing and talks and shouts at us right to the explosive end.

Phantom Tollbooth - "Flip Your Lid" from the ep Valley of the Gwangi (Homestead Records cat. HMS 058)
Crazed vocals, time shifts, tempo changes and incredible musicianship have kept this a favorite since I purchased it some twenty-two years ago. Phantom Tollbooth lost nothing on stage. Improvised or extremely well rehearsed each song was captivating, moving and impressive. At one point during "Flip Your Lid" the vocalists assures us, "Don't worry I won't hurt you," but it would not be advisable to believe him. They ooze sarcasm and aren't afraid of injecting there heady creations with a little humor. Artistically created mayhem on the edge of sonic destruction.

Squirrel Bait - "Kid Dynamite" (Homestead Records cat. HMS061)
I try not to use the word brutal too often when describing heavy music because brutal is such a powerful word. If you have ever been violently punched in the face you fully understand. BUT. Squirrel Bait can be and are brutal. "Kid Dynamite" is all you need to hear to realize these kids were possessed to take music and their instruments where few had gone before. I didn't listen to Heavy Metal growing up because for the most part Metal is simply laughable. All show and for the most part no balls. When I wanted something good and violent I looked no further than bands like Squirrel Bait. Drop the needle on "Kid Dynamite" and nothing can prepare you for those first few seconds. It's like being blind sided at an intersection. Some how band and song NEVER fall apart. Buried deep inside the wreckage there are the remains of a pop song. Squirrel Bait breakdown into what can only be described as a groove but only briefly as we are thrown back on the pile and brutalized some more.

Stereolab - "John Cage Bubblegum" (Slumberland Records cat. SLR 024)
Stereolab can really kick ass when they went to. Luckily they seemed to like kicking ass. "John Cage Bubblegum" is so amped it up it makes you want to pogo wildly. Hopefully you get to see it all in slow motion and super saturated with color. I picture a field of tall sunflowers and suddenly bodies leaping to the skies over and over again. The organ buzzes like a race car and and the bass sets the pace. All the while the drummer tries to pound his kit into the ground like a spike and the guitar is ripped to shreds. The vocals are sweet and some how soothing in light of the chaos but as you speed off a cliff wouldn't you rather take in the sights than wail and scream in your final moments? A truly unique band that is set apart from other bands and music simply by doing what they do.

Plus a stack of some of North Carolina's finest!

PSS / Bill Dolan / Joe Raaen - D.C.'s Tavern - Thurs June 5th - 9-Closing

Hello Y'all,
It has been some time since I have gotten to stand shoulder to shoulder with Mr. Bill Dolan at the edge of the world and behind the turntables in that gritty little cave known Back In Back as D.C.'s Tavern. Well, this Thursday we return to the scene of the crimes with more music; some old, most new, some familiar and others downright obscure. Unfortunately for those who don't like to read it has been a month or two so the below descriptions may seem endless. For those of you who do like to read please be kind when observing my grammar and lack there of. There are some amazing new things coming out every day from some of the best new Soul and Funk labels including Hammond Beat, Tru-Thoughts, Freestyle, Skyline, Ricky Tick, etc. Also I have recently been lucky enough to find some things I have been searching for forever as well as others that I had no idea existed (or forgot about for one reason or another). I have also thrown in some 70's Action Sounds.. soundtracks that is and a set of "76 - "77 Punk inspired by "Punk On 45 (Revolutions On Vinyl 1976 - 70)" after devouring it in one bite. Come for the Beer but stay for the Floor Show.

- pat.

Primitive Sound System
VINYL RULES!
"Audio Visual Triumphs and Disasters" - http://primitivesoundsystem.blogspot.com
Here is the link to the WFMU $mall ¢hange archive from my guest spot... I even talk. - http://www.wfmu.org/playlists/shows/27315

Primitive Sound System & Bill Dolan & Joe Raaen
You will be in the sights of Larry "The Hunter" so be kind and rewind and tip.
Thursday June 5th 9PM to Closing
D.C.'s Tavern
505 8th Street
Between Jefferson and Madison
BACK IN BACK
Hoboken, New Jersey
PH: 201-792-5550
http://www.dcstavern.com
http://myspace.com/dcstavern


A LOT of records:

Captain Hammond - "Origin [the APOLLO 7 version]" (Hammond Beat cat. HB7-03 Side A (Ltd. Ed. 250 w/ credits insert))
I watch A LOT of documentaries about Space. A WHOLE LOT of them. The intro to "Origin (Apollo 7 Version)" could easily be the best soundtrack to the Big Bang Theory or perfect accompaniment for a lift off out of our atmosphere. There is a unique feel here not found on other similar minded recordings. Funky Cha-Cha drums under the bleeps and bloops of the synth that suddenly give way to a thick bass line and atmospheric wash of synth elevate this moment from an intro to a happening. The Organ underpins everything holding its course and allows the Synthesizer to be the guidance system but the Hammond is the true Captain of this ship and soon takes control for the rest of our voyage. As we fade to the horizon while the synth continues communicating with mission control and all systems are go.
B/W
The Futuro Seven - "Mercury Wonderland [the MECHANAUT version]" (Hammond Beat cat. HB7-03 Side B (Ltd.. Ed. 250 w/ credits insert))
Another amazing intro. Percussion, with what sounds like a backward loop kick off a nasty bass line from the organ. It is almost a fight between good and evil as somewhat silly bleeps and bloops trickle down throughout one tough little groove. Soon the silliness fades to the back and the Organ cranks up leading the charge. Sometimes repeating a groove can ruin the effect or lessen the drive but here it is almost relentless and burns until the floor gives out. It all winds down to to an out of breath finish. This is recorded really well giving room to each instrument and sound. The drums sound huge but never crush or get in the way of the tasteful percussion and synth effects. This is the only track I know by The Futuro Seven but I would love to hear a less effected piece. For now I'll have to settle for this little slice of greatness.

Tony Face Big Roll Band Featuring Yo Kalb / Tony Face Big Roll Band - "Lady Day & John Coltrane" b/w "Hey Bulldog" (Hammond Beat cat. HB7-04 (Ltd.. Ed. 250 w/ credits insert))
"Lady Day & John Coltrane" is easily one of my favorite Gill Scott-Heron songs so I'll try not to compare them. But, what does come to mind is the incredible Dana Bryant version of "The Revolution Will Not Be Televised" from way back in 1993 (Yes, I used to frequent the Giant Step events. When they were good they were great but when they were great, they were transcendent). Tony Face and Band really push the tune along which adds to the songs tension but Yo Kalb (of The FABULOUS Soul Snatchers) never seems hurried. Her vocals have a confidence and a hint of sultry attitude enough to stand up to any thing the band serves. The band is certainly tight and dead on the money with their choices. The Organ steps out with some nice double timed playing that really gets the head bobbing. There is always something nice about playing or a player (Paolo "Apollo" Negri) who gets really aggressive right before graciously stepping aside to allow another to shine. In this case Ms. Kalb comes right back in never missing a beat and joined at the hip by the Guitar right to the end. On the B-Side of this Soulful Jazz Funk workout is one of the few Beatles songs I play on a regular basis. There is something very "Get Out My Life Woman" about the groove so right off the bat that's pretty damn appealing. This is the IN YOUR MOTHERFUCKING FACE treatment this song needs if you are going to cover it. Pounding Drums and stabbing Guitar are immediately followed by what seems to be a possessed Organ. There is control and things do appear to be organized but this is a blowing session of the best kind. Drums flail and crash, Guitar strings get tortured, Bass lines thunder through the house and the Organ is shook to its core. I will play this a lot and I will play it loud. If you are going to do a cover make it your own. Just like a stray you have to break it with love and then make it obey you. "ATTACK!"

Phat Fred - "Yu Nou Rili" [live in Denmark] b/w "Memphis Train" [live in Denmark] (Hammond Beat cat. HB7-05 (Ltd.. Ed. 250 w/ credits insert))
Goddamn these guys are tight. You can hear a thousand bands play a similar brand of music but when you hear it all come together like this it gives you chills. This is LIVE?! You gotta be shitting me. Aside from the completely outstanding playing the recording is equally as perfect. There is always an argument over whether the New Funk bands sound as good as their forefathers and whether or not to call this Retro or not. Here's a definitive answer to both of those questions, PHAT FRED! just listen to the sound of the Organ and the precision of the Drums and Bass. I am not kidding, at times I swear I hear horns but it is because of the layered combinations of sound. Extremely tasteful Guitar slips in and out with a warm lush tone but this is an Organ session so the Guitar will have to wait for the next 7-inch to take center stage. I'll certainly buy that one as well. On the B-Side the band takes Rufus Thomas' "Memphis Train" at a quick pace. There are vocals on this side though I wish there were not. Mr. Wilkinson doesn't have a particularly bad voice it is just that it isn't seasoned enough. Let's face it, you try to remove Rufus Thomas' voice from your memory. I hope I never do. Phat Fred is such a tight incredible band that an instrumental version would have been just as perfect as their performance on the A-Side. Here again the Organ bounces along with the slamming beat and Bass. Each time Mr. Wilkinson stops singing and tosses off one of his sweet ass guitar riffs so effortlessly it is inspiring. The band plays like they have been playing together since birth. In the fade we are treated to what may have lead to a tasty little drum break but fade it does leaving us wanting MORE!

The Five Aces - "Kick The Bucket" b/w "Movin' On" (Dynomite R&B Series cat. DYNO1)
Cutty Lark - "Get Caught" b/w "Get Caught' Instrumental (Do Right Music! cat. DR4504)
Funkshone - "Droppin" b/w "Droppin'" Instrumental (Skyline Recordings cat. SL45007)

Lack of Afro - "Touch My Soul" featuring Steve Marriott b/w "The Outsider" (Freestyle cat. FSR7044)
I check a few sites on a regular basis and Freestyle is one of them. When I saw this announced on their site I couldn't believe my eyes. I assumed it must be yet another sample / remix thing but I was only half right. Yes, it utilizes samples but this is so beautifully done it is almost a shame to think of it as anything other than a collaboration. There are a few recognizable bits like the "Afterglow" sample but I can listen to this over and over and smile every time. I have a few other 7-inches by Lack of Afro (a.k.a. Adam Gibbons) and I am ALWAYS impressed. Stellar as always. If I am supposed to recognize the samples that make up the "The Outsider" I am happy that (for the most part) I can not. These are done so heavy and so seamless that I can't get enough of these compositions. Brilliant. I will own many more Lack of Afro records in the future.

The Grips - "Fancy Roll" (G.E.D. Soul Records cat. GED 001)
I hate to admit it but I found this little bit of Funk through the bands MySpace page. It is really well played and for a first shot is pretty sophisticated with horns as the main leads but does remain raw enough to not be slick or "new" sounding. The track runs through some nice changes and an impressive sax solo despite the short time length. I look forward to other releases by them.

The Bamboos present Kylie Auldist - "Community Service Announcement" b/w "Cut You Loose" (Tru-Thoughts cat. TRU7157)
Similar to the Soul Investigators, The Bamboos like variety. They thrive on it. Also similar to The Soul Investigators they have taste for days. Here The Bamboos are joined by the incredible Kylie Auldist. Ms. Auldist can stretch notes, moan and at times come across like a young Queen of Soul herself. The groove on "Cut You Loose" is sharp as tacks and combines the best of the JB's and the Meters which is to say it is classic Bamboos. The A-side of this is a bit of a Girl Group romp. And a quite Soulful one at that. Like most releases on Tru-Thoughts it is going to be difficult to ever leave this one at home.

The Stance Brothers - "Roll Call" b/w "The Strong One" (Ricky Tick records cat. RT017)
WEEEEEEE! This sucker jumps up right in your face and has NO intention of backing down. Why not? It's about Drummers isn't it. A Funky roll groove is taken at quite a quick pace accompanied by sparse Electric Piano, Percussion and a Vocalist reading off a list of some of the greatest drummers to every grace the throne. Roll call indeed. The outro is a slightly Latinized Jazz groove which rounds out the side quite nicely. Here is the great irony. I think "The Strong One" is certainly just that. It has the same in your face Drums but this time at a far more leisurely pace, Vibes, Electric Piano, Bass and some nice shouts to keep things moving. It is an all round great side... BUT... how can I not play "Roll Call?"

Jo Jo And The Outcast - "Whole Lot Of Woman" (Sound-O-Riffic cat. SOR-926)
Joe Jeffrey - "The Train" (Wand cat. WND 11207 (DJ Copy Not For Sale)) - This is the B-Side of "Dreamin' Till Then"
Right off the bat I have always had a thing for train songs. It is the same obsession with animal songs, food songs, space songs, version of "Summertime," "Caravan," "It's Your Thing," etc, etc, etc. Hey what can I say I obsess on music. The band is kicking it real raw with just a beautiful feel. It all sounds so unrehearsed but yet so together. It is the type of song that wants you to get up and play music or groove around the dance floor. Joe Jeffrey's voice is suited well for a song like this. He has a perfect amount scratch! He comes in a bit smooth but he gets up a good head of steam soon enough. He is looking to impress and impress he does. My favorite part is when he seems to step off the record to explain, to what would seem to be an ex, about just how styling he really is. She foolishly seems to refer to his Hog as a Pig and he does not take it likely. "You keep on messin' with me I'll make it hard for you to chew soup!' An instant favorite and one that I will be wearing out the groove quite quickly.

Victory Travelers - "I Know I've Been Changed" (Courtn cat. CO-1003)
The New Way - "Lookin Like A Nut Nut" (Guyjim Records Inc. cat. GJ 587)

The New Apocalypse - "Stainless Soul" (MTA Records cat. MTA 185)
I have never heard of this nor have I seen this label before. But I couldn't be any happier with discovering this seemingly perfect instrumental. The pace is medium to slow and at times it seems like it is going to burst out in a big horn section sound yet remains pretty lean and very raw. The intro has a feel that has me thing Gary Byrd or someone similar should be doing a talk up. Maybe Butterball! That would be great, OK, shh... this thing is incredible. I lopes around like a drunk who is still able to look pretty cool dancing. Heavy bass, spitting horns, raw Funky Drums and a cool echoey guitar sound that leads into a more Jazz sounding guitar. The Organ peaks in and out at first but then it takes hold and sets another mood. Suddenly the song has an upbeat vibe but when the organ drops out it is apparent that things haven't changed at all. I have listened to this about 5 times and every time I pick up something different. The outro is a looped guitar that mimics a skipping record. This one is definitely not skipping but will listen to it over and over and over and over and over and over...

Freddi / Henchi And The Soul Setters - "Funky To The Bone" bw "I Want to Dance, Dance, Dance" (Reprise Records cat. REP 1175 (Promotion - Not For Sale))
Nasty guitar opens this short and yes "Funky to the Bone" track. If Webster's Dictionary is allowed to define a word by using that word in the definition than I am definitely allowed to call this "Funky To The Bone." I had this forever on a comp but never tracked down an original until now. The guitar has a Joe Walsh a la "Funk 49" sound and then takes it far beyond that. The band basically just repeats "FUNKY, FUNKY, FUNKY TO THE BONE; FUNKY, FUNKY, FUNKY RIGHT ON!" The band seems rather small sounding for such a big name but it would also seem everyone involved is singing. There seems to be at least Bass, Guitar, Drums, Organ and the shared vocals add a horn section like element. The B-Side isn't bad either. It has a very Sly and The Family Stone sound with an even bigger ensemble sound and that same Funky Bass, Guitar, Drums. and Organ sound. This may sound crazy but the only drawback is it seems to go on a little too long but hey he did say he was going to DANCE, DANCE, DANCE, DANCE!

David Batiste & The Gladiators - "Funky Soul" PT. 1 & 2 (Instant Records cat. 3308)
This is easily two of the funky minutes you are likely to find any where. The title does not disappoint. This is Funky Soul at its best. The drums are heavy and exacting. The horns and guitar are just as sharp. Pumping organ and bass fueling this engine and the guitar stretches out a bit before a nice break cools things of momentarily. Not much more I can say and it isn't like any further description would make it that much better or appealing.

Lorenzo Holden - "The Wig" (Cee-Jam Records cat. #1 / CJ-8961 (wht label promo)
Some songs just hit you like a truck. This can happen in any genre or from any time period. The Wig is one such monster. I can't recall hearing this before because if I had I would have had to find it IMMEDIATELY. "Hey girl, don't come or your wig might fall off!" This is the classy intro to this Soulful R&B stormer. The first instrument to take the floor is a very soulful flute. Like the song of the siren it beckons you to shake your ass. Mr. Holden keeps shouting through out and soon the guitar cuts us like a knife with some insane and relentless riffs. If that isn't enough the Organ immediately jumps on the pile and if you aren't already up wrecking the floor the Drums and Claps should bounce you out of your seat with a repetitive beat that should inspire madness. I it sounds like I can't get enough of this

Adolphus Bell An The Up Starts - "Black Eye Peas" b/w "Lafin Gas" (Satin Records cat. SAT-1111)
"Lafin Gas" is either the best Halloween song ever or simply the best Stroll Instrumental. Not only are we treated to maniacal laughter but, what is certainly a rare appearance in 50's / 60's instrumentals, the lead is Trumpet. The trumpet speaks almost softly and with a calming tone but all the while you know the freak will be back. Mr. "Black Eye Peas" is just is good. I have probably said this every time I write about a food song but, there are very few bad food songs. These peas are whipped around a a good clip. Mr. Bell talks / sings through the whole song looking for, craving and offering Black Eye Peas to everyone. The guitar playing is frantic with that Wild Jimmy Spruill sound. This is one of my favorite two siders. Oddly enough Bell still plays to this day and more famously as a One Man Band.

James Rivers - "Bird Brain" b/w "Tighten Up" (Eight-Ball cat. 1560)
This is almost surprising as an A-Side but then I have seen the covers of Mr. Rivers LP's and they are odd to say the least. This is everything I could ever ask for in an instrumental. It has a very obvious 50's early 60's feel and the lead is...FLUTE! Flute instrumentals are a favorite of mine. Here the Flute is book-ended by Funky Blues Harmonica but the Flute takes hold of this composition and doesn't let go. There are a mix of sounds and genres buried in the extended solo but I am a sucker for the sounds of shouts, groans and growls through the Flute. I can see opening many, many sets with this beauty.

Eddie Chamblee - Dayton Selby on Organ - "The Honeydripper" (Prestige Records Inc. cat. PR 45-302 (Preview Copy))
Damn this is taken at a break-neck pace. This HAS to be the fastest paced version ever of this classic Joe Liggins' composition. For the past few years I have been playing the hell out of Herbie Mann's amazing spin on this gem. Eddie Chamblee rips through the tune and at one point gets his instrument to scream and squeal in a way I have heard very few players capable of. The steady drum groove keeps things from getting too out of hand but just listen to the aggressive organ solo to hear where each player could have stormed. Typically this would be known as a Blowing Session but that is almost a joke compared to what is happening here. Burnt, out of breath and certainly bloodied the band crashes to a dead end. Let's hope they recover to play some more.

Carol Jones - "Don't Destroy Me" (Mutt Records cat. M 27320)
This sounds like it was recorded in a hall or club. The horns have a big but distant sound, the drums are beautifully raw as if they remained unmixed and the vocals are almost shouted to be heard which is not a quality heard when the vocals are done in an isolation booth. The band is hitting really hard and the music is almost a dirge... so... how insanely surprising is it that this is all Funky as hell?! Ms. Jones vocals are genuinely pleading. This is not just some song she is interpreting or a story she wants to tell. This is a slice of life or a look behind the curtain. much to Ms. Jones credit this is quite an emotional performance.

3, 4, 5 HB7 45 and 33

Captain Hammond - "Origin [the APOLLO 7 version]" (Hammond Beat cat. HB7-03 Side A (Ltd. Ed. 250 w/ credits insert))
I watch A LOT of documentaries about Space. A WHOLE LOT of them. The intro to "Origin (Apollo 7 Version)" could easily be the best soundtrack to the Big Bang Theory or perfect accompaniment for a lift off out of our atmosphere. There is a unique feel here not found on other similar minded recordings. Funky Cha-Cha drums under the bleeps and bloops of the synth that suddenly give way to a thick bass line and atmospheric wash of synth elevate this moment from an intro to a happening. The Organ underpins everything holding its course and allows the Synthesizer to be the guidance system but the Hammond is the true Captain of this ship and soon takes control for the rest of our voyage. As we fade to the horizon while the synth continues communicating with mission control and all systems are go.
B/W
The Futuro Seven - "Mercury Wonderland [the MECHANAUT version]" (Hammond Beat cat. HB7-03 Side B (Ltd.. Ed. 250 w/ credits insert))
Another amazing intro. Percussion, with what sounds like a backward loop kick off a nasty bass line from the organ. It is almost a fight between good and evil as somewhat silly bleeps and bloops trickle down throughout one tough little groove. Soon the silliness fades to the back and the Organ cranks up leading the charge. Sometimes repeating a groove can ruin the effect or lessen the drive but here it is almost relentless and burns until the floor gives out. It all winds down to to an out of breath finish. This is recorded really well giving room to each instrument and sound. The drums sound huge but never crush or get in the way of the tasteful percussion and synth effects. This is the only track I know by The Futuro Seven but I would love to hear a less effected piece. For now I'll have to settle for this little slice of greatness.

Tony Face Big Roll Band Featuring Yo Kalb / Tony Face Big Roll Band - "Lady Day & John Coltrane" b/w "Hey Bulldog" (Hammond Beat cat. HB7-04 (Ltd.. Ed. 250 w/ credits insert))
"Lady Day & John Coltrane" is easily one of my favorite Gill Scott-Heron songs so I'll try not to compare them. But, what does come to mind is the incredible Dana Bryant version of "The Revolution Will Not Be Televised" from way back in 1993 (Yes, I used to frequent the Giant Step events. When they were good they were great but when they were great, they were transcendent). Tony Face and Band really push the tune along which adds to the songs tension but Yo Kalb (of The FABULOUS Soul Snatchers) never seems hurried. Her vocals have a confidence and a hint of sultry attitude enough to stand up to any thing the band serves. The band is certainly tight and dead on the money with their choices. The Organ steps out with some nice double timed playing that really gets the head bobbing. There is always something nice about playing or a player (Paolo "Apollo" Negri) who gets really aggressive right before graciously stepping aside to allow another to shine. In this case Ms. Kalb comes right back in never missing a beat and joined at the hip by the Guitar right to the end. On the B-Side of this Soulful Jazz Funk workout is one of the few Beatles songs I play on a regular basis. There is something very "Get Out My Life Woman" about the groove so right off the bat that's pretty damn appealing. This is the IN YOUR MOTHERFUCKING FACE treatment this song needs if you are going to cover it. Pounding Drums and stabbing Guitar are immediately followed by what seems to be a possessed Organ. There is control and things do appear to be organized but this is a blowing session of the best kind. Drums flail and crash, Guitar strings get tortured, Bass lines thunder through the house and the Organ is shook to its core. I will play this a lot and I will play it loud. If you are going to do a cover make it your own. Just like a stray you have to break it with love and then make it obey you. "ATTACK!"

Phat Fred - "Yu Nou Rili" [live in Denmark] b/w "Memphis Train" [live in Denmark] (Hammond Beat cat. HB7-05 (Ltd.. Ed. 250 w/ credits insert))
Goddamn these guys are tight. You can hear a thousand bands play a similar brand of music but when you hear it all come together like this it gives you chills. This is LIVE?! You gotta be shitting me. Aside from the completely outstanding playing the recording is equally as perfect. There is always an argument over whether the New Funk bands sound as good as their forefathers and whether or not to call this Retro or not. Here's a definitive answer to both of those questions, PHAT FRED! just listen to the sound of the Organ and the precision of the Drums and Bass. I am not kidding, at times I swear I hear horns but it is because of the layered combinations of sound. Extremely tasteful Guitar slips in and out with a warm lush tone but this is an Organ session so the Guitar will have to wait for the next 7-inch to take center stage. I'll certainly buy that one as well. On the B-Side the band takes Rufus Thomas' "Memphis Train" at a quick pace. There are vocals on this side though I wish there were not. Mr. Wilkinson doesn't have a particularly bad voice it is just that it isn't seasoned enough. Let's face it, you try to remove Rufus Thomas' voice from your memory. I hope I never do. Phat Fred is such a tight incredible band that an instrumental version would have been just as perfect as their performance on the A-Side. Here again the Organ bounces along with the slamming beat and Bass. Each time Mr. Wilkinson stops singing and tosses off one of his sweet ass guitar riffs so effortlessly it is inspiring. The band plays like they have been playing together since birth. In the fade we are treated to what may have lead to a tasty little drum break but fade it does leaving us wanting MORE!

PSS on Nickle and Dime Radio - Tues. May 20th !!PM-2AM (WFMU 91.1)

Hello Y'all,
You'll have to excuse me but I saw the eye doctor earlier and he put drops in my eyes and now I can't see shit.

My love of music comes from my parents. My collector's sickness comes from my Dad. My Dad got his knowledge of what was new, and what was old, from various sources but one source we still have in common is WFMU. My Dad has been a listener since the station took to the airwaves. I definitely credit my love of varied sounds from growing up listening to the station. Now we get to twist our son's mind with that same frequency. He won't leave the house on Saturdays without a fill and forget it if Todd-O-Phonic Todd is on... "POW! POW! POW!" Over the years I have been fortunate enough to produce some artwork and music for the station and better yet I have been involved with some programs on air. It looks like I get to invade another program and one that I have had nothing but respect for for many years, more years than both of us would like to admit. I have been listening to $mall ¢hange's show for years and I am usually in complete awe. (Check out the archives of his show for proof - http://www.wfmu.org/playlists/ND) His mixes are amazing... I, on the other hand, have no idea how that is done. I will be sitting in with him around Midnight which means I get an hour or so to watch closely. I assume his technique is greatly different from mine as I blindly grab records from my box, hope to get the speed correct and let fate handle the rest.

- pat.
http://primitivesoundsystem.blogspot.com

Primitive Sound System
On Nickel and Dime Radio with $mall ¢hange
Tuesday May 20th from 11PM - 2AM
WFMU.org
http://www.wfmu.org - Live Stream
91.1 FM in New York
90.1 FM in the Hudson Valley
http://www.wfmu.org/playlists/ND - $mall ¢hange Archives

This was the hardest batch to pick. One hour of records to be played on radio. Playing records in a bar is so completely different than on the radio that I wanted to bring stuff that just doesn't work in a bar. Since I am still struggling with with focusing I am just going to list some things in the box and bag but honestly have no idea what will happen when I am there.

Specks Williams - "We Gave The Drummer Some" (Jax cat. A - 117)
Sons of Darkness - "Funky Thing" (P & G Records (P.P. Means Poor People with Potentiality) cat. 445)
Can - "Shikato Maru Ten" (United Artists Records cat. 35 304 (German))
Soft Machine - "Joy of The Toy" (Command ABC Records / Probe cat. CP-452)
The Human League - "Being Boiled" (Fast cat. Fast 4)
Pop Group - "We Are All Prostitutes" (Rough Trade cat. Rt 023)
Bad Brains - "Stay Close To Me" (Bad Brain Records cat. BB001)
Menomena - "Posh Isolation" (Polyvinyl Rcord Co. cat. PRC-085-7)
Directions In Music - "Toy Boat" from Plum (Thrill Jockey Records cat. THRILL 200)
Enzo Bontempi - "Italian Spiderman Theme" (Soulful Torino Records cat. STR 003 / RK45 017)

Butthole Surfers - "Bon Song" from Widowmaker! 10" (Blast First cat. BFFP 41)
John Murtaugh - "Slinky" from Blues Current (Polydor cat. 24-4016)
Arthur Russell - "Let's Go Swimming" from World of Echo (Who knows it is IMPOSSIBLE to pick one off here!) (Upside Records cat. UP 60009-1)
Francois Rabbath - "Hesitations" from Bass Ball (Phillips cat. PHM 200-128 (hi-fi Monaural)
Hugh Hopper - "Minipax I" from 1984 (CBS cat. S 65466)
Jo Jo Smith - "Stomach Muscles" from Jazz Dance Today (Hoctor Records cat. HLP-4104 (X4RM-1762)
Brommage Dub plays Rune Lindblad from Rune Lindblad "RL" (Firework Editions Records cat. FER 1028)

Primitive Sound System at Moonlight Mile Friday May 16th

Hello Y'all,
"GIMMIE INDIE ROCK!" This Friday I'll be spinning a batch of 7-inches before and in between some fine young bands making a racket and shaking the walls with their Rock-&-Roll music and Electric Twangers. This happening all goes down at the stunning Moonlight Mile Studios located in the heart of Hoboken's flood lands. Moonlight is the exceptional studios manned by the extremely talented Mike Moebius. He spends his days and nights slaving over microphones, wires and fragile musician egos. So, occasionally he needs to actually make some money to keep the studio afloat (remember the flood zone... bad joke, sorry). Donations are accepted and in return Mike lets you draw a cold brew (or two, or three) from a freshly tapped keg. So come by and enjoy the music, the beer and the fine Hoboken property people pay millions to live on.

- pat.

Primitive Sound System
VINYL RULES!
"Audio Visual Triumphs and Disasters" - http://primitivesoundsystem.blogspot.com

$7 donation for bands/beer for the night. don't be a cheapskate.

FRIDAY, MAY 16TH 9pm doors.
MOONLIGHT MILE RECORDING
http://www.myspace.com/moonlightmilerecording
123 Harrison Street (between 1st & 2nd Street)
Hoboken

10PM - EASTERN ANCHORS - myspace.com/easternanchors
(former Aviso Hara/Clydesdale)

11PM - NO PASARAN - myspace.com/pasaranno


/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/*/

Some records in the box:

The Bongos - "Telephoto Lens" b/w "Glow In The Dark" (Fetish Records cat. Fetish-003)
"Glow In The Dark" is a perfect song...to me. A raw aggressive recording with a messed up intro, strong drumming, jangly guitar, and nonsense lyrics that clocks in at about two minutes. The Bongos were always the most aggressive band that looked like they could be taken out by a good gust of wind. Of course they were dethroned by the Violent Femmes, whose name said it all so perfectly. One of the hardest things to do is pick "favorites" amongst a wall of thousands of records but there is rarely a moment that I am not in the mood to hear this.

Fred Brockman - "Drive, Drive, Drive" (self released in 1991)
The run-out groove says "It's 1969 OK." and "It's 1969 Baby." on the B-side. I like that. The intro to this song could never prepare you for what is coming. This is Fred Brokman singing his heart out and Ron Metz (Human Switchboard) tapping out a slightly Country groove. The whole thing is slathered in angst and pure emotion giving it a genre wrecking sound and feel. You are unlikely to shake this from your mind just like a great Horror Movie. Fred sounds genuinely hurt and pissed and his lyrics pretty much confirm this. Try swallowing this, "Why should I care where we're going, when I don't expect to find, anything that would be different than the life I left behind." Followed by, "See I can still hear her crying, see her falling to the floor. See I can still her the silence as I was backing out the door." Or this little beauty, "Drive, drive, drive cause you're never going back to the man I left lying alone on the tracks." "Drive, drive, drive, like your finally free; for better or worse your driving with me." If I remember correctly Fred designed copy centers or some shit; which would seem to be the least defining thing he did. Obviously he was a great song writer who wasn't afraid to let it all hang out. Maybe that is why this record means so much to me. Few artists can really open up in such a way that is also repeatedly entertaining. Fred was also an Engineer at a studio in Hoboken gleefully called Snack Time and told some great stories about Ohio. (I am still hoping to see the Super 8 footage he shot one afternoon with George Clinton). Did I mention that he also edited Psychotronic magazine, maybe he still does? Or that he designed the cover of The Human Switchboard 45 described above.

Das Damen - "Bug" (SST cat. PSST 190 7")
By 1988 Hardcore was a thing of the past and some of the early players matured, for lack of a better word. Das Damen definitely had a sound I was into following the end of Hardcore and this single in particular always stood out in their live shows. They certainly went on to write better songs ("Noon Daylight" for Twin Tone," Sad Mile" for Sub-Pop) and of course with practice comes perfection. They unfortunately called it quits before they ran their course and probably at their peak of creativity. There is something to be said for that because we never saw them become shitty. They were a great band that left behind some great records. "Bug" combines a sense of Psychedelia, Pop Music and even throws in a moshy little break. Many bands soon followed with this sound but few could combine the elements and sound so unique.

The Feelies - "Original Love" (Stiff Records cat. BUY 65)
Few bands deserve the praise their fans bestow on them. Fan praise can come from too many places and is always subjective. Sometimes though a band or artist comes along that is so worthy of that praise that critics and fans alike seem to agree as one. The Feelies were such a band. "Original Love" opens with a haunting guitar which opens up into a more positive strumming but still maintains its ghostly quality. This of course is in sharp contrast to the love gone wrong lyrics that never seem positive. If you have seen the movie Smithereens you have heard this song used to perfection throughout the film. If you have never seen Smithereens you need to turn off your stupid computer and find a copy NOW! There are no stand out elements of any one Feelies songs as there are never any weak parts or moments. Their song writing and execution is flawless. Though they were never CRAZY on stage for some reason I have seen them more than any other band. Maybe it was the desire to see something so wholly together possibly fall apart. Mindless, drooling NASCAR fans wait for a crash and I guess so was I.

The Human Switchboard - "Prime Of My Life" (Square Records cat. sq-one)
Breakneck drums kick off this two minute and twenty five second tornado. Human Switchboard definitely fall on the more experimental side of things and unfortunately are not everyone's cup of tea. Hell, I'd rather drink what they are having anyway. The "Prime Of My Life" seems to be over before it even gets started but isn't that the way it is? Frantic guitar and indecipherable lyrics seem to fly out of Bob Pfeifer and his only tether is Myrna Marcarian's backing vocals and pounding Farfisa. Ron Metz continues his assault only slightly holding back during the chorus.

Peter Holsapple of The H-Bombs - "Death Garage" (Car Records cat. CRR-5)
Raw and a little soulful, Peter Holsapple leads The H-Bombs, which he is apparently only a member of along with forrner Hobokenite Chris Stamey and Pop engineer extraordinaire Mitch Easter, into the far corners of his garage after night fall. What they seem to find there is quite horrifying regardless of how benign some of the goings on seem to be. Fashion seems to concern them most, "There's nothing quite like going out of style" gets repeated throughout the song. Upon exiting we discover we are bloodied and bruised so it is probably best to heed his warning. The whole thing is recorded perfectly murky and one of my favorite moments is when Mitch Easter almost loses it during one of his rolls. Truly precious.


Too tired to continue but I wanted to write about these as well...

American Standard - "Really" (Maggadee Records cat. MD-007)
Cell - "Cross The River" b/w "China Latina" (City Slang cat. EFA 04921-45 (blue vinyl))
Dr Janet - "Starry Eyes" (Ringers Lactate cat. RL01)
Earthpig - "Sweet Chocolate Brown" (Sol cat. SOL-909)
Hypnolovewheel - "WOW" (Alias Records cat. A018)
Jad Fair - "Books" (Smells Like Records cat. ?)
Mosquito - "Oh No, Oh Yes, Oh No" (Erl Records cat. ERL-009)
Sleepyhead - "Punk Rock City USA" (Slumberland Records cat. SLR 018)
Sonic Youth - "(Over)Kill Yr Idols" (Forced Exposure cat. FE-001 (hand colored cover))
Jon Spencer Blues Explosion - "Train #1" (In The Red cat. ITR 019 (with jukebox card))
Television - "Marquee Moon" Part I & II (Elektra Records cat. K 12252)
Vineland - "Unfreindly" (The Matt Label cat. 004)
Vitapup - "My Abortion" (Thrill Jockey cat. Thrill #018)
Yo La Tengo - "Cast A Shadow" (Bar None Records cat. AHAON-4502)
etc,
etc,
etc...

Bill Dolan and Primitive Sound System - D.C.'s Tavern Thurs. April 3rd 9PM to Closing

Hello Y'all
No special themes this month just a lot of great new stuff. OK, so maybe a set of Batman related music and of course a nod of the cap to the good folks who take the throne and beat the traps in the late hours. There are some really great beats in the boxes and not all of them breaking necessarily. There is a great 10" by MMR-ADM featuring Malcolm Catto that is really killer and a new full length by the always amazing Baby Charles. I have played the Baby Charles record every day since I got it and you should too.

Some other items (non-vinyl) worth checking out:
TAD - Busted Circuits and Ringing Ears (MVD Visual cat. DR-4544)
Documentary about the best and most powerful band to come out of the North West! All HAIL TAD!

Smithereens (Blue Underground cat. BU1091DVD)
Yes the AMAZING Susan Seidelman movie is out on DVD. I have seen this movie about one thousand times and I hope to see it a thousand more.

A Tribute To Ramones (Columbia cat. CK 86352)
I somehow missed this. Maybe because it may only be on CD. It is worth finding a copy even for just the Tom Waits' "Return of Jackie & Judy." You can find it cheap and it is definitely worth it.

mike watt - spiels of a minuteman (L'oie de cravan copyright 2003)
lyrics, essays, history and images. this is amazing.

A Catalog of Type "Hand Job" by Michael Perry (Princeton Architectural Press)
A friend sent me a copy and I can't put this down. Simply beautiful, hand lettered art for all the right reasons.

Bill and I are being joined by our man Joe this week.

The lights
And the sound
And the rhythm
And the noise
Hit my body
Like a thousand dances
Everyone knows
Where nothing is something
And our lives flash
Before our very eyes
- Flipper

- pat.

Primitive Sound System
VINYL RULES!
"Audio Visual Triumphs and Disasters" - http://primitivesoundsystem.blogspot.com

Primitive Sound System & Bill Dolan
Thursday April 3rd 9PM to Closing
D.C.'s Tavern
505 8th Street
Between Jefferson and Madison
BACK IN BACK
Hoboken, New Jersey
PH: 201-792-5550
http://www.dcstavern.com
http://myspace.com/dcstavern

Just some of the vinyl for your pleasure:

Junior Wells - "Cut My Toenail" b/w "I'm Losing You" (Bright Star cat. 146)
Not sure why I didn't grab one of these long ago but recently picked it up cheap. Junior demands a fine manicure and then grabs his harp and blows baby blows. The percussion and guitar on this makes me think of an Excello session. The cow bell breaks up the straight blues beat with a dink da dink dink at the one and the guitar chatters throughout. Mr Wells is steady and mellow and easily recognizable. This is a an extremely short outing but that doesn't make it any less satisfying. And in teh end just look at his polished tootsies. "I'm Losing You" is just another great example of why Junior Wells is so damn influential. Here he mixes Blues, Pop and even a weird feeling of Garage Rock. The pace is medium even slow at times but it certainly does not drag and is never boring. The band is simple and direct with fantastic drum rolls at the end of each chorus and a sharp guitar sound that rocks away over an almost boogie piano.

Willie Williams - "Wine Headed Woman" b/w "Detroit Blues" (Supreme Records cat. SR-1001 (Taken from the Album "Raw Unpolluted Soul" by Willie Williams SRLP-1001))
This starts as if someone is begging them to not play and they just say, fuck it, let's go! I originally heard Wine Headed Woman, man that is a good title, and tracked it down. MUCH to my surprise this great instrumental was waiting to be heard. More times than not I'll take an instrumental over a vocal track and this is not exception. There is an amazing improvised loose feel to this and it is raw as hell with ringing ride, electric guitar, groooovy bass and crying harmonica. Best to my knowledge Mr. Williams is sitting on the throne and he is certainly allowing the other players center stage. I really enjoy is direct, ringing ride hits that set up his perfect little rolls. I can never get enough of Electric Blues and this is one great example of why. Oh yeah, Wine Headed Woman is pretty great too. I think the vocalist is Willie Williams or at least I assume it is (which probably means I am wrong). The vocalist sounds like he gargles with glass to clear his throat. The band lopes along in a pretty straight Electric Blues groove but it is the beautifully ruined voice of the lead that makes this all so appealing. It will be a coin toss but most likely Detroit Blues will get the nod.

Macon - "Pully Bone" b/w "Ripple Rap" (Capricorn cat. C-8002)
CHICKEN GUITAR! It is ALWAYS a way to suck me in. Nothing says food song to me more than that sound. I start salivating and looking for the Bar-B-Que immediately. I heard this long ago on some comp and it has stuck with me since. Finding one made me SOOO happy and it was right after my birthday and I was wandering through the streets of the Lower East Side with my buddy Stephen. The guitar isn't the only thing that pops open my eyes and ears, there is a BIG organ sound and choppy drums with a heavy hi-hat and slap feel. The melody is simple and repetitive which is part of its greatness. That and the fact that just when you think you are in for another run through the same old same old the bass and drums get low, real low with a perfectly placed soloed out moment. Tasty. The other side is called "Ripple Rap" and sounds familiar or at least like something I have heard else where. Again the Organ, Drums and guitar rule the roost. This has a more Garage meets Meters feel or maybe a little like a heavy side from Bill Black's Combo. I can easily hear this at the end of an action movie. Everyone is smiling but you can't help forget the necks that got snapped and the faces that got slapped and of course the hearts that got broken... see you in the sequel. (This is on Capricorn, does anyone know if this is Bruce Hornsby, it would seem to make sense. I know he had a brother that was in music as well. Is it the brother? Any info is appreciated.)

World War III - "If The Bomb Falls (We're All Together" Pt 1 & 2 (Dee' Os the "Down" Sound cat. D-7194 (from the Album World War III))
Mmmmm that is a tasty guitar building up the tension at the top of this message carrying groove. I LOVE songs like this. Songs with a message whether it be let's get together and work this shit out or you all suck and I am fed up; it's all good and seems to be ultimately positive if not at least eye opening. World War III, which could be one of my favorite names for a band, have a feel for The Temps especially the Whitfield era Motown but yet remain raw enough to not be too polished or too radio friendly. There is a truly haunting guitar that lurks in the back WHALING but hushed as if damned to another dimension. As the horns blare, harmonies glide and the occasional vocal lurches the guitar is just drilling and killing. You will miss it the first time as the sound is layered similar to a Temptations song but this mother goes from the steady wah wah, plucked intro to just pure, crazed, intensity. "This whole world is on a road to destruction; It don't take a genius to make that deduction." Beautiful!

The O'Jays - "I've Got The Groove" (Neptune Records "The Sound of Philadelphia" cat. N-22)
Big, bright and smooth as ice. The O'Jay's have the groove to make you move and I am liking every moment. This is a simple song with not much going on lyrically but there is a good amount of showing off from every other element. Excellent musicianship and vocals are showcased in a fantastic arrangement by Thom Bell and Bobby Martin. The production is big and echoey but allows certain sounds to step out and be noticed as is to be expected from Gamble and Huff. I swear they filled a room with every instrument they could find and then said , OK give us thirty minutes and we will blow you away.

Larry Willis - "Hard To Handle" b/w "Mayibuye" (LL Records (Lenny Lewis Productions) cat. 45-101) (From The LP "A New Kind of Soul"))
"Hey baby hear I am..." But not saying a word. This fantastic cover version comes by way of one of my favorite Groove Merchant artists, the one and only Larry Willis (see also "Inner Crisis" (Groove Merchant cat. GM 514). This version cooks along but is certainly not too fast as to lose the groove or lose its way. At one point you may even think the needle is stuck but it is just the dead on precision of the band. They toss this off almost as if to say there ain't nothing to this pop music thing BUT in the end they came up with something simply brilliant. This could have easily sounded like a Ramsey Lewis or Ray Bryant "side two filler" but there is something inspired in their desire to prove their point. The guitar is out front and keeps it from being too loungey all the while Willis continually raises the intensity of his playing. The only odd thing about the track is it seems the horns may have been cut out of the mix and only dropped in where needed (or at least that is what it sounds like). The horns sound as if they fade in towards the end giving weight to this theory OR Willis was just so on top of his game that he arranged it this way. Regardless it is great. The other side is a just as brilliant version of the Miriam Makeba song "Mayibuye."

Bobby Boseman - "Astrological Soul Train" b/w "Everything Shining Ain't Gold" (Tangerine Records cat. TRC-1028 (white label promo))
For me, train songs are up there with food songs in that I never pass one up or at least give them a listen. This is an odd combo if there ever was; Astrology on a Soul Train. Boseman has a great gravely voice and the band is sharp as hell. I didn't recognize it at first but then I realized I had heard this on a CD comp called "Barnyard Soul" given to me by a friend. Unfortunately being on CD it didn't get many plays. Recently we have been playing more of those evil tin discs around the place so maybe I'll have to dig deeper and see what else is on there. I pulled it because it is on Tangerine and I rarely pass a 45 from the label. Mr. Boseman runs down the signs of the Zodiac as the band burns and turns and we are treated to a barking sax solo. Let's face it he could be reading the menu at White Castle and this would still be a great song. Three minutes of pure Soul party written by the Funky as hell Willard Burton. The other side has a very Arthur Alexander meets Sir Doug feel so this is a two sider with a split personality, similar to both Mr. Alexander and the mighty Sir Doug.

The Stance Brothers - "Roll Call" b/w "The Strong One" (Ricky Tick Records cat. RT017)
Yes this is exactly what it says, the Stance Brothers basically read a list of the greatest drummers of 60's and 70's Hard Bop, Soul Jazz, Brazilian, Funk and Soul. The band and the drummer certainly do justice to this precious and hallowed list. Vibes, Percussion, Keyboards and fast handed Drums never dull their point but accentuate it perfectly with a lively groove. The voice is almost robotic but for some reason that is very fitting isn't it. I searched and found this - http://www.youtube.com/watch?v=F2tEYLOzsgI As you can see, there are five stars and I agree. Enjoy. Side two is a bit more leaning on the James Brown tip. Not a criticism AT ALL. We are again treated to beautiful Vibes, heavy, busy and spectacular Drumming, thumping Bass and various moans and shouts. Take either side for a spin. This 45 is a personal favorite, may I play it for you?

MMR-ADM featuring Malcolm Catto - No information given... so there.
Wow, Malcolm Catto has become quite the mother fucking monster behind the kit. Basically this is a red vinyl 10" packed into the COOLEST sleeve you have ever seen (or not, some people don't seem to be able to see the drum kit hidden in the optical illusion of the cover) BUT that doesn't even come close to the grooves cut into the delicious red vinyl. Synths and keyboards taunt Mr. Catto as he staves them off with beat after beat. Think Silver Apples with a more modern take but still using the same old equipment... HAHA! TIMING! See, we have all come to expect the break and not be surprised by it. Where the breakbeat was something to be discovered and at times be completely taken off guard by, it is now simply common place... BUT that doesn't mean it still can't be exciting. Mr. Catto goes for broke, yes I meant that, and hits the mark each time by tastefully crafting the setting for each bleep, bloop, hum, bark and whisper the synths can muster. He allows space where needed but seems very aware of his importance. He also instinctively knows when to carry out a groove and not allow the record to become simply snapshots of a jam session. There are only six songs here and each is not one second longer than need be. Side two opens with what I would say is the closet thing to a real song and even that seems lost in time and in some way to consider it a song cheapens the idea and execution. These pieces exist simply to exist. Go here - http://www.dirtydrums.com and be just as confused.