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.

Bon Voyage Matt Dolan - PSS & Bill Dolan - D.C.'s Tavern March 6 - 9PM - Closing

Hello Y'all,
There are so many things to tell everyone about this week.

First off, Bill and I will be burying the patrons of D.C.'s with pounds and pounds of Hardcore, Punk and 70's Rock madness in honor of the one and only Big Red. Bill's brother Matt departs from our shores to continue a life anew with his family in far away lands. There better be beer where he is going or man he is going to be pissed off! Before he goes we will help him stock up; we know he is full when his eyes are floating. Matt has been a major part of my life and anyone who frequents D.C.'s or Louise & Jerry's. As always, this means we will have a late night visit by Hoboken Board of Ed Officer Anthony Romano... just in case you're holding. Bon Voyage Big Red!


WFMU is nearing the end of its 50th Anniversary Listener Marathon. Anyone reading this and NOT familiar with FMU needs to log on immediately to ANY archived show at WFMU.org or tune in 91.1 fm in the NYC area (90.1 in the Hudson Valley) and start taking notes. Conservatively I would say about 50% of my music knowledge has come from the airwaves of FMU. My Dad was a listener so I truly do not know life without FMU and hope I never have to. I have contributed in my own special ways to the station over the years. This year I had the opportunity to break out the brush & ink and design a t-shirt for one of the DJ Premiums. This time around Mr. Fine Wine gets that fine Longo treatment. Just click on the "Mr. Fine Wine presents Downtown Soulville T-shirt" link under "Friday" under the DJ Premiums Selector in the left hand side navigation of the Pledge page - https://www.wfmu.org/marathon/pledge.php for a closer look. The back of the shirt has a manipulated Tuba Records (owned by Fine Wine's Uncle) label design with Matt's show info. Please give what you can to the station. They are 100% listener sponsored.

WFMU Marathon - http://www.wfmu.org/marathon


I got this email the other night from a buddy of mine:

>>
Subject: SodaCan = StephenChopek
Date: Mar 3, 2008 7:24 AM
Hello,
SodaCan has a new website featuring music and art by Stephen Chopek.
Please take a few moments to visit us at www.sodacansodacan.com.
SC
>>

I did just that. Actually, I listened to the music twice through while working. Yes, it is that good. Google "Stephen Chopek" and you will see that this isn't just some friend's music but music by an incredible musician who happens to be a friend. Please check it out.


Lastly it is that time again:
Iris Records Of Jersey City is OPEN this coming weekend
Friday and Saturday March 7th and 8th from Noon to Seven.
114 Brunswick Street in Jersey City (between First and Second)
PHONE: 609-468-0885

Thanks for reading,
- pat.

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

Primitive Sound System & Bill Dolan
Thursday March 6th 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 Records in The Black Box (no descriptions sorry... Punk and Hardcore...pretty simple):

The Undertones - "Teenage Kicks" (Ardek / EMI cat. ARDS1)
The Beastie Boys - "Egg Raid On Mojo" (Ratcage cat. MOTR 21)
Heartbreakers - "One Track Mind" (Track Records cat. 2094 137)
T.S.O.L. - "Man And Machine" (Faulty Products cat. VIRUS 10)
Raw Power - "I Do What I Like" (Toxic Shock cat. TOX-006)
Minor Threat - "I Don't Wanna Hear It" (Dischord Records cat. No. 3)
Gang Green - "Alcohol" (Taang Records cat. TAANG SIX (NR 16103))
Detention - "Dead Rock N' Rollers" (Rigor Mortis cat. RIG-1)
Black Flag - "Six Pack" (SST cat. SST-005) plus "Slip It In"
Dead Kennedys - "Too Drunk To Fuck" (Alternative Tentacles cat. VIRUS 2)
Bad Brains - "Pat To Cum" (Bad Brain Records cat. BB001)
The Fall - "Totally Wired" (Rough Trade cat. RT 056)
Husker Du - "In A Free Land" (New Alliance Records cat. NAR-10)
Minutemen - "Joe McCarthy's Ghost" (SST cat. SST-002)
Meat Puppets - "In A Car" (World Imitation Records cat. )
Pipe - "Yr. Soaking In It" (Amish Records cat. AMI-001)
Supersuckers - "Saddle Tramp" (Sympathy For The Record Industry cat. SFTRI 113)
Mummies - "You Must Fight To Live On the Planet Of The Apes" (Sympathy For The Record Industry cat. SFTRI 196)
etc...
etc...
etc...
etc...

and easily one of my FAVORITE songs of ALL TIME:
Tad - "Jack Pepsi" (Sub-Pop cat. EFA 08144-45 (German Press / Green Vinyl))

Radio People

WFMU 50th Anniversary Marathon - February 25th - March 9th, 2008

WFMU hits 50 years and remains completely listener sponsored. If we were just talking about broadcasting to the NYC area we would be talking about one of the best radio stations to ever send a signal to our radios BUT now with web broadcasting and archives FMU continues to spread its influence worldwide. These days dead air would be more interesting than the current state of both commercial and college radio FMU continues to broaden its spectrum and push the limits of "what radio is." Even on satellite radio which is supposed to have NO boundaries and programming to satisfy all tastes the choices are limited. Listening to an entire station of Frank Sinatra would even run its course quickly before becoming repetitive. Why not use the same bandwidth or frequency to educate listeners to Sinatra's influences and those he influenced. FMU is constantly entertaining and equally educational.
WFMU.org
Marathon Info
Secure Pledge Page
91.1 fm NYC AREA & 90.1 fm HUDSON VALLEY

Bill Dolan and Primitive Sound System - D.C.'s Tavern Thursday February 7th from 9PM to Closing

Hello Y'all,
For over a month I didn't have an internet connection so I have a shit-load of records to write about. Also, if Leap Year isn't weird enough the weather has proven to be extremely confusing. First its hot than its cold... I think the worst thing about Global Warming so far is the inconsistency. Is that wrong? This past Tuesday was of course Fat Tuesday so that means I'll be bringing some of the Bayou to Back-N-Back. So amongst that load will be some very new records, old favorites and of course the aforementioned New Orleans platters. New Orleans is truly one of the most unique sounding cities in the world and some of my favorite Soul and Funk records call it home.

Last month Bill and I hit D.C.'s hard and all those not paying attention paid dearly. Pay attention kids or you run the risk of being double teamed from the top ropes! We've done it before and we are not afraid to do it again... just dare us. Hopefully you can make it out and remember we only seek our prey the old fashioned way... we target the weak. Hey and looky there it's me brother Mike slinging ales along with the hard stuff. See you there... I SAID SEE YOU THERE!

ALSO:
Iris Records is open this week Fri/Sat from Noon until 7PM.
114 Brunswick Street in Jersey City
(between first and second...not far from Grove Street)
Call 609-468-0885 for more information and directions.


- pat.

Primitive Sound System
VINYL RULES!

All the past email are here and they are searchable - "Audio Visual Triumphs and Disasters" - http://primitivesoundsystem.blogspot.com

Primitive Sound System, Bill Dolan and Joe Raaen (Maybe? I haven't heard if Joe will be joining us)
Thursday December 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

The Records:
Lack Of Afro - "When The Sun Goes Down" (Freestyle cat. FSR7039)
I love being dragged into a Big Funky Drum Beat by a guitar lick ready for a Girl Group ballad. That is exactly how we are treated here. Lack Of Afro don't have a 100% unique sound but that is no slight as they have learned to take a lot more than just one from column A and one from column B. The drum sound is tight but extremely alive. The guitars loop and wah-wah throughout. A beautifully lifting flute breaks out but stays to the end pushing as hard as the rest of the band. The drums are way out front but never step on the players. Brilliantly they restate the guitar lick from the opening.

The Fantastics! - "Give It Up Or Turnit A Loose" (Modern Funk cat. FSR7040)
If you noticed there is an exclamation point at the end of The Fantastics! name. These boys are fantastic and they know it. Opening with the traditional guitar intro they hit James Brown's classic hard and soon very original. The intro feels like it is just telling us, yes, this is a classic but wake the hell up, get your ass up and listen up because we have something to say. Hell, we all know that they have been listening to the Godfather of Soul forever so why play it straight. There is almost a hint of Afro-Beat to their groove just like an unexpected shot of Hot Sauce. Creeping out of the darkness comes the sax and it is going for broke. He bends, he twists and he breaks. The organ pushes and the sax teases back. We are treated to a brief but altogether refreshing organ groove that sets up the sax one more time. (Is it an alto first and then a tenor? Could be. Or maybe the sax is just blowing that much more? It is subtle but I do hear a difference.) You would assume this leads up to an outro but hell NO! Remember these motherfuckers are "FANTASTIC!" with a bolded exclamation. Congas pop out the break and bring up the drums. Raw and hard is the recipe here with a full bass and guitar attack on the senses. The band loosens up a bit and really begins to burn right before things fall apart they show restraint and professionalism and stop on a dime. BANG! FAN-FUCKING-TASTIC! Indeed.

Quantic featuring Spanky Wilson - "When You're Through" (Modern Funk cat. FSR7041)
I can never say a bad thing about Spanky Wilson and the same goes for the stellar Will Holland and his Quantic Soul Orchestra. A long building intro almost leads you to believe that this may be an instrumental affair when about a minute and a half in Ms. Wilson slides in to take control. Her performance is both pleading and alluring. In the world of New Funk credibility is everything so finding players and vocalists who can stand shoulder to shoulder with the originals is very important. It doesn't get any more real than the classy Ms. Wilson and The Quantic Soul Orchestra show a level of sophistication that most bands can only dream of. The beat hops throughout accentuated by baritone sax, piano, and guitar.

Bobby Blackbird and The Blue Jays - "What You Wanna Do" b/w "The Blue Jays Theme" (Cardboard City Records cat. CCR-002)
I stumbled across this while searching for something else. Dumb luck. There is a very similar sound to Little Barrie here and I would love to know if there is any connection but as of right now I have no idea. These guys combine Rock and Soul perfectly. Mr. Blackbird (I assume) has a voice that is raspy and snotty and when he speaks you listen. The band is small and tight and the recording is simple and raw. Drums, guitar, bass and vocals; that is it. Once again proving that most Rock bands really suck and if they spent just five seconds listening to the sounds their instruments produce they could save us all the pain we endure suffering their crap. These guys have listened and they know less is more. "LET IT GO! CAUSE I WANT TO!" "...be on your side... when it's good...?" Now that is some good shit. Short and perfectly ended. They back this beauty up with a theme song, aptly titled "The Blue Jays Theme." I like this for a bunch of reasons but especially since our vocalist got top billing on side one and it is nice to let the band grab the stage for their time under the lights. They play it as rough and raw as the first side so it is going to be difficult to choose which side will land up, down on the decks.

Funk Shone - "Purification Pt 2" (Skyline Recordings cat. SL4503)
This bursts of the vinyl with a very club feel to it. The Percussion and Drums challenge each other and hit hard enough to destroy their equipment. Horns jump on top of the Drums, Percussion and Bass mix just long enough to state a theme. It is so good they repeat it before allowing the flute to solo and cut the band. The sax joins in and they play off each other anticipating each players next move. The song goes out on a heavy ass break and it makes me want to start it all over again, and I think I will.

Lucky Brown - "Don't Go Away" b/w "The Fresh One" (Tramp Records cat. Tr-1012)
The sound on this gives it a flavor of authenticity. One of the other things that helps it to ring more true than most is the repeated title / chorus right after the intro. The vocals are hurried but rushed with a touch of anxiety. The band seems to playing with a similar heart and the whole thing blends nicely. Drums crash, guitars chug and the horns have a conversation throughout. The soloist of choice here is the flute and solo it does. You can pick up a hint of flute behind the chorus / vocals about midway and then off it goes. I have been a fan of the flute as an aggressive addition to any band and especially like it in the funk genre. Over analyzing a New Funk track kills it. Listen, move but DON'T GO AWAY! Side two kicks open with one of my favorite intros in a very long time. At first it sounds like a series of false starts and then slams up against a Free Jazz sax run that does what ever it wants over this very strong groove. Happily the flute is back and tries to match the expressiveness of the sax but honestly it falls a little short only because it grooves sweetly and too close to the rhythm. The false starts are back and this time they act as a chorus of skipping records while the drums take a shot at improvisation. Here keeping the beat close to the main groove works well as the band continues to skip right to the end. Easily one of the most creative entries on the New Funk scene and one that may give it legs as a stand out track.

Lefties Soul Connection - "Fais Do-Do" b/w "Mood Mix" (Melting Pot Music cat. MPM-038)
This is as heavy and aggressive as The Meters have ever gotten. Lefties Soul Connection are one of the few bands that I buy their 45's and LP's without ever hearing one note. They never disappoint. Swirling organ and picked guitar kick open the door of the massive instrumental known as "Fais Do-Do." The drums skip, smash, bang and POW! all the while the guitar strums out one of the more interesting lines found on any Funk 45. After a brief pause bridged with the beautiful thumping bass the organ gets down and dirty. You can sway, nod, bob, pogo or just brawl to this little ditty. After a steady soloing of the drums the guitar shows the organ that it is not the only instrument that can get down and dirty at this dance. All in all, a sweaty affair to say the least and I can't imagine anyone trying to put the kids to sleep while it is still kicking around the cage aux chiens.

FROM LAST MONTHS EMAIL THAT NEVER GOT SENT:

Plum - (15th Anniversary 200th release box set) (Thrill Jockey Records cat. THRILL 200)
I still get excited like a 4 year old on Christmas morning when it comes to records. I have a four year old so I can tell you that is pretty fucking exciting. I got an email from Thrill Jockey announcing the box and the proceeded to check their site everyday until it was released. Then I asked Santa for it and couldn't wait until Christmas morning. Well this was worth the excitement and the wait. The Box is adorned with the fuzzy image of a plum and the scrawled word plum in shaky script. Each sleeve has a selection of botanicals featuring plums. The usual suspects are all here including Tortoise, Sea And Cake, Freakwater, Mouse On Mars, Califone, Pit Er Pat, etc, etc. All put in stellar performances and even in this tribute to their own label the bands push themselves and the boundaries a bit.

Javier R. Rodrigez - "Rumble" b/w "Up The Hill" (Raw-Wax Records cat. rw-008)
I have said it about a million times and I will say it again. A band is ONLY as good as their drummer. Time and time again this is true. If the drummer is not as good or at least a cut above the other players the band suffers. The drummer gracing the throne on this mad piece of Modern Funk is just explosive and tight as a duck's ass. He is kicking hard and putting back, shoulders and wrists into every hit. "LET'S GET READY TO...RUMBLE!" There is beautifully thought out percussion throughout that compliments every stroke the drummer takes. BUT, but, but let's not take a way from the rest of the folks giving it there all. The organ stabs, slides and pushes through the whole song sometimes sounding like the theme to a Spaghetti Western and at others the soundtrack to a Space adventure. The bass is moving and solid. With all the wonderful sounds and shifts going on around it, the bass holds everything together with expressive heavy notes and perfect little pauses that hang there allowing a beat or two to jump out and pin your shoulders back. The guitar tosses off super clean rhythmic jabs but then also covers everything up with wild amounts of fuzz and some crazy effects making the guitar sound like a clavinet. No need to ask because you already know the answer... YES, there is a cow bell and a beat heavy break. It is anything but a struggle to get "Up the Hill". The beauty of this single is that if you heard 50 tracks from this genre you would be able to spot the Javier R. Rodrigez tracks. There is a certain quality to the tracks and especially the way the drums are handled. Have you ever played with the balance while listening to Edwin Starr's "25 Miles?" If you have never done this and have the 7-inch I'll wait while you try.... Back? Pretty cool right? There is a similar sound to these tracks. The drums don't necessarily live in one channel or the other but there is a sense that the drums are offset from the band. Not so much as to be "out front" but just off to the side and allowed to really go for it and stretch out. The band really seems to enjoy playing with each other and on this track each musician compliments the others quite nicely. The drums lead the charge but this time the keyboards and bass grab equal amounts of space. The keys have the same spooky soundtrack meets lounge scene sound they had on the first side but they are always downright solid and Funky. The composition is nicely varied and allows the players to display their abilities. Woe, woe, woe what the hell is this! There is the most INCREDIBLE simple vibe pattern about half way through. The band takes the pace up to double time and the vibes drop gears and take it extremely slow. Echoey and masterfully handled but weirdly amateurish and the same time. Simple beauty? Child-like innocence? This all has the effect of watching a simulation of a space craft in orbit. You know it is moving at 18,000 MPH but it looks like it is floating. Thank you Javier R. Rodrigez and Raw-Wax you have made me and my turntable very happy. Now leave me be as I load up the needle and get lost....

Bill Dolan and Primitive Sound System - D.C.'s Tavern Thursday January 3rd from 9PM to Closing

Hello Y'all,
Well, Happy Fuckin' New Year! This Thursday is the one you are always waiting for, that's right... MISERABLY cold and three knuckle-heads spinning their personal favorites. Lucky for you all I won't bore you all with a "Best Of 2007" list. I can never pare it down like that anyway. Plus with stuff like the Thrill Jockey "Plum" box set coming out in the middle of December and the brilliant Raw Wax label rounding out an already amazing year with a new one from Javier R. Rodrigez why would I even try. Two tastes that taste great together, vinyl & beer. See you there.

- pat.
Primitive Sound System, Thrill Jockey
VINYL RULES!

I am still compiling all these emails here - "Audio Visual Triumphs and Disasters" - http://primitivesoundsystem.blogspot.com

Primitive Sound System, Bill Dolan and Joe Raaen
Thursday January 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

The Records:
Plum - (15th Anniversary 200th release box set) (Thrill Jockey Records cat. THRILL 200)
I still get excited like a 4 year old on Christmas morning when it comes to records. I have a four year old so I can tell you that is pretty fucking exciting. I got an email from Thrill Jockey announcing the box and the proceeded to check their site everyday until it was released. Then I asked Santa for it and couldn't wait until Christmas morning. Well this was worth the excitement and the wait. The Box is adorned with the fuzzy image of a plum and the scrawled word plum in shaky script. Each sleeve has a selection of botanicals featuring plums. The usual suspects are all here inchttp://www.blogger.com/img/gl.link.gifluding Tortoise, Sea And Cake, Freakwater, Mouse On Mars, Califone, Pit Er Pat, etc, etc. All put in stellar performances and even in this tribute to their own label the bands push themselves and the boundaries a bit.

Javier R. Rodrigez - "Rumble" b/w "Up The Hill" (Raw-Wax Records cat. rw-008)
I have said it about a million times and I will say it again. A band is ONLY as good as their drummer. Time and time again this is true. If the drummer is not as good or at least a cut above the other players the band suffers. The drummer gracing the throne on this mad piece of Modern Funk is just explosive and tight as a duck's ass. He is kicking hard and putting back, shoulders and wrists into every hit. "LET'S GET READY TO...RUMBLE!" There is beautifully thought out percussion throughout that compliments every stroke the drummer takes. BUT, but, but let's not take a way from the rest of the folks giving it there all. The organ stabs, slides and pushes through the whole song sometimes sounding like the theme to a Spaghetti Western and at others the soundtrack to a Space adventure. The bass is moving and solid. With all the wonderful sounds and shifts going on around it, the bass holds everything together with expressive heavy notes and perfect little pauses that hang there allowing a beat or two to jump out and pin your shoulders back. The guitar tosses off super clean rhythmic jabs but then also covers everything up with wild amounts of fuzz and some crazy effects making the guitar sound like a clavinet. No need to ask because you already know the answer... YES, there is a cow bell and a beat heavy break. It is anything but a struggle to get "Up the Hill". The beauty of this single is that if you heard 50 tracks from this genre you would be able to spot the Javier R. Rodrigez tracks. There is a certain quality to the tracks and especially the way the drums are handled. Have you ever played with the balance while listening to Edwin Starr's "25 Miles?" If you have never done this and have the 7-inch I'll wait while you try.... Back? Pretty cool right? There is a similar sound to these tracks. The drums don't necessarily live in one channel or the other but there is a sense that the drums are offset from the band. Not so much as to be "out front" but just off to the side and allowed to really go for it and stretch out. The band really seems to enjoy playing with each other and on this track each musician compliments the others quite nicely. The drums lead the charge but this time the keyboards and bass grab equal amounts of space. The keys have the same spooky soundtrack meets lounge scene sound they had on the first side but they are always downright solid and Funky. The composition is nicely varied and allows the players to display their abilities. Woe, woe, woe what the hell is this! There is the most INCREDIBLE simple vibe pattern about half way through. The band takes the pace up to double time and the vibes drop gears and take it extremely slow. Echoey and masterfully handled but weirdly amateurish and the same time. Simple beauty? Child-like innocence? This all has the effect of watching a simulation of a space craft in orbit. You know it is moving at 18,000 MPH but it looks like it is floating. Thank you Javier R. Rodrigez and Raw-Wax you have made me and my turntable very happy. Now leave me be as I load up the needle and get lost....

"Like grooves in shellac through the Victrola, so are the sounds of our records."

Hello Y'all,
We're looking to start the Baby New Year's music education from day one. We'll be hoisting the heavy discs onto the platters and listening to to the glorious past the way Edison intended it. The groove is about four times as large as an LP or 45 and the needles look like 8 penny nails but the sound is like nothing you have ever heard (unless you are insane enough to collect 78's as well). That's right kiddies, we're talking 78RPM records here. 10" wide, weighing in at about a pound and a guaranteed knock out with every spin. Mike Longo is setting up the 78 DJ coffin complete with tube mixer and equalizer that actually dials in the sound by year! Mike and Larry will be selecting from their vast collections spread across many genres and years. They would also like to invite anyone interested in spinning a short stack to bring 'em by and lay 'em down. With this set up you can cross fade! Woo, I am almost passed out from the excitement. Come on by and enjoy a cocktail, beer wine or sip from the bar rag while the big sounds of 78's sooth, groove and move you. Larry is pickling a peck of pickled vegetables to make it that much more difficult to stick to your New Year resolution of only ten Bloody Mary's per hangover.

Mike and Larry featuring the the mixology of Larry The Hunter
Tuesday January 1st Opening 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

Primitive Sound System and Bill Dolan - D.C.'s Tavern Dec 6th 9PM-Closing

Hello Y'all,
I couldn't find an email for November so I am guessing I didn't send one. Well, I was busy building some shelves and storage so I could better organize. With that said there were a whole bunch of records to file away which means there are a whole bunch of records to write about. The reason for this wonderful overflow was the FMU Record Fair. As always and of course the "Dollar Guys" done me good! Also I snatched up two long time want list discs from a well known source for a very nice price

Looks like Three Shall Be this week as Joe is back at the tables along with my esteemed colleague Mr. Dolan. There is barely a record in my box this week that has seen the dim lights of D.C.'s more than once so this should be a fun one.

Without making this too sad I would be remiss if I did not mention a tragedy from mid November. Early Sunday morning on November 18th a small electrical fire started in my brother's studio that spread to a large foam couch. The couch sat next to shelves of some of the rarest Jazz, Latin and Country records. Luckily no one was injured but the records couldn't take the heat. The fire fused the entire Latin section into solid block of vinyl. Some of the Jazz and Country records suffered the same fate but most just warped or "melted" from the heat. Heat closed the grooves of sometimes only portions of a record and you could clearly see a silhouette of the flames and heat waves that licked the surface. Throwing each damaged record into the trash made everyone sick and almost brought me to tears. Weirdly the fire did the least damage. The sprinkler system which kept the fire from spreading beyond the couch and the record shelf standing near by devastated floors of the building and hundreds more of Michael's records. Clear plastic bags which were meant to prevent damage became torturous, water chambers for the records trapped inside. Covers melted in your hand as you tried to save them. A lot of the vinyl was saved and cleaned but without covers or inner sleeves their collector value is lost. Bill and I are planning a small benefit to help Michael get back some of his records. In the past Michael has DJ'd weddings for free and has ALWAYS been the first to step up when a DJ cancels or when someone needs equipment for an event. As we have more details and a date we will let everyone know.

- pat.
I am still compiling all these emails here - "Audio Visual Triumphs and Disasters" - http://primitivesoundsystem.blogspot.com

Primitive Sound System, Bill Dolan and Joe Raaen
Thursday December 6th 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


The Records:

Batman and Robin - "Who The Fuck Is Superman" / "Whatever, I Hate Rock 'N' Roll" b/w "Batmobile" / "Be Scared!" ( / Be Scared! Records cat. BR-12 / BS!-04 (numbered 155/300)
OK, so I love a lot of different music. Music from almost every genre and sometimes sources that the average person would never even consider to be music. But, sometimes the simplest is truly the best. If I had to pick one record that grabbed my mind, body and soul this year it was this STOOPID FUCKING BLAST! of PUNK ROCK IDIOCY! This is pure and perfect. Raw and visceral. From the very first listen you immediately say, "I can do that.?!" But you don't, you haven't, you won't, and you probably couldn't even if you had the balls tohttp://www.blogger.com/img/gl.link.gif try. Oh yeah, and you never will, so... FUCK YOU SUPERMAN! These refined lads are from Austria and sing in what sounds like a drunken version of English, is that what an Austrian accent sounds like? "LOOK ROBIN...HOLY MACARONI BATMAN...WHO THE FUCK IS SUPERMAN!" "Who..." is basically a version, of a version of a thousand other songs you may or may not have heard. The band, all two of them, is pounding as hard as they possibly can and it sounds like it could have been recorded in an abandoned building or possibly the hallway of some unsuspecting building. Next stop, free studio time, fifth floor. The next three songs BRILLIANTLY do they same thing as "Who...". Each is intro'd by the band; each containing some catchy little hook you won't be able to shake for weeks like a virus. This really isn't music you write about. You hear it, you break shit, vomit, you drink more and you do it all again. Unfortunately currently I am writing about it and doing laundry. I need to kick my own ass! BE SCARED! One more thing you pathetic citizens of Gotham... the COVER! The cover illustration is so damn perfect for all of this that you should buy it for this alone. Easily one of my top 10 favorite record sleeves of all time and definitely my favorite record of 2007. Batman Theme *NA*NA*NA*NA*NA*NA*NA*NA,*NA*NA*NA*NA*NA*NA*NA*NA FUCK YOU!

Big Joe Louis and the Soul Investigators - "Go-Go Train (Is Gonna Carry Me Away)" b/w "Rolling Down The Tracks" (Timmion Records cat. Timmion # 014)
Once again the folks at Timmion Records break the mold and show everyone else how it is done. The Soul Investigators will never loose sight of why so many people listen to what they do. They certainly don't adhere to a formula and are able to present their style in so many different unique ways without ever loosing a single fan. Here they get down in a 'lectric Blues groove that tries as it might to stay that way but rips at the seams in the final moments to expose its Funky beating heart. The train like beat sets the pace and the horns seem afraid to get to involved as the drums and Big Joe just might crush them. Joe has a very seasoned voice and the sharp high pitch of the organ compliments him perfectly. The pace is slow but somehow moves along enough to shake some shoulders, bob some heads and hopefully shake a few asses. After all it is a Go-Go Train so ALL ABOARD! The timing on "Rolling Down The Tracks" almost seems like someone messed with your turntable but as the drums gallop away you realize everything is right with these rails. This is of course the very strangely mixed instrumental of "Go-Go Train" making this a round trip.

Caribean Gay Torpedoes - "Tropical Fever" Part - 1 & 2 (Welcome to Tropical Breeze Hotel & Luxury Beach Resort cat. TB 6772)
"The Gay Torpedoes Performing Every Night at the Tropical Breeze Night Club." This harks back to a time when Gay could still be confused for happiness but then again this is no naive little disk... one letter away from a laugh right there. The band comes on like a pool side party filled with tanned bodies and suntan lotion, drinks stuffed with too much fruit and umbrellas, and an anything goes attitude. Disco with a Funk beat played endlessly for hours on end. Spoken vocals smoothly rap over the unending groove, "TROPICAL FEVER...ehhh...." Horns help to break things up and a soft organ sound does laps in the low end. There is an odd trumpet solo that sounds as if the player has his / her attentions elsewhere. Side two picks up the action right where they left off but players are given more space to solo and change things up. Here the playing almost feels loose even though the rhythm remains unchanged.

The Black Hollies - "Hush" b/w The Dansettes - "Forty Days" (Ernest Jennings Record Co. cat. EJRC 029 (red vinyl))
Sometimes knowing a song, really knowing a song in that unconscious way that allows you to sing it while doing something completely unrelated is not always the best song you would choose to do as a cover. The Black Hollies take on one of the late 60's biggest tracks, the song made most famous by the one and only Deep Purple..."HUSH." The Black Hollies definitely know their way around what makes a 60's or 70's Rock track just plain devastate. Pounding drums, ample organ and sharp guitar. Much in the way that Deep Purple took this Country Jam into the world of Soul via Rock The Black Hollies keep the asses shaking with the Organ of JB Flatt and the vocals of the lovely ladies of the Dansettes. "Hush" is one of those tracks that helped define 70's guitar rock despite its soulful swirling organ solo or maybe because of it. The Black Hollies trick out a few parts with effects but lay down a raw bass and drums sound that grounds the track perfectly in a timeless place that all great music resides.

On the flip of this beautiful red vinyl disc is an original composition penned by the aforementioned JB Flatt for his band The Dansettes. The pace is slow to medium with a moody intro of organ, drums and the extremely warm vocals by Jamie Kozyra. There is a decided Motown sound here but as if the early 60's Sound was handled by the powerful Norman Whitfield. You can thank Gabe Roth of Daptone Records fame as he recorded this beauty and it is mixed to perfection by Carl Rusk. The instrumentation is layered with piano, hand claps and the stunning backing vocals of the remaining Dansettes (Leah Fishman and Jennie Wasserman). We are even treated to a vocal break over organ reminiscent of the Shangri-Las. Toward the end the guitar leaps out in a tribute to both Motown but steals nicely from Steve Cropper as the vocals and band build in intensity before it all fades. this will get a lot of play.

The Black Hollies - "Tell Me What You Want" (The Black Hollies/Lyrics by J.A. Morey) b/w "Tired of Being Lonely" (The Black Hollies/Lyrics by J. Gonnelli) (Ernest Jennings Record Co. cat. EJRC 020 (white vinyl))
Too often bands like the Black Hollies get called Retro. That just bugs the shit out of me. I guess Kanye West is retro because Hip Hop is 30 years old as well. This is good old fashioned Rock-N-Roll. "Tell Me What You Want" has a party feel as well as an edge warning you that someone just might get hurt. Justin Morey pleads in a similar way that the vocals of Richard Hell are pleading. He's not really asking as much as he is telling. "Tell me what you want, you can get it from me." What ever the hell it may be, doesn't really matter, he let's her / him / it know he can produce. The guitar cuts through and threatens everyone one in its path as the band slows just enough to make sure not to hit any on coming traffic. Soon they are off again barreling down the street, eyes closed, pounding the pavement and eventually crashing to a stop. "Tired of Being Lonely" shifts gears a bit and snaps with a more modern feel but certainly not like anything you would hear break the Top 100... and that is a shame. The guitar has this amazing organ sound to it and the rhythm guitar rains over it as if to remind us that sometimes it is OK to be sad. Does that sound wimpy? It does but somehow it comes off as a punch in the face. I fear I may go mad repeating "DON'T YOU COME ROUND HERE TRYING TO TELL ME, JUST BECAUSE YOU'RE TIRED OF BEING LONELY" for days on end. What happened to songs with Pop hooks and balls? Apparently they are an every day occurrence where the The Black Hollies live.

Baby Charles - "No Controlling Me" b/w "Invisible" (Hip Drop Records cat. HD 101)
Baby Charles can hit harder than most Rock bands. There is something to the way they assert themselves that lifts them up above and possibly through any of the bands mining a similar territory. "No Controlling Me" is a great name for this track. The band is amazingly tight (as always) and Ms. Charles is a forceful combination of Poetry / Soul Jazz era singers like Camille Yarbrough and Sherry Scott (Earth Wind And Fire). There is no containing this band. They can push in all directions yet make it all sound as tight as classic era JB's. The drums take a particularly strong roll in making this an aggressive Funky affair as the horns punctuate each expressive moment . Miss Charles sings and yells but never causes the band to get off point instead they are following her in her very confident march forward as she clearly makes her point that there is no controlling her or the band. Don't bother, just lay back and let them work a while. "Invisible" is anything but and is the closest I have heard Baby Charles hit a somewhat JB's groove. Talk about attitude. This track is full of it. Ms. Charles sings in short but measured phrases not wasting a word, a breath or a beat. The band ticks along like a metronome and eventually kicks up a little dust during what could be considered the chorus. A few sharp strikes and blasts and they are back ticking away. The horns are velvety smooth and gently lay on top of the groove enticing us to follow them and seduce us. Let's face it with music like this we don't need much coaxing. If they are invisible they are certainly worth looking for. Completely essential.

Leslie Overdrive - "A Tad Askew" b/w "Oily" (Hammond Beat cat. HB7-01 (Ltd to 250 copies)
I love that this, the first vinyl 7" release on Hammond Beat, opens with a plunky guitar and deep bass and not the organ with its Leslie screaming. Obviously it doesn't take long for the Organ to jump in but again like the songs intro there is nothing predicable about the choices. Rather than go for the throat and squeeze the organ the sound here is more flowing and even mellow. Mellow but extremely groovy. The band (guitar, bass (unless this is the organ peddles) and drums) does a little stretching out and grooving before the guitar breaks it all up with a very sharp, very Rock solo but one that is always aware of the beat. This really winds things up and the organ has no choice but to try and match the intensity. The band breaks back and states the theme and punctuates it with quick stop/starts just to let us know this AINT no Jam Band. Nothing askew about it, this shit is dead on. "Oily" is a version of the Juggy Murray Classic (uncredited on the label, for shame Hammond Beat!). Unfortunately for Juggy Murray, "Oily" is a classic to a limited group of enthusiasts so this better be good... everyone is watching. The band chooses to mellow it out a bit and this is certainly not a bad choice. The groove is impossible to ruin so the slower tempo for the first half gives them more room to pick up the pace as the music progresses. They even try some expressive organ playing and possibly a little improvising which adds an unexpected dynamic. Despite this being a great version the "A" side is just that much better. A very good 7" and easily one that can be called a two-sider. (I hope someone gets paid for side two, I believe the family is fighting after Mr. Murray's death).

Low Fidelity Jet Set Orchestra - "Bahia Soul" b/w "Jazz Rocker" (Hammond Beat cat. HB7-02 (Ltd to 250 copies)
There is an amazing BIG sound on this tiny little slab of diversity. Organ and Brazilian percussion dance around and over a controlled beat dispelling a groove that could relax the most up-tight among us. The organ gets to go for a ride about mid way and tackles some known styles and even cliches with such class and sophistication that the time allotted seems to drop you hard just as you began to loose yourself in the moment. I want to loop this and have tall drinks in my backyard and hope the neighbors are all away. "Jazz Rocker" comes out of the pocket like a lost Sound Library gem worthy of the great John Cameron. BIG BASS, DRUMS AND ORGAN pound, move, jump and connect to form one of the liveliest Organ tracks I have heard in a while. Horns and Fuzz Guitar only make the affair that much more enjoyable and extend the controlled chaos long enough to tingle the spine and break the drums again. There is a good amount of time after the break to build on the theme and really elevate the excitement. This is one great track and it shows what a band can do when they really push themselves. This will get lots of play.

The Soul Impossibles - "Interpretation: Soul Power No 1" b/w "Souladelic" (Jazzman Records / Funk 45 cat. Funk45.036)
James Brown is easily one of the most important if not the most influential force singularly responsible for late 60's early 70's Soul and Funk. Jazzman / Funk 45 drop one giant slab of 70's Funk in this small package. The Soul Impossibles obviously were very determined to show the world that not only could they hold their own with Soul Brother number 1 but they could extend one of his grooves, throw in a triple time break (for lack of a better word) and prove that they could easily take this thing called Funk to new heights and in different directions. The horns and percussion come off a bit like an Afro-Beat band but it is obvious from the organ, guitar, bass and vocals that these guys are straight up Funk. The little vocal blurb at the end throws a bit of a monkey wrench in the works. The vocal hints at the fact that this was "just another take (or song) for these guys. Vamping in this way comes naturally to The Soul Impossibles in the same way it may have for JB himself. That is not always evident in other tracks from the same time and even ones of the same caliber. "Souladelic" is crazy fast with a frantic tambourine and guitar leading the way. Once again it shows off how in the pocket these guys could be.There is a very 60's Garage sound to the organ which only makes it that much better for me. At times though it sounds as if the organ is being choked by the out of control pace. Again the track ends in such a way to make you think this was tossed off sans rehearsal. I'd be very curious to hear more by The Soul Impossibles but if this is all that exists I am very thankful to Jazzman records for making it available. These guys truly believed that nothing is impossible.

Johnny Cameron & The Camerons - "Funky John" b/w "I Love You (Yes I do)" (Atlantic cat. 45-2734)
I am never sure how to describe the sound of the guitar that opens this cut. The best way I have found is to call it "throaty." "Funky John" has always reminded me of early Earth Wind and Fire. There is a definite party feel with shouts, hoots, laughs and the occasional "UHH!' There are horns a plenty and they speak loud and clear creating a vocal complete with a chorus and even chicken squawks. The reason I have not picked one of these up previously is the lack of Organ but this Funky monster definitely does not suffer because of it. It is a hard hitting instrumental that never lets up.

Kool And Together - "Sittin' On A Red Hot Stove" b/w "Hey Now Baby" (Pacemaker Records cat PM-1977 (Producer: Huey's Sugar Hill Studios, Houston Texas))
Easily one of my longest standing want list records and it is NOT an instrumental. Quite the opposite. This track is all about the tortured voices struggling to get their words out. There are two definite lead vocals and neither one even tries to sing in Harmony with the other. Their pleas seem to fall upon deaf ears as they repeat themselves over and over. If this is advice it couldn't be less clear what they are trying to say. More likely they are pleading their case to a young lady who may be a little cooled by their reputation. "Sittin' On A Red Hot Stove, You're Gonna Be Fine... Put'Cha' On A Red Hot Stove, You're Gonna Be Fine." and again and again. GROOVE ME BABY! No matter what it is, I love it. The music is beautifully simple and hard as hell. The perfect mood is set by Heavy HEAVY Bass, close mic'd Drums that pound you in the face, Percussion and Guitar that seems content to be in the background occasionally peppering the sound with moments of volume. There is a Bass break toward the end mimicking the intro and it will always make me say DAMN! as it slowly starts things up again The vocals jump back in and it all fades out within seconds.

Menomena - Friend or Foe (FILM Guerrero FG27)
The first I heard this was via the putrid mis-service known as MP3's. After only a few seconds of the LP I wanted to flog myself and apologize to each member of Menomena individually. The LP has a very full sound with miles of depth. Songs like "The Pelican" jump off the LP and explode with atomic bombs as well as party snappers. FUCK! I HATE MP3's! Menomena have a formula for what they do and if you believe the band they also have a computer program that controls a lot of the composition. BUT, this is a formula worth sticking with. Art Rock and emotional as well as aggressive and pissed. Sometimes influences are obvious (XTC) but for the most part Menomena are truly original. The packaging, like all the band's releases, is definitely worth mentioning. Stunning, black brush and ink (?) drawings cover every inch of the tri-fold gatefold cover drawn by the band's friend Craig Thompson. The cover is die-cut to expose the inner workings through a belly, a mouth, a thought and a brain . Through these windows we can read each song title by spinning the paper disc riveted into the cover. The angelic, (halo included) oblong, pure white creature dead center exposes the song sequence with numerical values and a blank stare. You could look at this cover for hours on every drug known to man in every possible combination and it will always be the best single illustration to represent the complexity of flavors, tones, textures, sounds, feelings and irritations contained in the grooves.

The Three Suns - "Just One More Chance" b/w "The Creep" (RCA Victor cat. 47-5553)
"The Creep" reigns pretty high on my "favorite tracks of all-time list." I have had this on 78 for many, many years and have enjoyed it when ever I can get over to my brothers and enjoy a 78 the way it was meant to be heard. Not long ago my Brother and I DJ'd a party with nothing but 78's and I believe we spun this two or three times. Maybe the very mysterious Three Suns thought this was as scary as they possibly could get. Maybe it was down right spooky when it was released BUT what intrigues me most is the very 60's organ sound pumping in the background. Heavy baritone honks step out of the shadows as guitar and squeeze box chase each other around. The organ goes from spooky almost Theremin sounds to traditional fifties Lounge style to what can only be described as 60's Soul Jazz Organ. Not in an out right Funky Soul way but more so from a tonal aspect. Despite my love of the organ it is the guitar that is the star of this Haunted House. It sits back after its initial interplay with the others but the guitar really lets loose about half way in. At the break the creepy baritone honks let us know we are back to where we started. The organ sneaks up behind before leaping out in that 50's Lounge meets 60's Soul SSSSOUND. It all wraps up wonderfully with a quick re-statement, quick guitar lick and an ending that can only be described as ghosts slipping into an attic as the door closes slowly. I true favorite for both myself and apparently Mamie Eisenhower. The Space Group - http://www.spaceagepop.com/threesun.htm & this very researched site http://www.tothcorp.com/threesuns

Johnny Lee Wills and Boys - "Blub Twist" b/w "Your Love For Me Is Losing Light" (SIMS Records cat. 129)
WOW! This is one special little rekkid. Johnny Lee Wills is of course the brother of Bob Wills and his renamed Texas Playboys as just plain and simple Boys. This thing comes out kicking with guitar and sax blasting and the big ass band jumping in line. Apparently Johnny Lee and Boys had the honor of hosting the longest running continuous live music broadcast (25 years) in radio history. "Blub Twist" has a touch of the Pat Boone cleaning up Little Richard but it certainly is NEVER corny. My favorite moment is the trumpet solo which is rarely ever hear on a Rock Instrumental. Usually that honor is bestowed on the sax or guitar (and sometimes even both).