Junk - Continuation of Madness

Continuation of Madness is the third and final album by Bay Area acid-skronk quartet Junk, released in 1997 on their own Faffco Records label. The core trio of David Robbins (baritone sax), David Schumacher (guitar), and Frank Swart (bass) is intact from the previous album, while former drummer Diego Voglino is replaced by Malcolm Peoples. (See the previous entry for a full band bio.) The band's postpunk influences are on display here: "Ascending Thirds" is a fantasia on Liquid Liquid's immortal "Cavern" bass riff, and "Tippy Top" sounds like a lost SLAB! track. The full track list is:

01-Continuation of Madness
02-F U, Frank!
03-Stoppin' in Gilroy
04-Ascending Thirds
05-Stratesphere
06-Chutney con Carne
07-Leslie B
08-Tippy Top
09-Kojak Girl
10-Bowleeged Otis
11-Foreign Relations
12-Jive Picnic
13-Win Some, Lose Some
14-The Spoiling Kids
15-Junk

Malcolm Peoples was in turn replaced by Ian "Inkx" Herman; that lineup lasted for only a year and did not result in an album. Junk disbanded; Robbins, Schumacher, and Herman continued as Post Junk Trio, releasing four albums between 2001 and 2007. The last, Chinatown, is in print and readily available for purchase in mp3 format. The first three are more elusive, and may eventually grace these pages. In the meantime, get the Continuation of Madness CD rip here or here.

Junk - Kiss My Acid Jazz

Junk were an instrumental four-piece band who made music somewhere in the borderlands of acid jazz and skronk; the rhythms were too smooth for skronk, but David Robbins' baritone sax was too edgy for acid jazz. The band's bio from their seemingly abandoned website (last updated April, 2001) reads:

JUNK has been called a jazz band, a funk band, a jazzy-funk band, a funky-jazz band, an "anything but jazz" band, even (horrors!) an acid jazz band. While critics can't agree on how to define them, the listeners & dancers who have heard and seen JUNK will usually agree on this: they have a talent for moving their audiences (body and soul) and they do it intelligently, confidently, and without getting hung up on the labels others try to hang on them. Call it what you like--it swings, it grooves and occasionally it goes off the deep end. But label it, and the music will punch a hole through the box you tried to put it in.

JUNK's beginning can be traced back to 1988 when Dave Schumacher (guitar) and David Robbins (baritone sax) roomed together at Boston's Berklee College of Music, while Schumacher played with Frank Swart (bass) in a band that was to have a significant influence on JUNK. Six years later they all met again in the Bay Area and hooked up with Malcolm Peoples, the local drummer of choice for numerous funk/hip hop acts. Their first CD, JUNK was born out of jams worked out in a smoke-filled rehearsal space. The buzz got going right away. "A solid album," said Stepjazz magazine, "which really shows the possibilities of this music and this band." Urb agreed. "Quite against the pretty boy space cowboy pseudo-funkateer pretenders, they are willing to funk themselves into a cold sweat without apology or gimmickry."

Following tours of the West Coast, the band entered the studio with Philip Steir of Consolidated to record Kiss My Acid Jazz. A more varied CD than the first, KMAJ 's jazz/funk mix was spiced with some experimental cuts that raised a few eyebrows but also brought them critical praise, and national radio airplay. JUNK was nominated in the Outstanding Jazz Band and Jazz Album categories of the 1997 Bay Area Music Awards (Bammies).

The "band that was to have a significant influence on JUNK" would be Morphine, whose defining "low rock" sound is echoed in Junk's heavy bass-and-baritone-sax orientation. Get the CD rip of Junk's second album, Kiss My Acid Jazz (Faffco Records FAFFCD-02), here or here; check back in a week or so for their third and final album. (Have a rip of the first? Please let me know, I'm looking for one.)

Jesse Rae - three 12-inch singles

Look! There's Jesse Rae before he had his steel helmet and five-foot Claymore (sword)! 1985 was the year of Jesse Rae's career-defining single, "Over the Sea", the extravagant video for which established the helmeted, kilted, sword-wielding image he maintains to this day. But he must not have had the helmet and sword yet in 1982, as that is the year of the record pictured above, the Columbia release of the double-A-side 12" single of "Rusha" b/w "Desire" (the first of the 12-inch three-pack offered here). This is a different version of "Rusha" than the one on The Thistle; it's about a minute and a half longer, and is an earlier recording, though both of them feature Bernie Worrell on keyboards. "Desire" was a single for Rae in 1979 on Bold Records; I have never seen or heard that record, so I don't know if this is the same recording or not. It is a bizarre electro piece with funny sampled voices providing much of the rhythm track and goofy lyrics; its seven-minute length may be excessive, but once you hear it you will never forget it.

Next up is the 12-inch single of "Over the Sea", again signficantly different than the album version. In addition to the hotter mix (which my PC recording setup can just barely handle, sorry for the distortion on the sibilants), there is a more active rhythm synth, no instrumental indtroduction, and an additional 30 seconds of music. The real gem on this record is the first track on the B side, "Party Crackers", a wicked eight-minute funk jam. Closing the B side is an instrumental verion of "Over the Sea", with an extended Bernie Worrell synth intro in his distinctive freaky style.

Rounding out the 3-pack is the 12-inch single of "Hou-di-ni" b/w "Idio-syn-crazy", both of which appear on The Thistle in more or less the same versions (though "Idio-syn-crazy" is decoupled here from the album's "Scotland the Brave" instrumental intro). I've packaged all three 12-inch vinyl rips in separate folders in a single archive file; get it here or here.

Jesse Rae - The Thistle

Here is the only album by funky Scotsman Jesse Rae (not to be confused with Oregon "roots pop with a blues edge" band Jessie Rae; why they would choose a name that is so close to an established musician's is a mystery to me). Wikipedia says:

Jesse Rae is a Scottish singer from St Boswells,[1] who is particularly remembered for his single "Over the Sea", which reached number 65 in the UK Singles Chart in 1985.[2][3] The video for the single – which features a kilted, helmeted, claymore-brandishing Rae in both New York City and the Scottish Highlands – won a Vira award.[4] An album entitled The Thistle was released in 1987 on WEA but failed to chart. As a songwriter, he is also remembered for the 1982 Odyssey hit single, "Inside Out".[5][6] In 2007, he stood for the Scottish Parliament as an independent in the Scottish Borders electoral constituency of Roxburgh and Berwickshire.[7] He
gained 318 votes for a 1.2% share of the vote.[8]

The opening track is Rae's own recording of his hit for Odyssey, "Inside Out". What the article doesn't mention is the funk pedigree of The Thistle: it was produced by Zapp leader Roger Troutman, who also plays on most of the songs, and his brother Lester plays drums or percussion on about half of the tracks. As if that weren't enough, Funkateer Bernie Worrell plays on five tracks, and P-Funk guitarist Michael Hampton puts in a couple of appearances as well. That said, the album is definitely a product of the 80s, and while it's among the best of 80s pop-funk, it's not exactly timeless. But it's got plenty of good licks, and the thickest Scottish brogue you will ever hear on a funk record. Get the vinyl rip here or here, and check out the videos below. Oh, and about the outfit: Rae "rarely appears in public without his steel helmet and full Scottish garb."

Various Artists - Merkin Records Seedy Sampler

Black Pete must have been the only alternative band in Baltimore that wasn't included on this 1989 20-band sampler CD from Merkin Records:

1. U. Violets - Gade (actually Ultra-Violets, must have been a legal issue that prevented them using the name on this CD)
2. All Mighty Senators - Wink (band still active)
3. Lambs Eat Ivy - Serpentine
4. Bazooka Joe - Insomnia
5. Dark Carnival - Back to the Factory
6. Monkeyspank - Dr. Omar
7. Jade - Line
8. Lungfish - Return Descender
9. The Pearl Fishers - Black Box (not the David Scott band)
10. The Unknown - Empty House of Night
11. Rise - God Bless the Creeps
12. Elements of Design - I Love a Man with Rhythm
13. The Last Picture Show - Destination (led by writer Louis Maistros as Lu Maestro)
14. Braver Noise - The Smiths Have Gone to Heaven
15. Seesaw - Rochelle Bridges
16. Motor Morons - Another Girl (may still be active, though no shows since 2007; imagine Devo songs played by Einstürzende Neubauten)
17. Mark Harp - The Drill (guitarist for Null Set/Cabal, also of the Beatoes, Motor Morons, Chelsea Graveyard, the Diamondheads, etc.)
18. Infant Lunch - Cut the Cord
19. Grey March - Beneath the Sea
20. Reptile House - Turning Disease

There's quite a variety of musical styles here: punk, gothic, new wave, Springsteenian populist rock, funk, and more. Get the CD rip here or here.

SLAB! - Death's Head Soup

Slab!'s final recording before a 19-year hiatus was 1989's "Death's Head Soup" single, which I will once again let currybet describe:

The final flurry of the band was 1989’s Cameo ‘Word Up - Sucker DJ’ sampling anti-Thatcher rant of knuckle down and eat your “Death’s Head Soup”. With a sole writing credit to Stephen Dray I have no idea whether it was a solo record or not, but it certainly was a long way from “Mars On Ice”...

I've been listening to "Soup" for nearly 20 years without realizing that was a Cameo sample, but now that I read that it's so bleeding obvious! How could I have missed that?! No, it wasn't a Dray solo record, the full lineup was:

Stephen Dray - Vocals
Paul Jarvis - Guitar / Samples
Nick Page - Guitar
Boleslaw Usarzewski - Bass Guitar

With : Dave Bryant - Drums
Kevin Sanderson - Percussion
Corrie Josias - Backing Vocals
Lynne Gerald - Backing Vocals
Simon Walker - Keyboards / Violin

They sure went out on a high note; I could listen to this driving beat and insistent fuzz-bass riff for hours, shouting along "Knuckle down, drink your death's head soup!" all the while. The B-side is the Descension album track "Switchback Ride"; the 12" single added a club mix of "Death's Head Soup." Get the 12" vinyl rip here or here.

SLAB! - Smoke Rings

The "Smoke Rings"/"Abbasloth" double-A-side single, released in 1987, was Slab!'s final recording with a horn section, and it's a killer! The tempo and the rhythm are akin to George Clinton's "Atomic Dog", but everything is so much heavier: the slapping bass, the slamming drums, the scraped guitar a la Sonny Sharrock. It's an amazing melting pot of funk and sludge that demands to be played LOUD. On the defunct BBC Collective website there is a good overview of Slab! records by user "currybet" which contains the following about "Smoke Rings":

“Smoke Rings”Slab!’s third single, “Smoke Rings”, a love song for nuclear missiles from the point of view the military, was a disaster. Later, when I met Stephen Dray, Slab!’s singer, he said that it had been led on by the record company asking for a ‘hit single’ - and it was the first time that Slab! had released an edited 7” single to accompany the 12” release. Mind you he also said that he thought the vocals on their debut single “Mars On Ice” sounded like they had been recorded in a toilet, and it is one of my favourite records ever, so what does he know?

I find it odd to see "Smoke Rings" described as a "disaster", as I recall reading several positive reviews of it at the time, and it seemed to be popular in the cutting-edge dance clubs. Perhaps Mr. Dray can give us a little more of the story?

In addition to "Smoke Rings", the 12-inch also includes a dub version, "Cruise Missile Smoke Rings", and the instrumental "Abbasloth", which has a similar monster beat but substitutes free-jazz horn freakouts for vocals. It is a MUST HAVE. Get the vinyl rip here or here. Check out the new Slab! website here. Check the comments here for occasional updates from Steve Dray (the mosesman) on the progress of the new Slab! album! See here for Slab!'s Music from the Iron Lung mini-LP. Click here for all my Slab! and Slab!-related offerings.

Savant - Stationary Dance

One of the most respected independent electronic music labels of the 80s was Kerry Leimer's Palace Of Lights, on which he released several of his own recordings (as K. Leimer) as well as albums by Roy Finch, Marc Barreca, and Michael William Gilbert. Leimer's music was mostly in the ambient vein; he used the moniker "Savant" for his more rhythm-based works, the "Stationary Dance"/"Sensible Music" single (1981) and the LP The Neo-Realist (At Risk) (1983). Palace Of Lights went dormant after 1983 and Leimer disappeared from the music scene, concentrating on his and his wife's design business, Leimer Cross. After nearly two decades of inactivity, Leimer revived Palace Of Lights in 2002, reissuing his 80s albums on CD and releasing new work by himself and others. I would have expected "Stationary Dance"/"Sensible Music" to be included on The Neo-Realist CD, but it wasn't; the initial vinyl release is all there is. "Stationary Dance" is a classic piece of postpunk art-funk, with an infectious rhythm track (looped?) featuring prominent bass guitar, overlaid with atmospheric synth lines and cut-up spoken vocals. "Sensible Music" is instrumental only, with a slow but insistent rhythm and an overall sound that recalls Jon Hassell's work with Brian Eno. Musical contributors on the record are:

• K. LEIMER: SYNTHESIZERS, TAPES, VOICE, GUITAR.
• DAVID KELLER: FRETLESS BASS, GUITARS, PERCUSSION.
• JAMES KELLER DRUMKIT, GUITARS, PERCUSSION.
• MARC BARRECA: SYNTHESIZERS, TAPES.
• ROBERT CARLBERG: PERCUSSION, ENGINEERING.

Get the vinyl rip here or here.

SLAB! - Sanity Allergy

Here is the elusive final album from the mighty SLAB!, Sanity Allergy, on Ink Records, 1988, ten more reasons to get excited about Slab's resumption of operations:

1. Last Detail
2. Fourth Warning
3. Station KY
4. Son of Sloth
5. Born in a Wreck
6. Sanity Allergy
7. Cancer Beach
8. Switchback Ride
9. Land of the Midnight Sun
10. Visiting Hour

These are some of the heaviest grooves ever committed to vinyl; the beats and scraping guitars and menacing vocals really do hit like slabs of granite, and I mean that in a good way! The uptempo instrumental "Son of Sloth" has the sheer animal vigor that more modern "action music" groups like The Crystal Method can only aspire to. The other uptempo track, "Cancer Beach," is catchy as hell with a killer bridge; don't listen to the people who slag it off! Get a vinyl rip of Sanity Allergy here or here, and keep an eye out for a new Slab album (which will not be posted here--support the band and buy it!).

See the delightfully-named blog Cliff Richard's Neck for Slab's first collection, Music from the Iron Lung, and their 1986 Peel Session.

Urbie Green - Green Power

"The superb Urb on reverb," it says on the back. The concept for this Project 3 Total Sound Stereo album from 1971 is to have master trombonist Urbie Green use some effects on his trombone. The effects are tape reverb (on "Spirit in the Dark") and the "King-Vox Ampliphonic Unit" on "Green Power," "Comin' Home Baby," and "Sidewinder." The Ampliphonic Unit "electronically duplicates each of his notes one octave lower," so the three tracks it's used on have an extra fat trombone sound. "Green Power," Green's sole original composition on the album, is also the funkiest, with tasty breakbeat drumming by... well, the drummer isn't credited, but it's probably Grady Tate, who is the only drummer credited on any of the tracks. The liner notes have a track-by-track breakdown; they are so informative (and amusing) that I've transcribed them here:

Spirit in the Dark A piano chord, a tentative statement by Urbie, and before you know it, everybody is swinging: "funk" style! Urbie wanted to come as close as possible to the feeling established by Aretha Franklin on this tune, while imparting his own interpretation to it. Notice how subtly Urbie leads the rhythm section in and out of double time feelings. The "mysterious" tape-reverb sections were conceived by Urbie, who also had a hand in its execution, along with engineer Don Hahn.

A Time for Love Don Heitler on electric piano (left) and Dick Hyman on organ (right) provide an intimate setting for Urbie's very personal and beautiful rendition of this Johnny Mandel masterpiece. Urbie's control of the instrument and his superb phrasing combine to make this an unforgettable performance. The tune fades out in a mist of delicate tones from the two keyboards.

Green Power This is Urbie's own composition, and it takes someone of Urbie's abilities to play it! Urbie uses the specially amplified trombone on this tune, which electronically duplicates each of his notes one octave lower. As usual, Urbie is "all over the horn", and his exciting performance here includes some remarkable "triple-tonguing" sections. The electric piano solo is by Dick Hyman, and the unusual musical and percussive effects emanating from your left channel are from Vinnie Bells' guitar.

Easy Come, Easy Go Dick Hyman's Lowrey organ, recorded in stereo, together with Jule Ruggiero's driving fender bass line and Grady Tate's "shuffling" drums pave the way for Urbie's commanding trombone. Solo work is shared by Urbie and Dick Hyman. As the tune closes, listen to Urbie hit a series of high "B♭'s" (almost two octaves above middle "C") and then effortlessly jump down three octaves for the final note!

Comin' Home Baby Urbie uses a larger ensemble on this tune and on "Lumps." Adding to the power here is Marion Milam on trumpet, George Opalisky on soprano sax, Jay Leonhart on fender bass, Tony Mottola and Howie Collins on guitar and Kathy Preston vocalist. After the first rocking chorus of this tune, Urbie switches to amplified trombone for an incredible display of the technique of articulation. Dick Hyman's organ solo is followed by a free for all jazz chorus. As the tune draws to a close, Urbie plays a masterful cadenza. Some additional ensemble "wailing" is climaxed by a long unison "fall-off".

Secret Love A Latin flavored rhythmic feeling (bossa-rock) is established in the introduction and forms the background for Urbie's handling of the tune. Urbie plays this tune with a mute, which gives a new sound "color" to the album. Notice the marvelous counterpoint of Russell George's repeated bass notes in the first chorus. A brief drum break by Grady Tate announces Urbie's jazz chorus. Dick Hyman is featured on the organ and his jazz work is wonderfully compatible with Urbie's.

This Is All I Ask Urbie's mellow trombone sings out the introduction of this Gordon Jenkins standard. As the first chorus begins, Dick Hyman's piano interlude tastefully embellishes Urbie's phrasing. A subtle but insistent rhythmic pulse (established by Julie Ruggiero on fender bass, Grady Tate on drums and Don Heitler on organ) carries through both choruses until Urbie's cadenza brings the tune to a close.

Sidewinder The combination of Russell George's fender bass, Grady Tate's drums and Dick Hyman's electric piano establishes the perfect feeling for this tour-de-force by Urbie. Urbie is playing the specially amplified trombone, which magnifies the power of his unique playing. Also featured in this arrangement are Dick Hyman on electric piano and Vinnie Bell, whose guitar solo is punctuated by Urbie's insistent rhythmic accompaniment.

Isn't It Odd This lilting bossa nova (in waltz time!) is the product of the creative mind of composer, Dick Hyman, whose piano playing begins the arrangement. Urbie glides his golden sound through the melody with supreme control. Also "gliding" (or is it "sliding"?) is the rhythm section as it wends its way through an ingenious structure of chords and rhythmic accents. Vinnie Bell's guitar provides the sitar-like sounds in the second chorus, as well as the "waterfall" effect of the introduction.

Lumps Dick Hyman, composer of this tune, starts off on the electric piano (right) and is answered on the left by Howie Collins' guitar. Urbie's melodic phrases are answered by the ensemble in like manner. The addition of Phil Bodner on baritone sax adds to the power. Urbie plays an incredible three and one half octave fall off at the end of the chorus. Solo work is again shared by Urbie and Dick Hyman throughout the tune which rocks its way into the fade ending.

(Yes, they did spell "fender" with a lower-case "f" throughout.) In case you didn't figure it out from the liner notes, Dick Hyman is all over this album with plenty of electric piano and organ pyrotechnics. The Project 3 label was not known for anything funky, so it's pretty surprising to hear a few of these tunes "swinging 'funk' style," as the notes say. Green's trombone prowess is amazing; he really can make the horn seem to speak, with as much expression as a singer. The "ampliphonics" may have been just a gimmick, but they're are fun to listen to for three tracks. Get the vinyl rip here or here.

Blue Rondo - Bees Knees & Chickens Elbows

For their second album, Bees Knees & Chickens Elbows, Blue Rondo a la Turk dropped the "a la Turk" from their name, several band members, and everything that made their sound distinctive, i.e. the postpunk edge and the retro big-band sound. What's left sounds like countless other mildly funky British blue-eyed soul bands of the day. The original concept shines through a bit in "Masked Moods" with its smoky lounge vibe, and the rest of the songs are pleasant enough to listen to, but the spark is gone. The band had already broken up anyway by the time the album came out in 1984, so Bees Knees stands more as a last gasp than a document of an evolving band. I wish I could sound more positive about it, but I can still feel the disappointment I felt in 1984 when I got the record home and put it on the turntable. Maybe you will like it, though; get the vinyl rip here or here.

I had a request for Blue Rondo's Too Soon to Come album: that is simply a compilation of tracks from their two original albums with no new material, so if you grab the two album rips here, you've got everything that's on Too Soon to Come.

James Blood Ulmer - Live at the Caravan of Dreams

Nowadays James Blood Ulmer is a sort of elder statesman of the blues, but back in the 70s he was a protege of jazz great Ornette Coleman and a proponent of Coleman's "harmolodics," i.e. everybody play whatever you want at the same time and let the listener sort it out. Which made for some challenging listening! Ulmer's first solo records also had a strong funk underpinning, explicitly addressed in "Jazz Is the Teacher (Funk Is the Preacher)" on his album Are You Glad To Be In America? As for the Caravan of Dreams, I'll quote Wikipedia:

The Caravan of Dreams was a performing arts center located in the central business district of Fort Worth, Texas during the 1980s and 1990s. The venue was best known locally as a live music nightclub, though this only represented one portion of a larger facility. The center also included a multitrack recording studio, a 212 seat theater, two dance studios, and a rooftop garden.[1] The center was located at 312 Houston Street, and prefigured the redevelopment of Sundance Square into a dining and entertainment district. Edward P. Bass, whose family has participated in much of the redevelopment of downtown Fort Worth, financed the project, and Kathelin Hoffman served as its artistic director.[2]

The Caravan of Dreams was self-described as "a meeting place appealing to audiences who enjoy the creation of new forms of music, theater, dance, poetry and film" that was "architected and managed by and for artists."[3] The name was taken from 1001 Arabian Nights, by way of Brion Gysin, who attended the opening of the venue with William S. Burroughs in 1983.[4] The opening celebration centered around performances by Fort Worth native Ornette Coleman, both with his Prime Time ensemble in the nightclub, and with the Fort Worth Symphony at the nearby Convention Center. The event coincided with the mayoral proclamation of September 29, 1983 as "Ornette Coleman Day," when Coleman was presented with a key to the city.[5]

The center operated its own record label, releasing albums by Coleman as well as artists such as Ronald Shannon Jackson, James "Blood" Ulmer, and Twins Seven Seven. Caravan of Dreams also released films (including Ornette: Made in America, a feature-length documentary about Coleman) and spoken word recordings by William S. Burroughs, Brion Gysin, John P. Allen (as Johnny Dolphin), and others.

The rooftop garden featured hundreds of cacti and succulent plants, as well as a glass geodesic dome. Several years later, Biosphere 2 would incorporate geodesic domes in its structure, with the involvement of some of the same principals behind Caravan of Dreams.[6]

Eventually the facility became less geared toward the experimental (though high-profile) musicians, writers, and artists with whom it was associated in its early days. Caravan of Dreams ceased its production of entertainment media, and the nightclub hosted more mainstream performers outside of the jazz genre.

The nightclub closed in 2001, exactly eighteen years to the day after Ornette Coleman Day, and was converted into a restaurant, Reata at Sundance Square.[7] The theater space continued to be operated as such.

Sounds like a fantastic place, which unfortunately I never got the chance to visit. So, here (or here) is the James Blood Ulmer album referenced above. Released in 1986, it was probably recorded in 1983 or 1984, and includes a good mix of blues and funk numbers. The backing band is Amin Ali on bass, Charles Burnham on violin, and Warren Benbow on drums.

Pigbag live

Pigbag (full band history here) was a fantastic melting pot of rock, funk, jazz, and Latin styles; unfortunately they were only together for three years, 1980-83. After the breakup, Y Records released this album of odds and ends, containing seven live tracks from five shows and a remix of "Jump the Line." Most notable are the live versions of "Sunny Day" and "Papa's Got a Brand New Pigbag," and a cover of the Norman Whitfield/Barrett Strong classic "Smiling Faces (Sometimes)" which did not appear on any of Pigbag's studio albums. The full track listing is:

A1 Shack of Scraps Live - Berlin Latin Quarter - 5th April 1983
A2 Smiling Faces Live - Berlin Latin Quarter - 5th April 1983
A3 Sunny Day Live - Birmingham Locarno - 17th March 1982
A4 Papa's Got a Brand New Pigbag Live - Hammersmith Palais - 16th March 1982
B1 Jump The Line Remix - Jacobs Studio - December 1982
B2 Global Terrain Live - Berlin Latin Quarter - 5th April 1983
B3 End of Ubud Live - Munich Alabama Hall - 6th April 1983
B4 Can't See for Looking Live - Tokyo Sun Plaza - July 1982

Get the vinyl rip here or here.

Vital Excursions - Give!

From the "If you like Pigbag" department, here is the only album by Vital Excursions, Give! (1982). Vital Excursions was led by saxophonist/flautist Tony Wrafter, and had a Pigbag-style lineup of:

• Voice: Angela Stewart
• Kit: Dan Sheals
• Bass: Moen Parera
• Viola: Sara Sarahandi
• Bass Violin (isn't that a cello?): Pete Brandt
• Piano: Fiona Fleck
• Congas: Steve Lewis
• Trombone: John Fairbrother
• Percussion: Paul (Nellie) Hooper

There is a real, albeit circuitous, relationship to Pigbag as well: Wrafter had been a member of Maximum Joy, which included former members of The Pop Group (John Waddington and Dan Catsis), while Pigbag also included a former Pop Group member (Simon Underwood). Wrafter and Catsis were also both members of the Glaxo Babies, as was fellow Maximum Joy member Charlie Llewellin. Clear as mud. Give! is sometimes listed as a mini-LP because it contains just six songs. It's actually a full-length album, though, because the track that takes up all of side two, "Going to the Give", is over eighteen minutes long. It combines rock and Eastern musical styles, prefiguring Eric Random's Ishmael LP which came out three years later. The five songs on side one sound like Pigbag for the most part, with the exception of the mellow jazz "In the Swim." So if you like Pigbag, get the Vital Excursions vinyl rip here or here.

Funkapolitan

Out of all the British blue-eyed funk bands from the early 80s, Funkapolitan was definitely one of them. They had an eight-man lineup, produced stiff but passable pop-funk, and released three singles and one album (produced by August Darnell, a.k.a. Kid Creole, with a cover design by Factory's Peter Savile) which was generally well reviewed. They tried a little Sugarhill-style rap on "There it is again," even mentioning "wheels of steel." The back cover of the album has a band member/song matrix with an instrument key that shows exactly who (Kadir Guirey, Simon Ollivierre, Nick Jones, Sagat Guirey, Toby Andersen, Terry President, Tom Dixon, Gregory Craig, and guests Larry Greenberg and Annise Hadeed) played what (drums, claves, congas, tambourine, bongos, shakere, agogo, caxixi, cowbell, guiro, timbali, cabasa, steel drums, marimbas, electric guitar, acoustic guitar, bass guitar, Clavinet, Rhodes, Synclavier, grand piano, Arp strings, Farfisa organ, Hammond organ, acoustic piano, Vox organ, synthesizer solo, statement, lead vocals, vocal, backing vocal, rap, handclaps, jawbone) on each song. As you can see from the list, the arrangements are interesting and make for good listening, even if the songs are not particularly memorable. Their Top of the Pops rendition of "As the time goes by" has turned up on YouTube:


Get the LP rip here or here.

Cosmetic - Get Ready

I had a more substantial post planned--the sole album by 80s funk band Cosmetic--but as luck would have it, EduFunKY just posted it to the Boogie Grooves blog yesterday. At least I checked before I ripped this time! So I'll just offer up this addendum, their 1982 12" single (non-LP) of "Get Ready," the 1966 Temptations song written by Smokey Robinson and recharted by Rare Earth in 1970. Cosmetic's was more or less a pop vehicle for Philadelphia-born electric bassist (and Ornette Coleman protege) Jamaaladeen Tacuma, so if you like kinetic basslines, this is a must have. The lead vocals are by Veronica Johnson, about whom I have no information whatsoever. The B-side, "Put It On," is a ska instrumental with some unusual guitar chords, as if Andy Summers sat in with the (English) Beat. The full band line-up is:

• Jamaaladeen Tacuma: electrical bass guitar
• Timothy Murphy: electrical guitar/effects
• Rick McClary: drums/percussion
• James Watkins: guest saxophonist
• Veronica Johnson: lead vocal on Get Ready
• Greg Allen: Trumpet on Get Ready
• Bill Brecker: Korg synthesizer on Put It On

Discogs.com lists this as a Gramavision (US) release, but this rip is taken from the UK Rough Trade pressing. Get it here or here.

The Men - Matrix of Compassion

Here is the followup to my post of The Men's first record, Herminutics. Its six songs were all very inspired funk-leaning postpunk. To repeat the basic information from the first post:

Men were a Chicago punk/industrial band from the early 80s, sharing or featuring
ex-members of the more popular band The Mentally Ill. Founded by Snat 5 Records head Art MacQuilkin, they released a 12" in 1981. (The Chicago Punk Database)

That 12" would be Herminutics; they followed it up in 1982 with a full-length album, Matrix of Compassion, which finds them either stretching out or dicking around; it seems to be a little bit of both. About half the songs retain the weird, ACR-ish funk groove from the first record, but in between there is the noir jazz narrative "Sorry," the long blues piss-take "Dead Blue," the straight-up punk rocker "Nutron Baby," and a few slabs of pure weirdness. The band lineup on this record is essentially the same as on the first, but with more details:

Sven Herman: guitars, melodies, and piano
Reggie Mars McFadden: guitars, melodies, and synthesizer
Arthur E. MacQuilkin III: guitar, melodies, and vocals
John Sterling Santee: sax, melodies, percussion

also..
Amy Fischer: vocals on "Remain"
Steve George: drums

The album packaging is interesting in itself: instead of a sleeve it's a cardstock envelope (like Section 25's Always Now) with a square hole cut in the front to expose the record label. All in all it's a great relic of the creative side of the early 80s; get the vinyl rip here or here (new links 1/3/2010). (If you have any information on later musical projects of The Men or its members, please let me know in the comments.)

Surprize - Complete Discography

It's easy to post a complete discography for a band when they only released eight songs on two records! Italian band Surprize released the four-song The Secret Lies In Rhythm EP on Italian label Base Records in 1982, and another four-song EP, In Movimento, on Factory Benelux in 1984. In Movimento is known primarily for its Manchester connections: it was a "Dojo-BeMusic production," or Donald Johnson of A Certain Ratio (who also contributes bass, Simmons, and backing vocals) and Bernard Sumner of New Order (credited with DMX programming). The main credits are as follows:

• Mirko Virdo Pellati: drums, simmons, backing vocals
• Wud: voice, synthesizer, guiro, cow bells
• Luca Patini: guitars, wood block
• Francisco Garau: vibraphone, balafon, bongos, cow bells, cabasa, talking floor drum, kokiriko, backing vocalsLuciano Graffi: bass, click bass, fretless bass
• Frank Nemola: trumpet, trombone

With an instrumental lineup like that, and an ACR member at the desk, there is a definite ACR feel to the record, most like their To Each... and Sextet period. On the earlier EP, the back cover shows Surprize as a seven-piece band, though the members are not listed. While there is an arty gloss to In Movimento, the The Secret Lies In Rhythm is more lively, with the horns and varied percussion more prominent in the mix; it's more in the vein of Pigbag than ACR, and it's a lot of fun. Unfortunately it's also very short, clocking in at just over 16 minutes. But put it together with the second EP and you've got a whole album's worth of above-average, occasionally brilliant postpunk art-funk. Get them here or here.

Workforce

We go back to 1980s Sheffield today for the entire catalog of industrial funk band Workforce, who put out just two 12-inch singles, but they're among the best of that time and place. The first was "Skin Scraped Back" in 1985, released on Cabaret Voltaire's Doublevision label (and that stamp of approval should carry more weight than anything I could write). The record contains two mixes of the title track plus "Heap the Blame." The lineup:

Paul Wheatcroft: Vocals Guitar Violin Keyboards
Alan Fisch: Drums Percussion Tapes/Treatments
Rod Leigh: Guitar Keyboards Tapes Voice
Tim Owen: Wind Instruments Percussion Keyboards
Special thanks to Adi Hardy Bass Guitar

The throbbing bassline really makes the song tick; Workforce comes across as a harder-edged Chakk. I found an interesting post on the Sheffield forum from Tim Owen about Amrik Rai, the NME music writer who co-founded FON Records:

He always seemed to have some project or other up his sleeve when I briefly knew him. I played in Chakk rivals, Workforce for a while [sax, percussion, keys, tapes]. Rai interviewed us for NME after our first Peel Session and single, but the NME interview mysteriously never saw the light. I put it down to the fact that he was also the manager of Chakk, and didn't want similar [although more experimental] bands such as Workforce and Hula to steal Chakk's thunder.

In 1986 Workforce released their second and last record, the "Back in the Good Books" 12-inch on Rorschach Testing.





Again, there are two mixes of the title track (which cranks the tempo up a couple notches from "Skin"), and one more song, "This Is the One," which sounds uncannily like Chakk. The lineup is the same but now three members have "programming" in their credits, and special thanks go to Terry Todd (of The Box) who I presume played bass. And that's all there is from Workforce, except for another remix of "Skin Scraped Back" from Abstract Magazine 6 (Audio/Visual), which I have included for completeness' sake. Get it here or here.

Chakk - 10 Days In An Elevator

Chakk, the industrial funk outfit from Sheffield, only released a single album, 10 Days In An Elevator, on MCA in 1986. They got signed to MCA on the strength of their singles on the Doublevision on FON labels (and presumably some demos), got a huge advance, spent it building FON Studios, and proceeded to record the album. However, somewhere they lost the special ingredient that made their singles so spectacular (available here), and 10 Days is a bit of a sprawling mess of funky basslines, tape manipulations, sax riffs, and shouted slogans that never quite comes together. On the plus side, there's plenty of it: packaged with the 8-song album was a bonus 4-track EP. It's far from terrible, in fact I quite enjoyed listening to it again to prepare this post. In advance of the album's release, "Imagination (Who Needs a Better Life)" was released as a single, with three different mixes on the 12". But with no clear followup single* the album stiffed and Chakk were dropped from MCA. They posted a strong return to form, once again on the FON label, with the "Timebomb" single (also available on my first Chakk post), but without enough success to keep the band together. Here, then (or here) is the entire 10 Days album plus the EP, and all three mixes from the Imagination 12", which exhausts my Chakk collection until I get ahold of the legendary Clocks and Babies cassette. Anyone?

* I stand corrected (said the man in the orthopedic shoes): a quick search on GEMM reveals that "Big Hot Blues" was the followup single, then the album sank. It also shows a 12" single of "Brain" with album track "Years I Worked" as the B-side, released on FON, presumably after being dropped by MCA but before Timebomb. There's another one to track down...