PRIMUS: GREEN NAUGAHYDE

(PRAWN SONG RECORDS/ATO RECORDS; 2011) A REVIEW FROM THE VAULTS


For those of you who have been living under a rock, Primus is an experimental fusion rock band that incorporates more genres than I can even begin to list here. They have a sound that is completely original, theirs and theirs alone. The trio formed in 1984 in San Francisco, California coalescing around the songwriting talents of bassist and vocalist Les Claypool. Guitarist Todd Huth and Claypool, were later joined by drummer Jay Lane, though both Lane and Huth departed the band at the end of 1988. The GREEN NAUGAHYDE lineup is composed of Claypool alongside Larry LaLonde on guitar and the returning Lane on drums. The three-headed beast has had many different lineups over the years, Claypool having been the only constant. GREEN NAUGAHYDE is the group’s seventh studio album.

PRIMUS (Larry LaLonde, Jay Lane, Les Claypool) (publicity photo)

The opening minute or so of “Hennepin Crawler” features some ethereal bass soloing and swooshing effects, then immediately bursts into a classic Primus bass line of the type that only Les Claypool can come up with. The slinky guitar playing and pumping drums make this track really groove and with Claypool graveling out the vocals in his signature way, it starts the album off in a definitively Primus way. The next few tracks are a journey, honestly; really easy to just sit back and get lost in. “Last Salmon Man” is a nice continuation of the opening track.There’s a very strange bridge leading into the chorus that is definitely original. LaLonde’s guitar is the one that shines in this track, with the solo and the bassline behind it sucking you in, getting you lost in the extremely well crafted soundscape. This album is meant to be listened to as an album which, in the singles era is super refreshing. I found myself really enjoying the record, almost losing my place and forgetting what track I was on a few times. That rarely happens to me. I thoroughly enjoyed GREEN NAUGAHYDE and you can absolutely tell that there was a ton of effort put into it by Claypool and company. If you are a Primus fan, then this will not disappoint; even if you just enjoy listening to masterful musicians play their instruments, you’ll find something here for you, as well.

PRIMUS (Larry LaLonde, Jay Lane, Les Claypool) (photo credit: TAYLOR CROTHERS)

There are a few tracks here that attempt to make a statement on the state of current events. Those, you will either really enjoy or choose to skip. I’ll be honest, there are a couple on here, like “Eternal Consumption Engine” that really ruined the groove I had going, and pulled me out of the experience. All in all, I liked this album a lot, though. Claypool is as badass as he has ever been on the bass; there are some seriously original moments on the album and a few gems that I originally overlooked: “Eyes Of The Squirrel” is a brilliant, bass filled ride into madness. “Lee Van Cleef” is by far my favorite track from the record, from the popping bassline all the way to the commentary about how everyone moved on, preferring the younger Clint Eastwood over legendary Western star Lee Van Cleef. Musically, it is an incredibly catchy song that you’ll find yourself singing and humming for quite awhile. It’s an instant addition any Primus “greatest hits” compilations. “Moron TV” is an absolute masterclass on funky bass playing. Les proves, in this song, why he is consistently placed on lists of greatest bass players of all time; there’s a thumping bass line that incorporates chords, slaps, and tempo changes that are just crazy. With high and low harmonized vocals and another slinky guitar line from Larry, with Claypool spitting out lyrics underneath that flow extremely well. Another absolute gem. All in all, I would highly recommend GREEN NAUGAHYDE as one to put on your “listen to” list, but you’ll definitely want to set aside enough time to digest it as in its entirety. That’s where it really shines!


4U: A SYMPHONIC CELEBRATION OF PRINCE

(October 14, 2018; THE FOX THEATRE, Saint Louis MO)

Celebrity deaths are not new and I tend to ponder such passings for only a short time before moving on. Exceptions, of course, do happen. The first that really – make that REALLY – affected me was the plane crash that took the lives of Ronnie Van Zant, Steve Gaines and other members of Lynyrd Skynyrd’s entourage. Groucho Marx, a couple of months earlier, was big but… the deaths and the devastation to the entire Skynyrd band shook me. Others – Glen Buxton, Rick Nelson, Johnnie Johnson, Johnny Cash, David Bowie – all had profound affects on me, as did the untimely deaths of three musicians I had considered friends: God Lives Underwater vocalist David Reilly, and drummers Dustin Hengst and John “Beatz” Holohan of Damone and Bayside, respectively. With all of these (and a few others), my personal feeling of loss was palpable. All of them pale, however, to the majestic hole left by the departure of Prince Rogers Nelson in April, 2016. He always seemed to be so relatable. Not just to me or his legions of fans, but to those outside of his music’s scope, as well. Heck, even my Dad sat through and liked PURPLE RAIN. So, this was an evening that I knew I must be a part of. I was not disappointed!

4U: A SYMPHONIC TRIBUTE TO PRINCE (JAMES OLMSTEAD) (photo courtesy: JEN GRAY/ReviesSTL)

The show was delivered in two parts, as the project’s curator, the Roots’ Questlove, announced (via a recorded introduction). The first would highlight “deep cuts,” while the second half would feature the hits. The deep cuts came mostly from the movie UNDER THE CHERRY MOON. While the material – “Christopher Tracy’s Parade,” “I Wonder U,” “New Position,” among them – are fairly unknown to me, as I wasn’t a big fan of the movie, but having been arranged and orchestrated by Clare Fischer, they, seemingly, were no-brainers for this show. In a brilliant move, Quest had approached Fischer’s son, Brent, as he had worked with his father on several Prince projects. The first half also featured fairly different takes on songs like “Controversy” and the 1999 album cuts “Automatic” and “Something in the Water (Does Not Compute).” Complete surprises were the unreleased compositions “It Ain’t Over ‘til the Fat Lady Sings” and “All My Dreams,” leftovers from the UNDER THE CHERRY MOON sessions. More than twenty minutes into the show, “Nothing Compares To U” was the first song that I really recognized straight off. I certainly don’t mean to slight the talented band accompanying the orchestra; however, “Nothing Compares To U” was the first time that one of the group stepped forward for any type of sustained exposure as electric violinist Ginny Luke delivered a brilliant solo. For the first time, “1999” got some folks on their feet, shaking off the staid, almost sterile orchestra feel of the evening. Miss Luke, likewise, was on her feet, delivering the first minimal vocals of the evening, as well as a bit of booty shakin’ of her own. Bassist CJ Alexander, drummer Skeeter, electronic percussionist Titus Johnson and a still unidentified guitarist, steadfast all night long, seemed energized by the crowd, pushing into new heights of rocking funkiness. If this first half dealt us a somewhat laid-back take on the Prince legacy until the end, that ending certainly did bode well for part two.

4U: A SYMPHONIC TRIBUTE TO PRINCE (CJ ALEXANDER) (photo credit: DARREN TRACY)

4U: A SYMPHONIC TRIBUTE TO PRINCE (THE UNKNOWN GUITARIST) (photo credit: DARREN TRACY)

Totally eschewing that “stay in your seat, this is an orchestra” stuff, as “Let’s Go Crazy” kicked off part two and the front of the stage was crashed by a slew of hearty revellers. A Prince-worthy solo by Luke ended the number. “When Doves Cry” turned into a massive sing-along, with the Fabulous Fox crowd raising their voices as one. It was, for me, the first truly moving moment of the evening, though certain ly not the last. As Ginny Luke became more involved with the crowd, I mentally noted that she had turned into quite the show-stopper. “Little Red Corvette” sounded like it was made to be played in this orchestrated fashion. Mister Alexander delivered an absolutely amazing bass solo and the guitarist (does ANYBODY know this guy’s name?) definitely proved his funky mettle. The inherent funkiness of His Royal Purpleness continued on a cool version of “Kiss.” Though an odd choice (in my opinion) of “Starfish and Coffee” kinda slowed things down at just the right time before spilling into a majestic “Take Me With U.” A snippet of “Irresistible Bitch” followed before morphing into “Raspberry Beret.” The symphony took over for an incredible interlude that led into… the Revolution doing “Purple Rain?” Yes, at this point, the live band sat out and let the legendary moment from PURPLE RAIN speak for itself. Though we had being seeing images and visual cues of Prince all night, his voice literally (and, yes, I have used that word properly) sent a chill down my spine, put a lump in my throat and brought a tear to my eye. In fact, there were several audience members wiping away the tears during this one. The orchestra continued to accompany as Prince’s solo hit. It is, without any doubt in my head, one of the greatest, most soulful guitar workouts in the history of rock, funk, soul or any other genre of music. As the live band joined in, the already overwhelming emotions merely intensified. It was a brilliant finish to an absolutely stunning show! But, wait… after most of the musicians had quit the stage, the video screens came alive again, with the Man himself delivering those familiar words: “I ain’t done yet. Chalk one up for the Kid!” As Prince and the Revolution launched into “Baby I’m a Star” before the band and orchestra joined in amidst an insane light show. While the tune and the presentation was cool, it almost seemed anti-climactic after the stirring “Purple Rain.” My thanks go to Questlove and the Prince Trust for bringing this vision to life and for the band, conductor James Olmstead and the local musicians of the orchestra for an unforgettable evening celebrating the one, the only Prince.

4U: A SYMPHONIC TRIBUTE TO PRINCE (PRINCE) (uncredited photo)


JOE DENINZON AND STRATOSPHEERIUS: GUILTY OF INNOCENCE

(MELODIC REVOLUTION RECORDS; 2017)

The music of Stratospheerius is a frenzied, brilliant amalgam of the Blues, Progressive Rock, Funk, improvisational Jazz, Classical and orchestral music, along with just about any other genre or sub-genre you can come up with. I’m not sure, but… there may also be a bit of the kitchen sink in there somewhere. Led by virtuoso violinist Joe Deninzon, a man sometimes referred to as “the Jimi Hendrix of the electric violin,” the quartet comes closest in spirit – if not in actual sonic delivery – to the early music (through, say, 1976’s ZOOT ALLURES) of Frank Zappa and his various groups. The resultant sound is a chaotic rush of genuine (and genius) eclecticism. There is certainly more than a little of something for everyone on the band’s fifth release, GUILTY OF INNOCENCE.

JOE DENINZON AND STRATOSPHEERIUS (Aurelien Budynek, Joe Deninzon, Lucianna Padmore, Jamie Bishop) (uncredited photo)

The record kicks off with “Behind the Curtain.” With lyrics like “Welcome to the circus/It’s your biggest nightmare/Wear the scarlet letter/Scrutinized forever” and “Put your mask on/And tuck your shirt in/Pay no attention to the man behind the curtain,” the song acts as a sort of catch-all warning against the behind-the-scenes machinations that fuel the music industry or intolerance or political correctness or… You get the point. With a heavy, pound-yer-face-in riff-a-rama approach, bassist Jamie Bishop and drummer Lucianna Padmore lay down an exceptionally tight groove allowing Deninzon and guitarist Aurelien Budynek to go crazy with wicked dueling solos. As an opening salvo or as a stand alone piece of music, this one is a near-perfect shot across the bow of accepted norms. “Take Your Medicine” is a nasty little piece of work about “glass houses” and “casting the first stone.” It’s a bass heavy blast of funkiness with Joe’s violin filling in nicely for a full horn section. Guitar, violin and vocals add a rather hard rock urgency to the proceedings, with another dose of wild soloing, a feature that lends a certain Zappa-esque quality to this record. According to Mister Deninzon, the title track (“Guilty of Innocence,” for those with a short memory span) was “inspired by my 2012 stint in jury duty and deals with crime and punishment. I was presiding on a rape trial and the guy who I thought was guilty got off practically scot-free.” Padmore and Bishop lay down a modest Ska-influenced groove, while spastic violin leads and muscular metal riffs drive the tune. The violins and bass take on an almost operatic quality during the break and, just because I enjoy mentioning musical touch-points to give the reader a better idea of what to expect, the song’s chorus has a very Who-like feel, melodically speaking. Piling on to that musical heritage, let me say that if you’re a fan of Bela Fleck and the Flecktones or the previously mentioned Frank Zappa, you’re gonna love this one. “Face” is a sombre little ditty, sort of a slow burn piece with scathing lyrics about people (lovers, partners, friends, perfect strangers) who are more than willing to openly attack you just for the pure enjoyment: “These scars ain’t healing/It’s too late to make amends/I dodge the bullet/Your tongue flies across the room/Build up the callous/’Til I grow numb to the doom and gloom.” A very Hendrix-ian solo by Deninzon adds a certain psychedelic (or maybe it’s “psychotic”) mania to the number. The introduction to the frantic retelling of the Muse hit “Hysteria” features glass-shattering soprano Melanie Mitrano before a warbling high-register vocal from Joe takes over; the latter fits the surrounding chaos of the tune perfectly. There’s a certain “Flight of the Bumble Bee” quality to the always on-point violin work, highlighted by a massive solo, all backed impeccably by the metal leanings of Stratospheerius.

Affluenza” is another funky number with “ripped from the headlines” lyrics about people who believe themselves superior to “the little people” and, therefore, above the law because of that superior wealth and high standards of living. The song has a kind of Living Colour rock vibe happening, with lyrical barbs aplenty over sharp jabs of guitar and violin. Guest performer Rave Tesar adds an oddly appealing set of synthesizer “bloops,” giving the whole thing a cool late ‘70s funk sound. A hard(ish) rocking, progressive sort of pop-metal thing with Queen-like aspirations, “Parallel Reality” is choke full of breathy vocals, an absolutely killer rhythm (and a melody line to match) and, of course, the usual high-minded violin/guitar interplay that makes this band and this album essential listening. “Game of Chicken” starts out sounding like it coulda been an OVER-NITE SENSATION outtake, but then turns into sort of a Kansas prog-pop kinda thing. The playing and soloing remain top-notch and raise the piece out of what could have been a severe abyss of doldrums. The wholly (holy?) improvisational “Dream Diary Cadenza” is a muscular, solo violin freakout rife with flashes of Hendrixisms, Van Halenisms, Beckisms, Zappaisms and any other guitar genius ism that you could ever bring to mind. A brilliant workout from a master technician of his chosen craft. “Soul Food” is a nearly thirteen minute extravaganza with a veritable orchestra of guest artists: Melanie Mitrano, Rave Tesar, guitarists Alex Skolnick (!) and Randy McStine, violinist Eddie Venegas, violist (?) Earl Maneein and cellists Patrice Jackson and Leo Grinhaus. The piece is epic in every musical sense of the word and is, truly, a fitting end to a superb album. You owe it to yourself to obtain GUILTY OF INNOCENCE; you can do so by visiting CD Baby, Amazon or any of the other “usual places” and, naturally, at the group’s Bandcamp page.


TURKUAZ/GHOST-NOTE

(February 4, 2016; OLD ROCK HOUSE, Saint Louis MO)

Pre-show stage set up (photo credit: DARREN TRACY)

Pre-show stage set up (photo credit: DARREN TRACY)

When you walk into a venue and see the amount of equipment, instruments and cases strewn over the room that met me when I arrived early at the Old Rock House, you can expect a few different things, including (but not limited to): First, a Chicago-like pop-candy type of band; two, a swingin’ wedding band doing sad, tarted up versions of sad, tarted up 1980s radio/MTV hits; or, three, a wicked tight rock and soul nine-piece with gloriously funky overtones. Yeah, I know that there are plenty of sadists out there wishing for a horrible wedding band evening to befall yours truly (and there are still a few masochists out there that think Chicago has made really good music over the past 35 years or so) but, thankfully, rock, soul, funk and more funk held sway on a rainy Thursday night in Saint Louis. The night was filled with funky bass lines, solid horn playing, great vocal work outs and blazing guitar. Oh, and some of the best drum and percussion work you are ever likely to hear in today’s sterilized and homogenized musical landscape.

Ghost-Note (Nate Werth; Sylvester Onyejiaka; Robert Searight) (photo credits: DARREN TRACY)

Ghost-Note (Nate Werth; Sylvester Onyejiaka; Robert Searight) (photo credits: DARREN TRACY)

The groove-heavy Ghost-Note opened the proceedings in… uh… cramped style; I actually feared for a couple of the players (as well as the expensive equipment of both bands) as they navigated their way onto the crowded stage, which included the headliners’ massive lighting rig. This loose construct is the side project of Snarky Puppy percussionists Nate Werth and Robert “Sput” Searight, who were joined onstage by woodwind specialist Sylvester Onyejiaka, bassist AJ Brown and Nick Werth, who handled – after some programming and electrical issues – an instrument called the xylosynth. The sound can best be described as “dumping Terry Bozzio, Latin percussionist Coke Escovedo, Stanley Clarke (or, maybe, Victor Wooten) and Miles Davis into a blender and pouring the results onto a stage to perform.”

Ghost-Note (Robert Searight; AJ Brown; Nate Werth) (photo credits: DARREN TRACY)

Ghost-Note (Robert Searight; AJ Brown; Nate Werth) (photo credits: DARREN TRACY)

As may be expected, with two percussionists at the helm, the sound is dictated by Sput’s powerful drumming and Nate’s inventive use of just about every other type of percussion instrument, both acoustic and electronc; this is borne out from the opening of the first number, “Ja-Make-Ya Dance,” an impressive workout which also featured a nice flute part from Onyejiaka. Highlights of the set included “Conversations,” a brilliant discussion of the symbiotic relationship between Werth, Searight and the perpetual groove; “Shrill Tones,” which prominently featured the funky bass of AJ Brown, who I would rate among the best on his instrument in any genre from any era; and a cool reconstruction of Bjork’s “Hyperballad.” There really isn’t a standard “melody” to any of Ghost-Note’s music; even Sylevester’s saxes and flutes have more of a percussive feel than a straight melody line that you can pin down and say, “Ah… there’s a nice melody.” In fact, and this may be something that only musicians will understand but, the melody is in the groove and it’s in the beat… and there was plenty of both on display on this night. Oh, yeah… did I mention? Cowbell! Lotsa cowbell! Beautiful, beautiful cowbell…

Turkuaz (Dave Brandwein; Sammi Garrett; Craig Brodhead) (photo credits: DARREN TRACY)

Turkuaz (Dave Brandwein; Sammi Garrett; Craig Brodhead) (photo credits: DARREN TRACY)

With Ghost-Note’s instruments and equipment removed, the stage opened up into a vast expanse, allowing the nine members of Turkuaz to perform in relative comfort. No, it didn’t… yeah, there was more room, but that extra room was taken up by the equipment and the bodies of four extra people. As with Ghost-Note, the small dimensions of the stage seemed to spur the headliners toward new musical heights rather than stifle the individual players. Back in the day, an ensemble such as Turkuaz would have been called a “rock and soul revue,” the kinda band you’d find backing legends like James Brown or Ike Turner; with some wicked jazz and funk riffs tossed in, the cool factor is heightened exponentially… imagine if George Duke and Earth Wind and Fire had a bunch of white babies. Those babies have been laying down some of the funkiest, dirtiest grooves you’re likely to hear this side of Sly and the Family Stone or George Clinton for the past half-a-decade, including the recently released DIGITONIUM.

Turkuaz (Josh Schwartz, Greg Sanderson; Chris Brouwers; Taylor Shell, Craig Brodhead) (photo credits: DARREN TRACY)

Turkuaz (Josh Schwartz, Greg Sanderson; Chris Brouwers; Taylor Shell, Craig Brodhead) (photo credits: DARREN TRACY)

Speaking of the Family Stone, on of the many highlights of the evening was a cover of that group’s 1973 album track, “Babies Makin’ Babies,” which featured Sammi Garett sharing lead vocals with Dave Brandwein and some funky mid-’70s Stevie Wonder-like keyboards from Craig Brodhead. DIGITONIUM was well represented in the set with the loopy, horny (sax players Josh Schwartz and Greg Sanderson and trumpeter Chris Brouwers, who does double duty, adding keyboard flourishes, as well) “Percy Thrills the Moondog,” the “Atomic Dog” groove of “The Generator” and the New Wavish “King Computer.” The group is definitely well-equipped to adapt to any situation on the fly, dropping numbers from the set and adding another that would be a better fit for the Saint Louis crowd; during sound-check, Brandwein and drummer Michelangelo Carubba tried out a new arrangement for “The Generator,” which led to them flipping the tune with the bouncy, Princely “Chatte Lunatique.” As there were some questions from the band about whether the different arrangement was going to work, I was surprised when the changes were introduced and, I must say, dopping “The Generator” down a spot certainly paid off, as it worked far better coming out of “Chatte… ” and into “Smarter Than the Speaker” than the original order would have. The sound took on a heavier, more rocking sound when Brodhead picked up a guitar, dropping in some wicked solos along the way… not that Brandwein was a slouch himself. Having made a passing mention of the band’s drummer, I should mention the uncompromisingly funky work of both Carubba and his partner-in-rhythm, Taylor Shell; even on more rock-infused songs like “Electric Habitat” and aforementioned “King Computer,” the innate funkiness of the duo came shining through. Shell (along with vocalists Garrett and Shira Elias), solid throughout, really stepped up the game on the set closer, a mean cover of Hot Chocolate’s “Every One’s a Winner.” Other highlights included the charging funk of “Coast To Coast” and the slow, soulful groove of “Future 86.” There was so much happening on stage and the players were all so insanely talented, it was truly hard to focus on any one person for any length of time; add the highly entertaining (and mostly drunk) bodies gyrating on the dancefloor and there was more than enough to keep both my eyes and my ears busy throughout the night… there’s fun and then there’s Fun. This night was Fun, from start to finish.


LOVE: REEL-TO-REAL

(HIGH MOON RECORDS/RSO RECORDS; reissue 2015, original release 1974)

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Love’s seventh official album, REEL-TO-REAL, was seven years removed from the classic psychedelia of the brilliant FOREVER CHANGES and, seemingly, light years away musically. Arthur Lee had steered the Love boat (sorry… couldn’t resist the bad pun) solo since the original group disintegrated due to in-fighting and drug abuse after FOREVER CHANGES and, while each subsequent album featured a song or two that evoked the first three records, Lee had a tendency to ramble without Love’s other songwriter and vocalist, Bryan MacLean, taking at least some of the creative load off. After four years (and four albums) with Elektra and two records for Blue Thumb in 1969 and 1970, Arthur put the Love name to bed and recorded the hard-rocking solo record, VINDICATOR. In 1973, Lee put together a new Love and recorded an album called BLACK BEAUTY; unfortunately, the label, Buffalo Records, went belly-up before the record could be released (a remastered version of BLACK BEAUTY finally saw release through Half Moon Records in 2013). Invigorated by the sound of the new Love, Arthur Lee began work on what would become REEL-TO-REAL, released on RSO Records in 1974. Now, following the success of BLACK BEAUTY, High Moon has released a deluxe reissue of that 1974 record, complete with 12 bonus tracks of outtakes, demos and alternate versions. “But,” you ask, “was it worth it?” The short answer is, “Yes. Yes, it was.”

Love (Melvan Whittington, Robert Rozelle, Arthur Lee, Joe Blocker) (photo credit: HERBERT W WORTHINGTON)

Love (Melvan Whittington, Robert Rozelle, Arthur Lee, Joe Blocker) (photo credit: HERBERT W WORTHINGTON)

The album kicks off with “Time Is Like a River,” a signal call that this Love is gonna be a funkier proposition than the band’s late ’60s heyday. The song is highlighted by a soulful Arthur Lee vocal with Motown-style female backing vocals. The number also features a galloping drum track from Joey Blocker and great, funky horns; for those jonesing for a touch of the old guard, the psychedelic dual leads and solos – provided by the tandem of Melvan Whittington and John Sterling – more than fit the bill. “Stop the Music” is kind of an old Rhythm and Blues stroll, with some cool slide work from Sterling, a nice, hard rocking solo and a honkin’ bit of harp from Lee. The surprising use of tuba adds a slight New Orleans Jazz flavor, while Arthur does his best Otis Redding. Love channels Stevie and Earth Wind and Fire on “Who Are You?,” with Philip Bailey-like falsetto vocals and a lot of Wonder-ous clavinet effects from Bobby Lyle. “Good Old Fashion Dream” is a great Southern Soul rocker. Almost as a contrast, Lee’s vocals are raspy and urgent, with Sherwood Akuna’s spongy bass line holding the groove together throughout. The acoustic Blues of “Which Witch Is Which” features a few elements of electric rock and roll, most noticeably an awesome backward guitar by guest Harvey Mandel. “With a Little Energy” is a total James Brown funk workout, with the rhythm section of Blocker and Robert Rozelle propelling the tune forward. Arthur’s vocals have a distinct Sly Stone vibe here.

Love (Arthur Lee) (photo credit: MICHAEL PUTLAND)

Love (Arthur Lee) (photo credit: MICHAEL PUTLAND)

What was originally the first cut on Side Two of the 1974 record, “Singing Cowboy” is probably the closest in feel to the original Love’s sound. Sterling’s slide and Blocker’s heavy drums once again shine. The next track had more of an organic beginning, with Akuna, Blocker and Whittington messing with the rhythm in the studio and Lee joining in with some lyrics; “Man, let’s record that,” said Lee. Producer Skip Taylor rolled tape and “Be Thankful For What You Got” was born. Though it isn’t my favorite song on the record, it does feature a funky, rather Caribbean groove; unfortunately, the bass and some faux orchestra parts push it into a proto-Disco sound. “You Said You Would” was one of the more controversial songs as it was being recorded. The chorus of “You said you would/You said you would/Now you’re gone” features gunshot before the last line; everybody but Arthur thought that using the sound effect throughout the tune was… well, overkill, but he wouldn’t budge and that’s how the number was released. The song itself is a return to the poppy psychedelic sound of early Love, with snarky lyrics from Lee, giving it a John Lennon or Harry Nilsson vibe. Hendrixian in scope, if not in execution, “Busted Feet” is a throbbing, pulsating hard rocker. Arthur’s vocals sound urgent and strained to his limits. It’s a cool, welcome departure from the general feel of the album. A ragged acoustic Blues, “Everybody’s Gotta Live,” closes the album proper, reminding me somehow of early, folky Dylan. A nice song and a great way to end a record.

Love (Robert Rozelle, Melvan Whittington, Arthur Lee, Joe Blocker) (photo credit: HERBERT W WORTHINGTON)

Love (Robert Rozelle, Melvan Whittington, Arthur Lee, Joe Blocker) (photo credit: HERBERT W WORTHINGTON)

This nicely packaged reissue clocks in at a hefty 72 minutes plus. The original album was an economical 33 minutes, which means there are nearly forty minutes of extras here… it ain’t all essential but… well, there ya go. The outtakes are pretty cool to hear and the rehearsal stuff is fun… I just kinda think that including a live show from that era woulda been a better choice. Having said that, the first outtake, “Do It Yourself,” is interesting on a couple of different fronts: The shuffling rhythm, funky horns and country-fried psychedelic guitar gives the song the feel of a hard rock version of Earth Wind and Fire; the aforementioned guitar parts are quite reminiscent of the band’s then-label mate, Eric Clapton, a sound and tone and style that, apparently, Arthur Lee loathed. “I Gotta Remember” is a straight on rocker, with Lee’s lyrics and vocals putting one in mind of Jimi. It has a sort of circular arrangement and could have been the hit that RSO label president Bill Oakes was looking for from Love; instead, the song remained unreleased at the time. More Hendrix-like lyrics inform “Someday,” a nifty little Sly and the Family Stone work out with minimal, rather simple instrumentation that focuses more on the basic groove than anything else. “You Gotta Feel It” is a Fats Domino New Orleans stroll with nice guitar and a solid Lee vocal over a rolling, popping bass line. I like the basic premise of the number but, at 3:38, it goes on about two minutes too long.

Love (John Sterling, Sherwood Akuna,  Joe Blocker, Arthur Lee, Herman McCormick, Melvan Whittington) (photo credit: BARRY FEINSTEIN)

Love (John Sterling, Sherwood Akuna, Joe Blocker, Arthur Lee, Herman McCormick, Melvan Whittington) (photo credit: BARRY FEINSTEIN)

The alternate versions of “With a Little Energy” and an electric “Everybody’s Gotta Live,” as well as the single mix of “You Said You Would,” are just okay. The alternate “Busted Feet” is nearly two minutes longer than the version released in 1974, with extended breaks, more vocal histrionics and a wicked, heavy guitar solo. “Stop the Music” uses Arthur’s slightly off-key guitar line as the lead and removes the horns, tuba and harmonica. Lee does a bit of vocal scatting in place of the harmonica. The extended length comes from some pretty funny studio banter. Perhaps the alternate take that differs most from the original album version is “Singing Cowboy.” This version features a faster tempo, as well as a more urgent and upfront slide guitar; there’s also an unhinged wah-infused solo toward the end. The studio rehearsals (more of a warm-up or, in some cases, just goofing around while Lee decided what he wanted to do during a particular session) are nice additions. “Graveyard Hop” is a weird snippet of “Jailhouse Rock,” with reworked lyrics. The piece sounds really ragged and cool. Maybe the most intriguing bonus cut is the band rehearsing the FOREVER CHANGES outtake, “Wonder People (I Do Wonder).” Even though it kind of sounds like an unfinished San Francisco hippie ballad, it does show that Arthur was a bit more receptive to returning to those songs… at least, in the confines of a recording studio. The song actually features a solid guitar solo, even if Lee’s vocals weren’t much more than incoherent scatting. Overall, the re-release of this woefully ignored album is well worth the price of admission and, spotty though it is, holds up really well.


KOA/THE DRIFTAWAYS

(December 19, 2015; THE DEMO, Saint Louis MO)

Koa display their Hip-Hop street cred at the Music Record Shop; Koa and their Saint Louis Contingent after the show (photo credits: DARREN TRACY)

Koa display their Hip-Hop street cred at the Music Record Shop; Koa and their Saint Louis Contingent after the show (photo credits: DARREN TRACY)

This evening started much like most others when the show is scheduled at the Demo or Ready Room: A visit to Rise for a cup of coffee, followed by a visit to Music Record Shop, conveniently located between the two venues. Walking into the MRS, I noticed a few young people milling about, obviously excited that Koa were being interviewed at the back of the store. Once the guys finished with one journalist, they were accosted by a second… me. The labors of our mutual work is at the top left of this review. The band were nearly as excited to see the kids as vice versa, labeling them “the Saint Louis contingent.” The youngsters were enthusiastic enough that guitarist Conor Kelly announced that they would be his guests for the show; when he was told that the group’s guest list was full, he paid for the extra tickets out of his own pocket. A class act that paid off with an appreciative, zealous group of fans at the front of the stage (and, later, onstage, for the group photo above, right).

The Driftaways (Zaq Nunley; Dane Wells; Nick Christie) (photo credits: DARREN TRACY)

The Driftaways (Zaq Nunley; Dane Wells; Nick Christie) (photo credits: DARREN TRACY)

Local artists, the Driftaways, opened the festivities, with their Midwestern mash-up of Ska, Reggae and Dub. I happened to be talking to Koa bassist Ryan Ladd during the Driftaways’ sound check and commented on Nick Christie’s ability to coax that authentic, low rumble sound of Dub out of his bass… I wondered what kind of effects pedal he was using. Ryan told me that it was all Christie; he was using Ryan’s rig and he didn’t have any pedals. I was suitably impressed. From the Two-Tone Ska of originals like “Sun Shining” to their spot-on cover of the Wailers’ “Burn Down Babylon,” the six-piece group (trombonist Sean Myers was absent) offered a set that was, not only widely varied but, totally fun and engaging from the start. Guitarist Dane Wells (who serves double-duty as the band’s vocalist, as well) lays down some seriously wicked reverb-drenched roots-rockin’ leads and solos, particularly on the slow burn of “Creepin’.” Zaq Nunley, Dane’s sax-blowing counterpart, added a nice balance with his own leads, as well a series of quite inventive solos. But, as awesome as the other guys (including drummer Kevin Krauss and Ryan Stewart on keyboards) were, the set belonged to Christie and his spongy bass; his Dub riddim offered a strand of continuity throughout the genre-bending set. His talents were most prominently featured on a pair of instrumentals, “Golden Dub” and the band’s theme song, “Driftaway.” If you have a chance to see the Driftaways, don’t waste it… they will definitely put a smile on your face!

Koa (Conor Kelly; Will Youngclaus; Alex Mathews) (photo credits: DARREN TRACY)

Koa (Conor Kelly; Will Youngclaus; Alex Mathews) (photo credits: DARREN TRACY)

On record, Koa are a funky, jazzy smooth sorta jam band with a definite hippy cast to their lyrics; live, they rough up their sound into a hard rockin’ funk monster. As good as the studio Koa sounds, it’s obvious that they are built for the stage; in fact, as guitarist Conor Kelly told me before the show, “ …the jam element kind of embellishes on the live performance… keeping things fresh by playing things a little bit differently every night.” It’s hard to believe that these guys have only been a band for barely two years. Chase Bader’s voice has a certain husky rasp that can carry a show; add Kelly’s slide work and you have a show and a sound that many older, more experienced bands can only dream about. The jazz-tinged “False Calls,” featuring a smoking Alex Mathews sax solo, kicked the set off in fine fashion. “What Now,” the first track from the group’s new EP, THIS IS KOA, followed. The new material has a more hard-edged sound that translates quite well in a live setting. Which could explain the fact that all five tracks from the EP (offered as a free download from NoiseTrade, which is where I discovered Koa) were featured in the band’s ten song set.

Koa (Ryan Ladd; Ryan Ladd, Chase Bader, Will Youngclaus; Chase Bader) (photo credits: DARREN TRACY)

Koa (Ryan Ladd; Ryan Ladd, Chase Bader, Will Youngclaus; Chase Bader) (photo credits: DARREN TRACY)

Unexpect Ability,” had a cool, punky Jam (as in, Paul Weller’s late ’70s trio) vibe, with a chiming guitar part from Kelly and solid rhythm work from both Ryan Ladd on bass and Will Youngclaus on drums; special guest, keyboardist Ian Miller, added some nice piano to the affair. Miller continued to impress on the Southern Soul groove of “Cool It Down,” which also featured one of Bader’s more impassioned vocals of the evening. The syncopated, nearly Caribbean rhythms of “Corbett’s Place” again allowed Youngclaus and his partner in percussion, Ryan McClanahan, to strut their stuff; Mathews also added to the song’s flavor with a double sax solo (duet?). The diversity of THIS IS KOA was perhaps best exhibited on “Gemini,” a kind of Country hoedown with power chords aplenty and a killer slide solo from Conor, as well as a sax part from Alex that kinda reminded me of Boots Randolph’s classic “Yakety Sax.” After the shortest of breaks, the guys returned to the stage (well, to be honest, they never actually left the stage… they just kinda stood at the back before heading back to their instruments) for an encore of the atmospheric “Turtles,” here transformed into a swirling stew of genre-bending jamming and heady solos from just about everyone on stage – a great way to end what was an exceptionally fun night with two groups of highly accomplished musicians.


CHUI WAN/BUG CHASER/TONE RODENT

(May 11, 2015; OFF BROADWAY, Saint Louis MO)

Chui Wan (photo credit: DARREN TRACY)

Chui Wan (photo credit: DARREN TRACY)

To say that I was stoked to see Chui Wan, a young psychedelic band from Beijing, China, is something akin to an understatement. All it took was hearing one song from their self-titled second album and, I was hooked. The fact that some old friends, Tone Rodent, were on the bill, alongside the belligerently unhinged octet, Bug Chaser, was merely icing on an already perfect cake. Though, as a touring band, Chui Wan were the de facto headliner, the decision was made to slot them between the two local acts (a choice precipitated by the fact that drummer Li Zichao was using Tone Rodent Adam Dick’s kit; plus, bassist Matty Coonfield was pulling double duty, playing in both Saint Louis bands); to maintain a certain “you were there” sense of continuity, this review will start with Tone Rodent and end with Bug Chaser.

Tone Rodent (Matty Coonfield, Adam Watkins) (photo credit: DARREN TRACY)

Tone Rodent (Matty Coonfield, Adam Watkins) (photo credit: DARREN TRACY)

At some point in the last decade and a half, I reviewed a Tone Rodent show (give me a break if I can’t remember specifics, huh? I’m old!). Here’s what I do remember: I liked them. So, now, all these years (or months or days or hours… whatever) later, I can unequivocally tell you this: I still like them. At this point, Adam Watkins (vocals and guitar) and Matty Coonfield (bass) are the only original members from that band I saw way back when; the current version – with guitarist Jeff Robtoy, keyboard player Mark Early and drummer Adam Dick – were playing what may have been their final show, as Adam Dick is calling it a day and Coonfield is leaving to direct his energies toward Bug Chaser. The band lumbered, rather than tore, through a shambolic 35 minute set that, aside from some minor technical issues was, nevertheless, thoroughly enjoyable. Watkins and Robtoy complimented and played against each other (as the situation dictated) quite well and Early’s ambient drone added a depth that isn’t usually found in the noisy, hard-edged psychedelia at which Tone Rodent excel. Dick proved himself to be much more than a timekeeper, with precise fills and unexpected flourishes. And, as I’ve said too many times to count, there’s just something in the water supply that lifts Saint Louis bass players to another level; the style of music being played is irrelevant… once I hear that deep-in-the-pocket groove of the bass, I can almost always tell that the player has Saint Louis roots. Matty is no exception and is as solid and as funky as any bassist to come out of the Lou in the past three decades. Six songs into the set, Watkins said, “We have two more. After sixteen years, we’re down to two songs… and we plan to fuck both of ’em up.” The next tune sounded great but, as the group started “Amen,” Jeff’s guitar cord shorted out but, after much chiding from his bandmates and a save from a Bug Chaser, the final song from the current line-up of Tone Rodent was over, the notes ringing in the ears of the Monday night denizens of Off Broadway.

Chui Wan (Liu Xinyu; Yan Yulong) (photo credit: DARREN TRACY)

Chui Wan (Liu Xinyu; Yan Yulong) (photo credit: DARREN TRACY)

Okay… so this is where a little learnin’ may come in handy. To understand the importance of a group like Chui Wan, I think we should first understand a bit about where they come from. Beijing’s history traces back more than three millennia – under different names – and boasts such cultural and historic sites as the Great Wall, the Forbidden City and the Temple of Heaven. As the cultural and political center of the People’s Republic of China, it has also been the scene of political unrest, revolution and protest: The Cultural Revolution (1966-1976) and the infamous Gang of Four and, perhaps, the most famous societal event in recent history, the 1989 protests in Tiananmen Square. Beijing is one of the most densely populated cities in the world, with more than 20 million citizens packed into an area a little over 6,300 square miles (that comes out to something like 3,400 people per square mile… to paraphrase Cheap Trick, “That’s tight!”). That’s the background – the culture and the history – that informs the music and lives of Chui Wan, alongside a diverse musical landscape that includes, individually, Classical and traditional Chinese music, avant garde pioneer John Cage (himself influenced by Eastern music and the philosophy of the I CHING) and, the one major influence that all four members cite: The Velvet Underground. Now, imagine these four young musicians venturing forth into a very different Western culture… a culture where, especially in the United States, celebrity and money are more important than history and tradition; a culture that claims superiority and looks down upon the cultural and societal mores of someone – anyone – who doesn’t share our culture and beliefs… even when we’re on their home turf. Let’s face it… we are arrogant and shallow. So, it’s with that backdrop of major culture shock (not to mention the language barrier… WE expect these young people to be conversant in our language because… “Hey, we’re Americans. What makes you so special that you can’t even learn our language?”) that Chui Wan made their third appearance in the USA (Visa problems caused them a delay of about ten days and seven shows). And what an appearance it was!

Chui Wan (Wu Qiong; Li Zichao) (photo credit: DARREN TRACY)

Chui Wan (Wu Qiong; Li Zichao) (photo credit: DARREN TRACY)

As bassist Wu Qiong began an intro riff that would make Tony Levin proud, all of those cultural differences didn’t matter anymore; all that mattered was the music. Though their sound is seemingly tight and structured, there is also a sense of the adventurous, the experimental. I immediately heard an Adrian Belew-era King Crimson influence (though I was assured that reference would have been lost on the quartet) – or to be more accurate, Fripp’s other, more improvisational group of the same period, the League of Gentlemen – as well the free-wheeling feel of some of the early 1970s (mostly) instrumental offerings from Zappa’s Mothers of Invention; there were also moments that had me nodding my head, thinking, “Now I get the John Cage reference.” Though many of the band’s compositions border on free-form jazz, it’s Liu Xinyu’s effects-heavy guitar and Li Zichao’s progressive drumming that garners the group its psychedelic label; the sounds Liu coaxes out of his instrument can best be described as “otherworldly,” and isn’t that a prime definition of psychedelic music? Yan Yulong adds atmospheric soundscapes on, not only guitar, but keyboard and – briefly (and very effectively) – viola, as well. Yan, who also supplies the majority of what vocals there are, delivers them in a nearly inaudible drone that further feeds the psychedelic miasma; Wu Qiong has one vocal, a quiet and – dare I say – humble performance that seems a much more comfortable match for her demeanor than is her spirited, funky bass playing. Maybe the most amazing aspect of the inspired (and inspiring) performance is the fact that the four are – literally – wunderkinds… all are in their very early 20s (drummer Li is barely 20) and have been playing – individually and collectively – since an early age (the band’s debut album, WHITE NIGHT, was released in 2012). Even if most of the Monday night denizens were unfamiliar with Chui Wan when they took the stage, after their set, I heard nothing but terms of reverential awe regarding what will long be remembered as a triumphal Saint Louis debut.

Bug Chaser (Pat Grosch; Kevin Insinna) (photo credit: DARREN TRACY)

Bug Chaser (Pat Grosch; Kevin Insinna) (photo credit: DARREN TRACY)

After a prolonged delay, the eight-headed beast known as Bug Chaser took the stage. If Tone Rodent’s set was shambolic, then Bug Chaser’s could only be labeled chaotic, with Matty Coonfield reveling in the unbridled insanity. There were actual songs played but, naming them would merely be an exercise in futility… all you really need to know is that the band and the crowd were having too much fun to worry about things like song titles. The group was occasionally augmented and exhorted by a gentleman who originally appeared to be a drunken, overzealous fan but, as the set proceeded, seemed to be more of a well-placed prop, dancing and prancing behind the group one minute and playing the role of cocktail waitress the next. The tunes (noises?) ranged from boisterous boogie to raging rock to furious funk (see what I did there?), all delivered with a reckless abandon reminiscent of George Clinton’s P-Funk All-Stars at their most debauched. The percussive unit of Kevin Insinna and Taylor Huff (for I believe it was they of whom I speak) laid down a solid groove, where the notes they didn’t play were as important as the ones they did; their rhythm section inmate, Coonfield, pumped out bass riffs dense enough to caulk a large-scale bathroom at the Mall of America. Zeng Zengerling and Jake Jones are potent forces of guitar showmanship, sharing frantic leads and trading querulous solos over the expansive bottom end, which also included keyboard and effects work from Jake Bremler and Jeff White. Standing over all is the strutting vocal peacock, Pat Grosch, who reminds me of a younger, more boisterous Weird Al Yankovic… but with better hair. For a full-on sonic assault, you’ve gotta see these guys live… until then, check out some tunes at Bandcamp.


SLEATER-KINNEY/THEESATISFACTION

(April 24, 2015; THE PAGEANT, Saint Louis MO)

Sleater-Kinney

So… what exactly happened on this beautiful, cool April evening in Saint Louis, within the jam-packed confines of the Pageant? Well, five outrageously talented musicians (six, actually, counting an auxiliary player, augmenting the furious noise of the headliners) – women – commanded the respect and attention of every single person in attendance. It was almost like a mini LILITH FAIR, but without the “we’re going to prove that we can rock as well as the boys, but in a more genteel girly-girl fashion, with lilacs in our hair and pansies on the stocks of our acoustic guitars.” These ladies had, all, proven that point years ago; no, they were here to rock. You gotta live in a cave, or – well, under a rock, if you haven’t figured out that women can rock every bit as hard as men (harder, in some respects)… always have; always will. After hearing more than one knucklehead make the comment that “they play pretty good for girls,” I just had to get that out of my system; I absolutely cannot believe that the subject is even up for debate anymore.

THEESatisfaction (Stasia Irons, Catherine Harris-White) (photo credit: KING TEXAS)

THEESatisfaction (Stasia Irons, Catherine Harris-White) (photo credit: KING TEXAS)

My butt was inside the venue thanks to the ladies of THEESatisfaction, who took pity on a lowly scribe and put him on their guest list. Choosing a Hip-Hop act to open for them may seem an odd choice for Sleater-Kinney and their punk roar – putting aside the fact that the two groups both call Sub Pop home – but, Catherine Harris-White and Stasia Irons (whose stage names are Cat and Stas) are kindred spirits with the trio… riot grrrls to the core. The duo’s music could best be described as Hawkwind-ian space-hippy synthesizers over some seriously funky beats; Cat and Stas both have great voices, with Stas handling the raps and, when they harmonize, you are magically transported back to Motown’s 1960s heyday. There’s also a bit of Supremes-style choreography going on (and, at one time, there was even a hint of some old O’Jays moves, showing love for the Philly soul movement, too). The tunes themselves were uplifting and empowering without being preachy: “Recognition,” from the recently released EARTHEE album; “Queens,” from its predecessor, AWE NATURALE; and the wickedly on-point “Bisexual,” from 2009’s SNOW MOTION release. Stas sent the latter out to “boys who like boys, girls who like girls, girls who like boys and boys who like girls.” The 45-minute set was well-received… I even saw a couple of older guys bobbing their heads and singing along to the newer songs. THEESatisfaction actually flew in from Nashville just a couple of hours before the show (their plane was late, forcing a scheduled in-store appearance at Vintage Vinyl to be delayed and cut short), leaving them little time to rest before taking the stage; as amazing as this performance was, I can only imagine the type of set they could have pulled off had they been well-rested.

Sleater-Kinney (Corin Tucker, Janet Weiss, Carrie Brownstein) (uncredited photo)

Sleater-Kinney (Corin Tucker, Janet Weiss, Carrie Brownstein) (uncredited photo)

After a thirty minute break, the reunited Sleater-Kinney took the stage in rather unassuming fashion, waving and smiling to the house. The demure entrance quickly turned into an explosion of noise and power, as Janet Weiss began pummeling her drum kit and the trio ripped into “Price Tag,” the opening salvo from the group’s new NO CITIES TO LOVE album. Corin Tucker’s harsh, sometimes grating vocal style plays well in this live setting and her rhythm guitar, tuned down to give the music a beefed up bottom-end, allows the extraordinary Carrie Brownstein to explore an almost experimental sound as lead guitarist. There are very few guitarists you can identify by tone and style alone; Brain May and Gary Richrath immediately come to mind. Now, after hearing Carrie play live, I would add her work to that short list. The jam-packed nineteen song main set, delivered at a fast and furious pace, left the group (which also included auxiliary player Katie Harkin) – and the crowd – very little time to catch their breath, as they ripped through new favorites and classic tunes, alike: “Bury Our Friends,” “I Wanna Be Your Joey Ramone,” “Light Rail Coyote,” “Surface Envy,” “Oh,” “No Cities To Love” and “Ironclad,” among them; the five (!) song encore was kicked off with the syncopated groove of “Gimme Love,” one of the strongest tracks from the new record and the evening ended with THE WOODS’ “Modern Girl,” a jangly, power pop sort of thing… an odd but effective choice to end the show.

Sleater-Kinney (Carrie Brownstein, Corin Tucker, Janet Weiss) (uncredited photo)

Sleater-Kinney (Carrie Brownstein, Corin Tucker, Janet Weiss) (uncredited photo)

Before this night, I really wasn’t all that familiar with S-K’s music – as close I came had been Janet’s band, Quasi – but, the energy and overwhelming power of this trio has made me a fan. Tucker’s lead vocals (with the occasional Brownstein lead to keep things interesting) border on the sublime; Brownstein’s guitar heroics and on-stage histrionics add a touch of chaos to the magnificent din; and… what can I conceivably say about Weiss’ drumming? Watching her play, she seems to be more of a finesse percussionist but, her sound is as big (maybe bigger) as her idol, John Bonham (I believe he played in the Band of Joy and was part of Jimmy Page’s New Yardbirds). Even with that massive sound, she gives many of the band’s tunes an undeniable groove that’s reminiscent of Tony Thompson’s work with Chic and Power Station. Anyone who had any fears about Sleater-Kinney suffering from their ten year layoff can rest assured that they haven’t lost a beat; in fact, the time off (though each continued playing in other projects) seems to have reinvigorated the band, spurring them to new heights. I, for one, can’t wait to hear what’s next.


HERE COME THE MUMMIES/SUPERFUN YEAH YEAH ROCKETSHIP

(April 10, 2015; THE PAGEANT, Saint Louis MO)

Here Come the Mummies (photo credit: DARREN TRACY)

Here Come the Mummies (photo credit: DARREN TRACY)

Not exactly knowing what to expect from a band called Here Come the Mummies, I packed up the ol’ sarcophagus and lumbered across the mighty Mississippi (our very own version of the Nile) to see what the archaeologists had dug up down in Nashville (that is in Egypt, isn’t it?). I found myself rather surprised that the Mummies’ acolytes were a more… mature crowd than I had anticipated for a group with such a moniker. That didn’t mean that they were any less vociferous than the youngsters… I mean, there was rump-bumpin’ aplenty and the audience participation was unparallelled in the annals of the ancients. But… I proceed myself; let’s back things up to the beginning (of the show… not Genesis; just wanna be clear on that), shall we?

Superfun Yeah Yeah Rocketship (Correy Goodman; Christopher Eilers) (photo credit: DARREN TRACY)

Superfun Yeah Yeah Rocketship (Correy Goodman; Christopher Eilers) (photo credit: DARREN TRACY)

The comedic duo of Corey Goodman and Christopher Eilers – better known as Superfun Yeah Yeah Rocketship – took the stage, flanked by cardboard cut-outs of Fabio and a herd of hot dogs (a fourth wiener, Franklin, is missing and – though there have been no ransom demands – presumed to be held hostage) and, thus, a totally improbable evening of rock, pop, disco, ska and, yes, the funk of five thousand years was upon us. Between their familial in-joke bantering, local boys Corey and Christopher delivered some truly danceable and utterly outlandish doses of rock and roll, including “Throwin’ Up,” “Randy Savage,” and a stunningly obtuse cover of Tommy James and the Shondells’ “I Think We’re Alone Now.” Eilers delivered sheets of metallic riffing as Goodman’s apoplectic shenanigans and not-so-sly wink-and-a-nod lyrics virtually bulldozed the crowd into joining the frenzied frolic of the Rocketship’s forty minute flight… as if they weren’t already hyped in the extreme for what was yet to come. Superfun Yeah Yeah Rocketship proudly wave their influential flags high: Comic books (“Magneato,” “I Like Marvel, You Like DC”), professional wrestling (“Randy Savage,” “The Undertaker Joins the Avengers”), cheesy ’80s teen movies (“Totally Awesome,” “Throwin’ Up”). Yeah, they may an acquired taste but, like your Mom used to say when she wanted you to eat your Brussels sprouts, “How do you know you don’t like ’em if you don’t try ’em?” You can take Superfun Yeah Yeah Rocketship out for a test drive at their Bandcamp page, but… you gotta be quick, as their furious dance moves and hard-rocking tune-age may soon be swept up in an undercover vice raid!

Here Come the Mummies (Java) (photo credit: DARREN TRACY)

Here Come the Mummies (Java) (photo credit: DARREN TRACY)

After a surprisingly short intermission, the houselights dimmed and a martial drum coda permeated the electric crowd. This being my introduction to live Mummies (yes… I realize the dichotomy of that phrase), I assumed it was a recorded intro before the band took the stage; shortly, however, I caught movement out of the corner of my eye, as the group entered from the back of the venue like the percussion section of a marching band. The crowd erupted as the eight rotting players took to the boards, stage right, before ripping into one of the coolest intro tunes ever, “Carnal Carnival,” a funky New Orleans celebration of lust and death. Percussionist and head instigator Java, playing the demented ringmaster, stalked the stage, leering like a serial killer on a bloody bender. All I could think was, “This is even better than I thought it would be! Play that funky music, dead boy!” For the next 90 minutes, Here Come the Mummies had the Saint Louis faithful roiling and stewing in their own libidinous juices, with crowd favorites like the Mexican banda vibe of “Ra Ra Ra,” the hard rocking funk of “Single Double Triple,” the lonely-loin lament of “Everything But,” the barely disguised double entendre groove of “Booty” and “Attack of the Wiener Man,” and, of course, the Mummies’ mission statement and national anthem, “Freak Flag.”

Here Come the Mummies (Mummy Cass) (photo credit: DARREN TRACY)

Here Come the Mummies (Mummy Cass) (photo credit: DARREN TRACY)

The music of Here Come the Mummies, like that of His Purple Majesty, is littered with sexual innuendo and sweaty crotch-thrusting that borders on the misogynistic. If I had to describe them in one sentence, I would say, “Imagine George Clinton and James Brown had a bunch of 5,000 year old funky dead babies.” While the music is awesome, it takes a back seat to the stage show, with its manic pace and Motown-on-crack choreography coupled with a brilliant use of lighting and smoke effects. Guitarist and primary vocalist, Mummy Cass, gets the funk out with Princely rhythm work and, while he may not be the reincarnation of Eddie Hazel, he definitely embodies the equally late and great Gary Shider. In other words, the ol’ carcass can PLAY! The horn section (BB Queen on trumpet, The Flu handling the baritone sax and Mummy Rah blowing tenor sax and shaking that trunk-fulla-junk that Mama Mummy gave him) is loose and funky at times, tight as a military corner at others; the soloing is soulful, highlighting the individual player’s creativity and obvious (if unstated) musical pedigree. And… did we mention the dance moves? Most mummies I know can’t move like that!

Here Come the Mummies (BB Queen, The Flu, Spaz, Mummy Rah) (photo credit: DARREN TRACY)

Here Come the Mummies (BB Queen, The Flu, Spaz, Mummy Rah) (photo credit: DARREN TRACY)

The rhythm section displayed some pretty nice moves themselves. We already introduced you to vocalist, percussionist and maker-of-mischief, Java; when he’s not out front, inciting the crowd, or leading his fellow Mummies in another syncopated dance routine, he handles a variety of percussion instruments that aren’t part of a standard drum kit, including – naturally – the cowbell; at one point, he strapped a mallet and cowbell to his waist, showing his… uh… musical acumen via a series of pelvic thrusts. Eddie Mummy is the powerhouse that keeps time, never missing a back-beat or a vocal part; Eddie’s drumming is the epitome of jazzy precision and funky hard rock fills. The Pole, whose deep-in-the-pocket groove is in monstrous lockstep with Eddie, stalks the stage, letting his sonorous Bootsy-like bass “trombipulation” do his talking for him. Keyboard player Spaz fills every conceivable sonic void with everything from a classic piano or organ sound to varying blips and bloops and synthesizer noodles; he earns bonus points for not looking like a Jonathan Cain-type idjit when he joins the others at the front of the stage with keytar in hand.

Here Come the Mummies (The Pole) (photo credit: DARREN TRACY)

Here Come the Mummies (The Pole) (photo credit: DARREN TRACY)

Obviously, this is a group who, while having honed their craft to a razor’s edge, don’t take anything too seriously. Except the funk and grind and, of course, delivering a butt-shakin’ good time every time they take the stage. As I mentioned in the intro, this is my first Here Come the Mummies experience… it will not be my last!

Here Come the Mummies (Eddie Mummy) (photo credit: DARREN TRACY)

Here Come the Mummies (Eddie Mummy) (photo credit: DARREN TRACY)


JOE DENINZON AND STRATOSPHEERIUS: GUILTY OF INNOCENCE

(SELF RELEASED DIGITAL SINGLE; 2015)

Cover image

Mad genius Joe Deninzon fiddles while Stratospheerius burns.” That could be the ad copy tagline for this new single from one of the most eclectic groups around today. Stratospheerius plays a wicked Zappa-like fusion of rock and funk, peppered with a jazzy metallic seasoning. If you think that’s as beautifully chaotic as it sounds, you would be correct. “Guilty of Innocence” is the second of four single releases coming this year, leading up to full-length album in 2016.

Joe Deninzon and Stratospheerius (Lucianna Padmore, Aurelien Budynek, Joe Deninzon, Jamie Bishop) (publicity photo)

Joe Deninzon and Stratospheerius (Lucianna Padmore, Aurelien Budynek, Joe Deninzon, Jamie Bishop) (publicity photo)

According to Joe, the track was “inspired by my 2012 stint in jury duty and deals with crime and punishment. I was presiding on a rape trial and the guy who I thought was guilty got off practically scot-free.” The rhythm section of bassist Jamie Bishop and drummer Lucianna Padmore lays down a powerful, funky groove as Deninzon’s spastic violin leads and Aurelien Budynek’s muscular metal riffs drive the tune. If you’re a fan of the previously mentioned Frank Zappa or Bela Fleck and the Flecktones, but are unfamiliar with Stratospheerius, “Guilty of Innocence” is a great jumping on place; it’s available at CD Baby, Amazon and all of the other “usual places” and, of course, at the group’s Bandcamp page (along with the previous single, “Behind the Curtain.”)