James Chance & The Contortions, Sal P (of Liquid Liquid), R. Stevie, Endless Boogie
158 Bleeker St.
New York, NY, 10012
Doors 10:00 PM
This event is 21 and over
James Chance & The Contortions
One of the original punk jazz groups of the New York No Wave scene, the Contortions were led by saxophonist James Chance, aka James White (birth name James Siegfried). The group formed in New York City in 1977 and ended along with the No Wave scene in 1979.
Their first recorded appearance, credited solely as the Contortions, was on the 1978 compilation, No New York. The following year, two albums were issued almost simultaneously on the ZE label, Buy the Contortions (an extreme jazz-punk LP) and Off White (a disco/standards hybrid released under the moniker James White and the Blacks, with one side vocals, the other side instrumentals). The same line-up recorded both records, although no one aside from Chance appears or is credited on the jacket of the Buy album. Following Chance and manager Anya Philips’ acrimonious break with many of the original Contortions, the line-up changed frequently.
Chance was romantically linked with another New York No Wave luminary, Lydia Lunch; in 1979 Lunch appeared on the album Off White as “Stella Rico”). Original Contortions guitarist Pat Place went on to found the group the Bush Tetras. Guitarist Jody Harris formed neo-surf combo the Raybeats with Don Christensen, George Scott III and Pat Irwin. Keyboardist Adele Bertei formed the Bloods. In 1979 George Scott toured with John Cale as documented on the album Sabotage Live. Some of the African-American band members of “the Blacks,” notably Joseph Bowie, later separated from Chance and formed the band Defunkt.
Outta the gate I gotta say writin' about a release called 'Full House Head' & failin to mention J Geils Band is harder than findin' a white bean in a black cat's ass. Not that I got anything against 'em, hell, the ex-Mr. Faye Dunaway had that ass whoopin' comin' from me in Louisville back 'round 75. And like I told Seth Justman that night too "I got a Hotline for ya, shorty; my fist up side your head". Think It Over indeed, my little Beantown bud.
And while we's is on the subject of a thumpin', how about this new knockout from Endless Boogie what's called 'Full House Head'? It's done got me all riled up! Over the course of more than a decade long career I've watched this bunch morph from mutant hominid bar choogle to luxuriating' in fissions that split open a portal what connected Coloured Balls & Velvet Underground to now redefinin' what Rock IS in the 2nd decade of the 21st Century. The production's spiffier, the rhythm's cagier, the solo's sharper & the singin, witchier. It's comfort y'all, the comfort to rock it both languorously & intricately. This zone is short of pretense & long in talent. Given the breadth of the excellence what's passed through afore, you might spin this & hear everything from Patto note moaners & Groundhogs riffage, to Seeds-like chatter or even goddamn 'Exile era Stones texturalization. But it ain't none of that, cause it can't be. The future is always steeped in the past & originality is invested in those who don't dial it in. And Endless Boogie most certainly walk it like they rock it. This may be called. Full House Head', but you can beat me with a corncob harmonica & call me Magic Dick if the contents therein ain't that of a Royal Flush Jam.