Showing posts with label Hampton Grease Band. Show all posts
Showing posts with label Hampton Grease Band. Show all posts

Sunday, April 3, 2016

Here Comes Grease




Early this year there was an interview and a few really interesting live recordings of the Hampton Grease Band. The band only released one album Music To Eat, which is now considered a classic. The record is in the same sort of genre as Captain Beefheart and weird early Zappa. It has been reissued over the years but was still elusive up until recently where it is now available on Spotify, and of course on this PHC podcast as well.

Earlier this year an interview of the band on WKCR on 8.30.71 magically appeared on the internet, revealing the band’s experiences in New York City dealing with indifferent audiences and talking about their influences in a dada absurdist tone that was their trademark. It really provides some much-needed context of the band for the time and their attitude towards the art that they were creating. An entire concert of Hampton Grease Band at the 1970 Atlanta Pop Festival was also uploaded, as well as a couple of other live tracks.

All of this comes at a very productive time for Col. Bruce Hampton. He has a movie coming out on April 3rd called Here Comes Rusty. He has also just done a reunion with Hampton Grease Band, Aquarium Rescue Unit (Including a sit in with John Mclaughlin from Mahavishnu Orchestra) and there was a recent documentary on him called Basically Frightened. On top of all of that his most recent 2014 Pharoah’s Kitchen was really good. He’s been at it as long as anybody, and still continues to make interesting and challenging music. 

If that's not a total information overload, here is a really sweet recent article by Glen Phillips, founding member and guitarist of Hampton Grease Band.










Thursday, April 2, 2015

Music To Eat




Hampton Grease Band was Col. Bruce Hampton's first legendary band. They only released one album, Music To Eat, in 1971. Though the record was supposedly Columbia's second worst selling record ever, the record has since gained a cult following and is considered one of the great records of the early psychedelic rock era. The record contains dazzling guitar work, long weird compositions and meaningless lyrics read off of a spray paint can and an atlas. Music To Eat was a weird audio sculpture that had no context within the normative world other than that it was there.

Intro (00:00:00)

Halifax (00:02:53)
Maria (00:22:35)
Six (00:28:10)
Evans (00:47:42)
Lawton (01:00:11)
Hey Old Lady and Bert's Song (01:08:02)
Hendon (01:11:24)

Bonus
Live Improvisation 1970 (01:31:36)



On my wishlist are the two shows that Hampton Grease Band opened at The Fillmore East on June 5th and 6th for The Mothers of Invention. Zappa was recording the white pencil front live album and also john Lennon and Yoko jumped onstage during the encore without warning, all of which is on tape. I just wonder if there is a tape of Hampton Grease Band? There's gotta be right?

Paleolithic Hunting Club

Check out this episode!

Wednesday, November 5, 2014

A Love Supreme Collective (Unconscious)

Check out Frank Catalano’s new album: A Love Supreme Collective. The record offers a fresh acid jazz take on John Coltrane’s landmark recording, A Love Supreme. What strikes me most about this release is how it extends the narrative that Coltrane helped create. A Love Supreme was Coltrane’s crossover hit that broke him into the counterculture mainstream. Coltrane served the role of a musical shaman between the physical and spirit worlds. A Love Supreme encouraged artists to take musical risks influencing the musical philosophy of the fathers of the modern jamband scene such as The Allman Brothers, Grateful Dead and Bruce Hampton etc.



A Love Supreme Collective builds off of the celebrated mythology of A Love Supreme. The record weaves wild driving free jazz drums and chaotic frenzied Coltrane tenor runs with a soundscape of repetitive electronic samples. The timing of the recording feels just right. A Love Supreme has continued to echo in the realms of popular culture whether it is sandwiched in between medleys at a Santana show or alluded to in an epic Phish jam like the 6-3-11 Down with Disease at Pine Knob. Catalano’s contribution fits nicely in what is becoming its own subgenre.