Subota, 14. decembar @ Gun Club, 22:00

 

 

Kid Congo Powers (pravo ime Brian Tristan) bio je član i autor u tri izuzetno uticajne rok grupe 80-tih i 90-tih. 1980. godine Jeffrey Lee Pierce i on osnovali su The Creeping Ritual koji će vrlo brzo promeniti ime u The Gun Club. Isto tako brzo Kid će napustiti bend da bi sarađivao sa The Cramps sa kojima je snimio dva albuma: „Psychedelic Jungle“ i „Smell Of Female“. Ipak, od 1983. do 1991. više puta će se vraćati i napuštati The Gun Club ponajviše zbog obaveza sa još jednom velikom grupom tog vremena (a i danas) – Nick Cave & The Bad Seeds (učestvovao na albumima „Tender Prey“ i „The Good Son“ kao i na turnejama od 1988. do 1990.).

Pored ova tri sastava Kid Congo Powers je tokom karijere duže od 30 godina sarađivao i sa: The Fall, The Divine Horsemen, Die Haut, Madrugada, ali i važnim underground autorima kao što su: Lydia Lunch, Michael Gira, Diamanda Galas, Mark Eitzel, Barry Adamson, Sally Norvell, Julee Cruise.

Krajem 90-tih u Njujorku formira The Knoxville Girls, jednu od prvih supergrupa garage-rock žanra u kojoj su se našli i Bob Bert (Sonic Youth, Pussy Galore), te Jerry Teel (Honeymoon Killers, Boss Hog, Chrome Cranks). Knoxville Girls snimaju tri albuma za poslednjih par decenija prestižnog izdavača modernog garažnog zvuka – In The Red Records (The Jon Spencer Blues Explosion, Thee Oh Sees, The Dirtbombs, Black Lips, Tay Segall Band…).

 

 

Kid Congo & The Pink Monkey Birds nastaju u Njujorku 2006. i iste godine objavljuju prvenac „Philosophy And Underwear“. Album je tipičan njujorški bućkuriš žanrova kreiran od moderne verzije belog bluza, soula, no-wavea, new wavea, art rocka, glama, do elektronike koja podosta duguje Roxy Music iz vremena dok je Brian Eno bio u bendu. Jedan od komentara koji najbolje opisuju ovu ploču dao je Judah Bauer, gitarista The Jon Spencer Blues Explosion: „Zvuk je toliko raznolik da imam uticaj da slušam istovremeno Velvet Underground, Can, Television i nas. Kid je oduvek imao nepogrešivi osećaj da u tri minuta jedne pesme izmeša sve stilove u kojima se tokom karijere oprobao, a da finalni proizvod zvuči nestvarno sveže i potpuno autentično, drugačije”.

Tri godine potom za In The Red Records izlazi „Dracula Boots“, ploča koja će The Pink Monkey Birds učiniti posebnom garage/rock atrakcijom i torpedovati grupu u sam vrh moderne indie scene i koncertni akt koji se ne sme propustiti. Osim toga zapažen uspeh ove ploče potvrdio je Kidu i momcima da rade pravu stvar i učvrstio ideju o bendu u većoj meri nego ranije. Stoga su Kid Congo & The Pink Monkey Birds počeli češće da nastupaju uživo, paralelno spremajući sledeći album „Gorilla Rose“ koji objavljuju takođe za In The Red Records 2011. godine. Na ova dva izdanja bend Kida Congoa istražuje plesno i primitivno, funk i swampy/garage zvuk znalački balansirajući između žanrova tako da nijedan ne dominira. Oba albuma prolaze prilično dobro kod muzičke kritike i publike, a Kid Congo Powers, uvek tihi čovek iz dva najvažnija garažna sastava 80-tih (The Cramps i The Gun Club) postaje jednim od najuticajnijih predvodnika modernog garažnog rokenrola uz veliko poštovanje daleko mlađih kolega sa iste izdavačke kuće ili iz sličnog žanrovskog okruženja: John Dwyer (Thee Oh Sees), Ty Segall (Ty Segall Band i The Fuzz), The Oblivians, The Jon Spencer Blues Explosion, The Dirtbombs, Hunx & His Punx…

 

 

Odnedavno Kid Congo & The Pink Monkey Birds imaju novu ploču. „Haunted Head“ izašao je krajem maja ove godine kao i prethodna dva albuma za In The Red Records. Radi se o verovatno najboljem zbiru pesama do sada na kome Kidov autentični goofy/camp stil dominira u bržim temama. Poseban plus albuma su skoro polovina pesama kao napisanih za izmišljeni moderni noire u kojima preovlađuju reverb i twangy gitare, kao i sjajne melanholične solo teme. Psihodelični swamp/funk i delikatan guit/noise uz Kidovo sugestivno recitovanje i obilje suptilnih gitarskih soloa, gitarskih tema, raštimovanih gitarskih akorda i naoštrenih gitar-slajd vožnji.

 

 

Trideset i tri godine pošto će osnovati The Gun Club i obresti se u The Cramps na njihovim najboljim pločama, Kid Congo Powers nije samo prisutan u vrhu današnje indie/garage scene. Kao jedan od prvoboraca i utemeljivača modernog garažnog roka, ali i kao inovator unutar žanra sa nepogrešivim osećajem za detalje, kao i za vešto mešanje stilova, ovaj pedesetčetvorogodišnji dendi danas je ikona najplodnijeg žanra popularne muzike. Nadživevši JL Piercea i Luxa Interiora Kid Congo Powers nastavlja da istražuje muzičke forme ostajući jedan od poslednjih živih, a ozbiljno aktivnih rokenrol antiheroja. Kako recenzent „Dracula Boots“ u NME-u iz maja meseca 2009. godine reče: „Svako ko je ikada svirao sa losanđeleskim bluz pankerima The Gun Club treba da dobije status rok legende. Činjenica da je Brian Tristan (poznat i kao Kid Congo Powers) svirao i u The Cramps i Nick Cave & The Bad Seeds znači da je čovek van kategorije običnih smrtnika“.

Legenda iz The Gun Club i The Cramps stiže u Beograd u subotu, 14. decembra i potpuno logično nastupa u Gun Club-u. Ulaznice po pretprodajnoj ceni od 1000 dinara @ Pinball Wizard Records od ponedeljka, 11. novembra. Na dan koncerta na ulazu u klub – 1500 din.

 

Kid Congo @ Wikipedia

Official

Kid Congo @ New York Night Train

Kid Congo @ Twitter

Kid Congo & The Pink Monkey Birds @ Facebook

Kid Congo & The Pink Monkey Birds @ last.fm

 

http://www.youtube.com/watch?v=kdixb0iOVQc

http://www.thesundaytimes.co.uk/sto/culture/music/pop_and_rock/article1342349.ece

Intervju + uživo @ BBC Radio 6 Music:

http://www.bbc.co.uk/programmes/b03jp520

(narednih 6 dana samo!!)

http://www.youtube.com/watch?v=Xv3IXi526KE

http://www.youtube.com/watch?v=h8Uk2iJU1tk

http://louderthanwar.com/kid-congo-powers-my-favourite-10-albums/

a evo i recenzije koncerta u glazgovu pre neki dan:

http://louderthanwar.com/kid-congo-and-the-pink-monkey-birds-glasgow-nice-and-sleazys-26th-nov-2013/#sthash.mvZVFFoX.uxfs

Recenzija poslednjeg albuma:

http://vocalsontop.com/2013/11/30/250-word-album-review-kid-congo-and-the-pink-monkey-birds-haunted-head/

http://www.newyorknighttrain.com/recordings/kcpbio.html

http://www.newyorknighttrain.com/zine/issues/1/kidpregun.html

http://www.newyorknighttrain.com/zine/issues/1/kidgun1.html

http://www.newyorknighttrain.com/zine/issues/1/kidcramps.html

http://www.newyorknighttrain.com/zine/issues/1/kidcramps2.html

http://www.newyorknighttrain.com/zine/issues/1/kidgun2.html

http://www.newyorknighttrain.com/zine/issues/1/kidbible.html

http://www.newyorknighttrain.com/zine/issues/2/kidbadseeds.html

http://www.newyorknighttrain.com/zine/issues/2/kidgun3.html

http://www.newyorknighttrain.com/zine/issues/2/kidgun4.html

http://www.newyorknighttrain.com/zine/issues/2/kidhautnorvell.html

http://www.newyorknighttrain.com/zine/issues/2/kidside.html

http://www.newyorknighttrain.com/zine/issues/2/kidknox.html

http://www.newyorknighttrain.com/zine/issues/2/kidkhancruise.html

http://www.newyorknighttrain.com/zine/issues/2/kidpmb.html

 

Kid Congo Powers is a bona fide rock & roll legend even if he isn’t a household name. A founding member of the Gun Club with Jeffrey Lee Pierce, he’s also played with the Cramps, Nick Cave & the Bad Seeds, and Barry Adamson on Moss Side Story. He’s done some other things, such as co-fronted the great but underrated and moody Congo Norvell project with Sally Norvell, but to his credit, before Dracula Boots, he’s issued only one other album under his own name even though he’s had a compilation released of his work with other people. He is the non-guitar hero’s guitar hero: he’s never been flashy, preferring a very basic approach to playing garage rock, blues, Chicano rock, and swamp. Dracula Boots is so utterly gritty and nasty that it could have come from the Detroit scene, the one that spawned the Dirtbombs, the Henchmen, and Andre Williams' later work. On his MySpace page he lists “Soul Finger” by the Bar-Kays as an influence, and that’s not far off here. The difference is that while this is nasty butt-shaking funk, it’s as if it were being played by Link Wray with a ‘60s low-rider East L.A. garage band backing Williams. The grooves are hot, butt-shaking, and funky, but they don’t contain loads of breakbeats, rubbery basslines, or faux James Brown shouts. Congo may be the frontman, but while he vocalizes, he doesn’t sing. He simply growls or snarls his words out, or offers them in a tortured teenaged fuzz rock bravado whisper. Bassist Kiki Solis is the anchor; the bass is ever up-front on these tracks, leading the firebrand charge. The tunes are primitive, often two or three chords drenched in tinny reverb, Ron Miller's organ, a stripped trap kit, and of course Congo's knife-edged, purposely sloppy guitar work. Highlights on this set include “Funky Fly,” which sounds like its title; the frenetic “Hitchhiking,” which takes the riff from “I Don’t Need No Doctor” to horrific depths; and “Bobo Boogie,” a cut so utterly infectious that the listener will be tempted to put it on endless repeat. Dracula Boots is a nice return to rock & roll basics from one of its most trusted and underappreciated practitioners.

http://www.allmusic.com/album/dracula-boots-mw0000812175

 

Little surprise that Kid Congo Powers should kick off an album that sounds like it belongs somewhere at a garage Frug session, a just-south-of-the-border bar in the 1960s with Jack Nitzsche trying to make a horn section do something it wouldn't normally do -- and even less surprise that Kid Congo wouldn't have it any other way. With the sleazed-up skronk and shake of "Bo Bo Boogaloo" kicking things off, Gorilla Rose finds Powers and company, including new bandmember/multi-instrumentalist Jesse Roberts, enjoying themselves to the full, as if that era not only never died but neither did any of the people in it -- and who could go against such a fine wish? Hearing Powers intone various celebrations of things like black leather and bad habits on "Goldin Browne" as R&B grooves and sneering guitar kick along is great, as is his glammed-up Bukowski scenario on "Flypaper." There's more actual singing at various points as well, such as on "At the Ruin of Others," though even then he sounds like he's aiming to be the slightly more tuneful narrator at the opening of Faster, Pussycat! Kill! Kill!, letting his guitar do the talking as needed (and on that song, really cranking it up on the solo). There are instrumentals throughout, like "Bubble Trouble" with its guitar line that's near pure scuzz even as the grooves urge listeners to do their best Toni Basil imitation (or worse, Austin Powers, depending), while song titles like "Hills of Pills" and "Lord Bloodbathington" kinda say it all as it is (and the keyboards on the latter make for the perfect arch-European/horror movie touch). Then there's "Our Other World," with Powers telling an entertaining tale about his days working "in a Hollywood record store," dealing with an angry Rick James, punk-era antics, and more besides, while the organs pump, the grooves swing, and the whole thing feels like the best autobiography not yet filmed.

http://www.allmusic.com/album/gorilla-rose-mw0002134683

dwnld:

http://www.mediafire.com/download/hvk4fvx08by757c/KC%26TPMB_BGD_P.zip
http://www.mediafire.com/download/6w38ib9z281ll8n/KCP_GC_C_P.zip

 

Kid Congo Powers (the stage name of Brian Tristan) is hardly a kid these days. He is, after all, the veteran garage guitarist from the Gun Club and the Cramps, did a stint with Nick Cave's Bad Seeds, and Haunted Head is the third album he has done with his current band, the Pink Monkey Birds (bassist Kiki Solis, drummer Ron Miller, and guitarist Jesse Roberts). No, he might not be a kid these days, but he's lost none of his youthful goofiness or any urge to stop playing punk garage rock like it never went out of style, which it never truly does. But in Powers' world, Iggy and the Stooges get merged with the Three Stooges, and this is visionary cartoon rock full of surf overtones, fuzzy guitars, and Captain Beefheart lyrics that seem more made up on the spot than actually written. Powers is hardly a great vocalist, sounding more like a beat poet speaking and slightly chanting his latest musings backed by a ragged, kick-ass band channeling the ghost of Screamin' Jay Hawkins backed by the Stones lost in New Orleans at their drunkest. The whole album is a slab of loose noise that somehow gets over on its own verve and kinetics, with songs emerging from the mix in Powers' baritone singing/speaking voice. "Let's Go!" is a fraying, joyous call for motion and action; the opener, "Lurch," does just that, lurching about like a delightful lost surf tune on too much whiskey; and "Killer Diller" somehow works as a tribute to comedian Phyllis Diller merged with the 1950s ghost of Jerry Lee Lewis. "Dance Me Swamply" is Powers' version of a love song, although even it exists in a strange twilight world of juju cartoons. This is Kid Congo Powers. He may not be a kid anymore, but he isn't too big on changing his style, which is a good thing.

http://www.allmusic.com/album/haunted-head-mw0002517133

rani(ji) radovi:

 

 

Here, Kid Congo Powers and Ivy form just as fine a team as she and Gregory did on earlier releases, and if things aren't always as flat-out fried as on Gravest Hits and Songs, the same atmosphere of swampy, trashy, rockabilly-into-voodoo ramalama reigns supreme. The song titles alone show the band hasn't really changed its sights any: the opening two cuts are covers, "Green Fuz" and "Goo Goo Muck," while originals include "Caveman," "Can't Find My Mind," and the brilliant "The Natives Are Restless." Then there's "Don't Eat Stuff Off the Sidewalk," which almost sounds worthy of a Frank Zappa freakout (at least lyrically). Other legendary tracks like "Primitive" and "Green Door" get the Cramps makeover this time out, with the proper mix of respect and hot-wired energy, while "The Crusher" sounds like Interior's on the verge of going completely insane. The Cramps themselves take over the production this time out, resulting in a cleaner, crisper sound (especially when it comes to Knox's drums) that isn't quite as wired, for better or for worse. As commanding showmen, though, the quartet's style comes through big time, with Interior throwing in appropriate yells, yipes, and other sounds where appropriate; his antics at the end of "Goo Goo Muck" are especially gone. If anything, the moodier strutting throughout increases the creepiness of what's afoot; if things aren't psychedelic in the commonly accepted sense, it's certainly not easy listening. Interior sometimes sounds almost normal, but with the sense that something strange is lurking just around the corner, and Ivy is still one of the best guitarists around, her snarling reverb worth a thousand fret-shredders.

http://www.allmusic.com/album/psychedelic-jungle-mw0000268560

 

The tragedy of the Gun Club's third album, The Las Vegas Story, is that it was largely ignored by both critics and fans due to the mixing and mastering disaster that marred its predecessor, Miami -- an album that was full of great songs and performances but was so marred by poor sound that it sounded lifeless. Both records were issued by Chris Stein's Animal label. The Las Vegas Story was produced by Jeff Eyrich who was just coming off T-Bone Burnett's Proof Through the Night project and was about to enter the studio with both the Plimsouls and Thin White Rope. Its lineup features the return of original guitarist Kid Congo Powers, as well as drummer Terry Graham and new bassist Patricia Morrison (aka Pat Bag) from L.A. punk outfit the Bags. Late frontman /guitarist Jeffrey Lee Pierce was writing feverish rock & roll songs that took their inspiration from Southern blues and West Texas country music all framed by an angular, jagged post-punk energy. The screaming rawness at the heart of the band's debut, Fire of Love, had been replaced by a dry, moaning lonesome, percussion heavy desert sound, space and echo float through the mix like a ghost through Pierce's slide guitar playing. Bass drum and tom-toms fuel the attack with a basic, primitive nocturnal energy. Topics ranged from personal disintegration in "Walkin' with the Beast," and the country-blues-drenched "Eternally Is Here," and the shambolic, two-step country confusion of "My Dreams" that quotes directly from Television's "Marquee Moon" to the disappearance of the nation in "Bad America"'s edgy guitar wrangle. There are a couple of covers on the set tossed right in the center of the album: "The Master Plan," a spooky, brooding, rock read of Pharoah Sanders' and Leon Thomas' "The Creator Has a Master Plan," and a slovenly, funereal version of "My Man's Gone Now," by George and Ira Gershwin from Porgy and Bess. The Las Vegas Story is a provocative record that reveals the Gun Club was pulled in many directions at once, and though the tension is in evidence on every track, it nonetheless holds together. After Fire of Love, The Las Vegas Story is their most satisfying album and is, perhaps, the band's most visionary offering.

 

http://www.allmusic.com/album/the-las-vegas-story-mw0000691835

http://www.youtube.com/watch?v=vnnRGtPOo0E

 

The Gun Club collapsed within a year of the release of 1984's The Las Vegas Story, so more than a few fans were surprised in 1987 when Jeffrey Lee Pierce and Kid Congo Powers returned with a new version of the band, featuring Romi Mori (Pierce's significant other) on bass and Nick Sanderson (ex-Clock DVA) on drums. Even more startling was that the group's comeback album, Mother Juno, was produced by Robin Guthrie of the Cocteau Twins, who would hardly have seemed a likely choice to channel The Gun Club's fiery blues-punk assault onto vinyl. But against the odds, Mother Juno turned out to be one of the band's best albums; the hard rock overtones of The Las Vegas Story were replaced by a more direct, streamlined sound that suggested Miami without the twangy undertow, and while "Bill Bailey" and "Thunderhead" proved this band could rock as hard as they ever had before, Pierce's songs were also venturing into new musical territory, as evidenced by the slow, slinky R&B of "Yellow Eyes," the atmospheric carnival-pop of "The Breaking Hands," and the contemplative "Port of Souls." And as a vocalist, Pierce's trademark just-off-pitch style had gained no small amount of nuance in the six years since Fire of Love, and whether he's shouting the blues or crooning sadly, Pierce shows he'd moved into a whole new class as a singer. Sadly, Mother Juno didn't earn a United States release until the 1990s, which is a shame; it not only made clear that The Gun Club were still alive and kicking, it showed they had lost none of their old power as they cleared out some new territory in the process. Buddha's 2000 reissue adds two solid bonus tracks, the scrappy "Crab Dance" and the moody "Nobody's City."

 

http://www.allmusic.com/album/mother-juno-mw0000199693

Satnica:

vrata kluba se otvaraju u 21:30

koncert počinje malo posle 22:00, svakako pre 22:30

 

Karte:

još danas do 16:00 u pinball wizard prodavnici po 1000 dinara, na ulazu u klub - 1500 dinara.