Today’s issue of the Baltimore City Paper contains my Endless Boogie review. Despite a few changes/editorial tinkerings (and the strange idea that it’s somehow available on CD), it’s not bad.
Good things come to those who wait. After eight years of existence, the fantastically and oh-so-descriptively named Endless Boogie has simultaneously released two albums every bit as jam-packed as its already legendary word-of-mouth live shows. No surprise there, since both were recorded live to two-track in the band’s practice space; the only thing really missing is the sweat and the beer.
The Boogie is a ferocious four-piece consisting of Double Leopards member Chris Grey on drums, former Naked Raygun Mark Ohe on bass, Swedish psyche-reissue dude Jesper Eklow on guitar, and most major record-dealer Paul Major on guitar and growling vocals. It’s easily the best heavy-minimalism rock band in New York, the most steadily consistent return on your buck, effortlessly blasting the socks off much younger rock pretenders roaming the city’s sanitized post-Giuliani streets.
The already-out-of-print 1 presents rifftastic messes every bit as melodically memorable as the best by Thin Lizzy, Foghat, or Coloured Balls (though usually at 10 times the length). 2, the readily available (for now) black-covered album, begins with the side-long, nearly instrumental jam “Stanton Karma” and enough guitar loudness (complete with audible radio bleed-through from the amplifiers) to make it as heavy as the Great Boston Molasses Tragedy of 1919. Since Baltimoreans aren’t “lucky” enough to reside in America’s capital of immense wealth and institutionalized poverty, Endless Boogie has recently visited Charm City, as well as other burgs up and down the Eastern seaboard. If you get the chance again, you need to check ’em out.
Jesper Eklow, post-review, adds the following nugget:
the radio you hear is just a radio (we always jam to the Mets game). the locked groove is gary cohen talking about pedro astacio getting out of ‘jam after jam after jam’…