Tag Archives: Endless Boogie

Just Announced! Lexington’s CROSS to open for ENDLESS BOOGIE 9/24


Exciting new Lexington, Kentucky band CROSS will open for ENDLESS BOOGIE at the Swan Dive, Thursday September 24th (click the link for more information about the show).

Here’s the “official” CROSS bio:

Based out of Lexington, CROSS is comprised of MA Turner and R Clint Colburn. CROSS started playing music together directly after guitarist MA Turner’s group Warmer Milks dissolved in early Spring 2009 and immediately went on a bi-coastal U.S. tour. Currently working on their first full length record, CROSS live at the Rat Vex house in Lexington’s north end where both members draw on the walls and listen to records.

CROSS just completed a cross-country tour with Castanets, and their performance with ENDLESS BOOGIE will be their Louisville debut! You can listen to some of their tunes at their MySpace site, http://www.myspace.com/foreverintothecross or at their blog at http://tombstonegravy.blogspot.com.


Fuck yeah! What this blog needs is more crappy, blurry pictures! In fact, that’s what all blogs need, amirite? Er, yeah, I guess not. Anyway, Friday night, after an incredible catfish dinner (complemented by potato salad, mac n’ cheese, cole slaw and beer) with my friends in Titan at Pies and Thighs under the Williamsburg Bridge, I raced back across to catch this show – sort of an Amish Records showcase with guests – at the Mercury Lounge. Endless Boogie had the rare first-opener slot, and I was worried with all that great Southern-style cookin’, I might have to be late. But I got there right on time, and proceeded to rip into some more beers while the Boogie ripped into their set. And what a set it was: new stuff, front-loaded at the beginning, that sounded fresh, while the last song (always forgetting or making up the titles) was an oldie but goodie. Mike “Miighty Flashlight” Fellows was behind the soundboard, and that led to one of the better vocal performances by wildman Paul Major. Score.

Second up was Polvo/Idyll Swords/many-other-NC-bands-I’ve-never-heard-of veterans Black Taj, whose self-titled album on Amish contains many sublime moments. Maybe it was just the grease congealing, but live they carried much more of a Southern swagger than the record. Then again, maybe it was just the volume, too. Dave Brylawski, one of Black Taj’s guitarists and its only NYC resident, has been one of my favorite guitar players since seeing Polvo way back when (memorable show: when they played at Bard, it was under two gigantic papier mache’d joints – gotta love those college kids!) (also at the same show Stephen Malkmus was attending in disguise, so as not to be recognized by same college kids). Black Taj, while definitely being more prog than Polvo with changes and instrumental sections galore, still have some rockin’ numbers filled with that special sort of twisted melodicism that made the latter band so great. Except the curried lamb and tabouli has been replaced with fried catfish and slaw.

By the point Mike Wexler hit the stage, I was getting a bit lit. Which didn’t detract from the music at all, but I did find it a bit hard to concentrate on Wexler’s reedy vocal tones. Don’t get me wrong, I like that particular style, but I have to be in the right mood. Wexler’s band is whip-sharp, though, and the songs are pretty damn good. I had a better time watching him play in Austin last March, drinking nearly-free Pabsts under a tent with my buddy Cliff, but that doesn’t mean I don’t recommend his tunes.

Headliners Oakley Hall, back in town on a rest between tours with Calexico, M. Ward and the Constantines, are every bit of deserving of the great press and turnouts they’ve been getting. Consistently one of the best and most-hard working bands in New York, Friday night’s set was a psychedelic barn burner, complete with almost incomprehensible (to my drunken eyes, anyway) projections. Totally rad, almost makes me wish I’d been a bit more sober for it. Next time, then.

Better Late Than Never: Another Year-End Best-Of List

If I think that compiling year-end best-of lists are tedious to write, just what exactly does it mean that I want you to read mine? Not much, really – it’s just another exercise one goes through. This kinda thing doesn’t really mean all that much to me, and my answers can change on a whim. And it’s not that I came close to listening to even all the releases with intriguing press releases, or what looked cool in a shop that I put back due to being broke, or whatever. That said, these are all very much worth your while, even without any sort of silly “best-of-2005″ endorsement. So without further ado (in no particular order):

The Weird Weeds, Hold Me (Edition Manifold) CD

I wrote about the Weird Weeds briefly here.

Earth, Hex: Or Printing in the Infernal Method (Southern Lord) CD

Broadcast, Tender Buttons (Warp) CD

Coptic Light, s/t (No Quarter) CD

Silver Jews, Tanglewood Numbers (Drag City) CD

I promised a longer, “director’s cut” version of this review, but for now that version remains unfinished.

The Howling Hex, All Night Fox (Drag City) CD

Endless Boogie, 1 and 2 (Mound Duel) LPs

Review from the Baltimore City Paper here.

Excepter, Throne and Self Destruction (Load, Fusetron) CDs

Review here, also appeared in Swingset no. 7.

Ones/Hands, 1997-2005 (White Tapes) CD

Review here.

Delia Gonzalez & Gavin Russom, Days of Mars (DFA) CD

favorite reissues/compilations:

Gary Higgins, Red Hash (Drag City) CD
Crime, San Francisco’s Still Doomed (Swami) CD (review here)
Crain, Speed (Temporary Residence) CD (review here)
Roky Erickson, I Have Always Been Here Before (Shout Factory) 2CD (review here)
Bobby Beausoleil, Lucifer Rising Original Soundtrack (Arcanum) 2CD (review here)

Honorable Mentions:

The Double, Loose in the Air (Matador) CD; Thuja, Pine Cone Temples (Strange Attractors Audio House) CD; Big Whiskey, “Hats Off To Ryan Taylor” (White Tapes) cass; Andrew Paine and Richard Youngs, Mauve Dawn (Fusetron) LP; The SB, s/t (White Tapes) LP; prolly some more I’ve forgotten.

Endless Boogie, 1 and 2 (Mound Duel) LPs

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’…