Tag Archives: No Quarter

Boogie Knight — Paul Major on Toy Tiger, Hikes Point and points beyond

(Photo by Jeff Winterberg)

A short interview I conducted with the one-and-only Top Dollar, aka Paul Major of Endless Boogie, ran in this week’s LEO Weekly. Check it out here:

Louisville native, record dealer and guitar genius Paul Major of Endless Boogie chats with LEO Weekly about growing up in Louisville and about Endless Boogie’s second full-length record, Full House Head, due out July 20.

LEO: Talk a little bit about what memories you have of Louisville, especially concerts you saw or buying records.

Paul Major: One of my earliest memories is the sadly gone Toy Tiger sign at Bardstown Road and Goldsmith Lane. I grew up near there. I was in grade school (when) I heard my first fuzz guitars in 1966. As a kid, I went nuts, and my entire gear shifted. So every Saturday with my lawn-mowing money, I’d head up Bardstown Road and go to the head shops and the used record stores. Like Rivertown Records, I remember being one of the first ones. Just went up there and bought every obscure, weird-looking record I saw that might simulate what it was like to be trippin’ out. I remember getting my first copy of (the 13th Floor Elevators’) Easter Everywhere for 27 cents.

But the main difference back then was radio. That was a time when every genre of music competed on Top 40 radio, and you’d hear Deep Purple next to Frank Sinatra next to the Mamas & the Papas next to Claudine Longet. I remember that (Texas International recording artist) Bubble Puppy had a No. 1 hit in Louisville with “Hot Smoke and Sassafras,” and that was kind of a dud elsewhere. I used to sit with the AM transistor radio with little notebooks, and I had all these different categories for tones of the fuzz guitars.

LEO: Tell us about the new record, Full House Head. It’s not a huge departure from the first Endless Boogie record, Focus Level, which means it’s a good rock record.

PM: (One difference with Full House Head), it builds up a little bit with the guitar parts. It’s a little more just being totally spontaneous, but then throwing in some other stuff, with a couple of catchier numbers on there. It’s on No Quarter, so we’re looking forward to that. I just saw the cover art when I got back from Europe. People that have heard it so far are enthusiastic. (It’s an) all-time record for Endless Boogie: only two years to get something done.

Full House Head comes out on July 20th, on No Quarter. The full transcript of the interview will be posted soon.

Burning Star Core, Papercuts Theater (No Quarter)

Today’s LEO Weekly includes my review of the new Burning Star Core record, Papercuts Theater:

Burning Star Core main man C. Spencer Yeh of Cincinnati embodies a mutant combination of musicians Tony Conrad, Yamatsuka Eye and Klaus Schulze with his sophisticated violin, electronics and vocal histrionics filtered through his own distinctly 21st century sense of angst. On this collage of live recordings spanning more than a decade, Yeh is joined by Lexingtonians Robert Beatty and Trevor Tremaine (both of Hair Police) and various other nutters, including a horn section on the wonderfully disturbing third section of its four long sides. Overall, Papercuts Theater is a fiercely chaotic yet multifaceted tour de force constructed out of a myriad of seemingly disparate parts; almost if Yeh took Conrad’s classic 1972 album with Faust, Outside the Dream Syndicate, threw it in a blender, smashed the remaining bits to even-tinier bits, then meticulously glued the pieces back together.

Buy it from No Quarter.

R.I.P. Coptic Light

One of my favorite New York bands, Coptic Light, have called it a day. Bummer news, dudes. Weirdly enough, I just found this out yesterday, and while on the L train today, I ran into CL guitarist Jon Fine (aka Johann von Poodles), who confirmed the tragedy. Needless to say, while not incredibly well known (or active), CL was one of the most aggressively awesome bands I’ve seen in the past five years. First time was at the Fireside Bowl, in 2002, when I still lived in Chicago. CL – which consisted of Fine (ex-Bitch Magnet, Vineland, Don Caballero), wildman drummer Kevin Shea (of the highly under-rated Storm & Stress), and bass mechanic Jeff Winterberg (of Antioch Arrow) – totally killed it, with a combination of heavy volume and dynamic, intricate melodies. I missed their past few shows in New York (they ended up playing more in Japan in the past year and a half than in the city), so this makes the news doubly bummering. But we’ll always have the music: go buy their LP, cleverly titled lp, from the fine folks at No Quarter. And keep your eyes open for a posthumous EP sometime soon. Gone, but not forgotten…