As many of you know, Stockholm DJ Mark Seven’s mix “Salute 2 – Reach Out and Touch Your Dream” was released earlier this year in collaboration the LN-CC crew. Everyone loved it (disc three is flipping amazing) and Mark has agreed to make the mix publicly available via a free download, which can be obtained here. Get it. It’s got ‘Friends’ on it by Ami Stewart which is always good.
In other LN-CC news, the chaps have just received a batch of Japanese import mix CD’s from a selection of Tokyo’s finest underground labels. Titles include the Japan-only Prins Thomas mix CD “Cosmanova IV”, a selection of releases from Cos/mes’s mix CD Label Sound More (more from them on Test Pressing in future times) and four titles from Chee Shimizu’s “Bedroom Archives” imprint. Genre-wise the spread is wide – ranging from house, electro right through to spiritual jazz and acid folk (ggod genre). Click here for more information. You know it makes sense.
April 1, 2011
Always nice to welcome a new (to us) face to Test Pressing and here’s a good one. Cyril is part of the Beauty and the Beat crew, who alongside our friend Cedric Woo, organises regular parties in London. They are all about lovely sound, great music from across the world (and the board) and good people getting into it. Cyril likes music with a psychedelic soul and I hope this one triggers a few daydreams…
February 28, 2011
Soody Sisco, Martha Fiskin and Linda Pitt made up the core of Dog Eat Dog, an early 80s punk funk band out of NYC who were sassy, smart and fun. Think along the lines of Liquid Liquid or ESG and you are on the right lines. Claremont 56 have been lucky enough to get their hands on unreleased recordings from the band consisting of live tracks and studio sessions which will be released mid-March in a lovely Keith Haring sleeve. As massive fans of that era in New York we asked the band if we could interview them and talk about those times and they kindly said yes…
So who met who first? Where were you living? Were you at college when you met? What were you studying?
Soody: Linda and I went to High School together in Piscataway, New Jersey. We met working on a school publication. I went to college with Martha. A friend introduced me to David Wald and then David brought in Kevin.
Linda: Soody and I met up during High School. We met up again in our last year of college, there we met Martha. I studied art.
Martha: I met Soody and Linda at college in New Jersey. I studied art: studio and history.
What initially made you think ‘ok. lets form a band?’ Were you inspired by other people out there. Who was that?
Soody: We lived in the East Village, NYC in 1980. All of our friends were in bands.
Linda: After college Soody and I were briefly roommates in Brooklyn. I remember watching the Miss America pageant on TV. There was a sax in the apartment, I picked it up, I made sound… If Talking Heads (art students), The Ramones and our friends Liquid Idiot could all form bands, so could we.
Martha: It was an exciting time. You could pick up an instrument and start a band.
What clubs were you initially going into?
Soody: Tier 3, Max’s Kansas City (where Linda worked), Mudd Club and CBGB.
Linda: I worked at Max’s Kansas City pre-band. CBGB’s was around the corner from home.
Martha: Club 57, CBGB, Tier 3, Max’s, Mudd Club, Hurrah’s and The Roxy. We walked to all these places. New York did seem smaller in those days.
Were you part of that whole Mudd Club scene, hanging out there or just playing gigs?
Soody: A bit of both.
Linda: We went to the Mudd Club a lot but never felt part of the scene.
Martha: I was in a group art show there.
I guess you were quite involved in that art scene that ran alongside the music scene at that time? If so how? Did you see those two scenes as linked?
Soody: Yes, Linda and I were hanging posters that we collaborated on.
Linda: Definitely linked. Take Club 57, a small venue on St Marks Place in the EV, art, performance, music, movies, a showcase for everyone. Al Diaz our percussionist did the SAMO graffiti with Basquiat. Soody and I made art flyers that we wheat pasted around the neighborhood (see above). By chance the guy with the guitar is Richard Hell. We all did our own personnel art as well.
Martha: We all made stuff; various media.
Seems a lot of people involved in the music scene came from an art background and then did the music thing as an outlet for their creative sides. Was this the way it was for you?
What were your favourite places to play at that time?
Linda: CB’s had the best sound and the infamous dressing room. We once played at 4am in a basement on Chrystie Street that turned out to be a Chinese gambling parlor.
So you played at CBGB’s. Was that another hang out?
Soody: Yes, it was in our neighborhood.
Linda: Went there a lot. I loved the matinees.
Martha: Sure. What a sound system!
So the music – it seems to have a very funky edge. The congas and the percussion have that Latin thing going on. What were you influenced by? Or was it just a New York thing to have that Latin sound as you grew up surrounded by it?
Soody: It was a popular sound at the time and our early percussionist, Al Diaz, is Hispanic.
Linda: Don’t be fooled by the cow bell.
Martha: Love love love drums. Latin, African, dub…
How do you fit in with the other No Wave bands? Were you having out with ESG, Liquid Liquid etc or did you feel aside from them?
Soody: We were friends with Liquid Liquid.
Linda: Liquid Liquid are our friends. I only met ESG once but they seem incredibly nice. We were part of the noise NY and Naive Rhythm scene so I always felt we were all in the same boat.
Martha: Totally in with Liquid Liquid and Konk.
Who were you favourite bands to go and see back then and why?
Soody: Hmmm, there were a lot. Of the local bands we would go see our friends a lot. I loved DNA.
Linda: The Ramones were always fun, and any band that was recommended that I knew nothing about. There were a lot of new bands and most music at the time was fun.
Martha: Fela, DNA, some big soul shows, all our friends.
I like the review I saw from the Soho News that says ‘the melodies are carried by a very amateurish saxophone player’. Surely that was the whole point – to play like you couldn’t? You know deconstructing your abilities and almost looking at it in a different way… Was that something you were about?
Soody: We couldn’t play!
Linda: I believe the words are self taught. We played out shortly after we started playing our instruments.
Martha: We were inspired neophytes.
The music really benefits from having that raw, captured live thing. Well some of it was obviously recorded live, but when in the studio was it a live run through or did you try and record separately.
Soody: Everything is recorded live, either in studio or performance.
Linda: I remember late nights hardly able to stay awake.
Martha: Down and dirty, low-budget and raw. In a good way.
How come you never got signed to Sire, Ze or one of the other labels picking up bands at that time? I presume that scene was picked over pretty heavily…
Soody: We just didn’t get an offer in the short period we were around.
Linda: We almost got signed to 99 records.
Martha: It would have been 99 if anyone signed us. Maybe Rough Trade or ROIR.
Boring question but how did you hook up with Keith Haring for the Dog Eat Dog piece he did. Were you mates with him?
Soody: Keith Haring was a downtown artist and easy enough to run into. We just asked him if he would do a poster because the dog was one of his favorite motifs. He was very sweet and said he would do it and made an extra for us to add future dates to.
Linda: He was part of the Club 57 scene. I think he went to school with Julie who was working with Martha at the time.
Martha: Keith was a friend from the neighborhood. His work was everywhere.
Going back to the clubs – where else were you hanging out? Were DJs important to you as people or did you more enjoy the art/punk/live scene. What about Paradise Garage, Funhouse etc…
Soody: I don’t think DJs were the entity they are today back then.
Linda: I like music live and went to places we could get in for free which was most. Peppermint Lounge, Danceteria (where I caught Madonna’s first show), loved the dancing boys, Irving Plaza, Tramps, jazz clubs names long forgotten. There was The Empire of Soul Club, Warren and the Empress spun B sides of soul 45’s at various venues.
Martha: The Empire State Soul Club was great!
Were you into hip-hop? Before it went head long down that drum machine beat route it seems the scene you were in (Fab 5 Freddy, Futura etc) was very hip-hop. I think your music is pretty B-boy…
Soody: We loved the rap scene and frequented the Roxy Roller Rink in Chelsea for rap/breakdance shows.
Linda: B-boy, I like it. Loved the early scene. Roxy was our place to go.
Martha: Checking out rap and hip hop at Roxy. Thanks for the comparison.
At the time did you look at the success of some bands around you and think about making your music slightly more commercial or were you not interested in that?
Soody: We would have loved some success.
Linda: Commercial, never wanted that as an option.
Martha: We enjoyed our artistic freedom then, but a wider audience is always great.
What happened with the band in the end? Do you still play together? Is it more of a historical thing or do you have plans to go play in the studio again?
Soody: Oy Vey, play again? We discussed the possibility, but would need to REALLY dust ourselves off!
Linda: Historical, well you never know…
Martha: No plans, but you never know…
What do you all do now?
Soody: I am a museum curator and textile designer.
Linda: Photo retoucher to the stars! That means publishing.
Martha: I work in the film business.
What music do you listen to these days?
Soody: A lot of 70s glitter and 80s punk, always The Ramones, actually too much to list!
Linda: Lots of radio, WFMU and WWOZ, still can’t get enough of Neil Young.
Martha: The Clash, LCD Soundsystem, Spiritualized, Greg Dulli’s various bands and more.
Thanks for the interview!
Dog Eat Dog is out mid-March on Claremont 56. You can order it here.
March 27, 2010
January 3, 2010
Nice couple of pieces form London’s The Daily Terror (tagline ‘Free But Not Cheap’), a very tidy magazine from the chaps behind A Child Of The Jago. Chris Sullivan (I presume of seminal London nightspot The Wag club) manages to mention every New York disco in the space of two pages and keep it entertaining (did he shag Madonna?) and Lono Brazil talks of his time at the Paradise Garage.
Thanks to Nick Dart.