updated 08-09-2003
Welcome all to the latest in a long line of
New Orleans type sites, but this one has no corporate sponser, is not filled with paid advertising, and is kind of hell bent on presenting an alternative view to New Orleans culture, music, humor,etc.( with an attitude ).
Over time we'll bring you links to all the stuff the big boys do, but hey, if you want stock quotes(and who doesn't), you know where to go. But we'll try to serve you as best we can with the free web space allotted to us.
Enjoy your stay, tell a friend and come back yourself.
ERINIE K. DOE (1917-2001) r.i.p.
COMING SOON - The Official Hog Head Cheese Festival Page
plus am unoffical review of the 1st Annual Hogshead Cheese Festival !
REVIEWS
Paint it Black One More Time by Stich
It was a warm sticky night when I arrived in New Orleans at Checkpoint Charlie's for Men in Black's final anarchic aural assault. For the fans of this long standing institution of truly inspired institutionalized black impressioned manic madness it was an evening not to be missed. I got at the crowded demarcation zone at around 12:00 when the gig of all gigs was said to be set for show time. All was sprung into rock n' ready action as the band took to the stageand briefly twanged and banged a bit to get things in check before they unexpectedly propelled forward with a wave of sonic thrusts head on into an underworld realm of crazed cascading pulsations and libations. The first physical thing of note I espyed as the band played was Ricky Rockett's plain green jump suit. Everybody to my recollection was mostly attired suitably in black. The first number was "Insanity," a Wayward Youth song to which Rockett began to jerkily jaunt around to like a sort of amphetamine Gary Numan mechanical grease monkey of some strange splendid menace. A real animated sight of a guy with uncoiled stage presence. "Green Eyed Girl," also a Wayward Youth tune, sent shaky spirals of psychedelic distortion flyling overhead. * Stich Stich's transmission mysteriously vanishes at this point. could this be the work of men in black's long time nemesis,(I don't think so.) ?
Well first off, Men in Black would like to thank those who helped in the transportation department that night, those persons being Mr. Louisiana Skydive himslf, Philip, Rock-a billy guitar legand Johnny Jay again graced us with his presence and vibe, JJ hailing from suck acts as Johnny Jay and the Hitmen, O.L.D., the Sluts, etc....Reddy Teddy and K-Hole Dave from Houston. A big round of thanks goes again to M.C. Reddy Teddy for hosting the show and carring on his free form, R&B Rap during moments of technical difficulties. Thanks to the Stich man for his review and for bringing some art student from across the pond ( one of whom kept insisting thatI was Mike fromTabula Rosa). I replied that I wasn't , but that is him sitiing across the bar. Speaking of Tablua Rosa, a big Machine Screw precence was in the house. Beside Darius and Mel on stage ( both Machin Screw members) were M.C. SLAG, guitarist George & Mojo (who looked like he was having as good a time as I do at their shows, and last but not least, Little Freddie Woodworth made through an entire MIB set. Freddie not only hails from Machine Screw, but from bands like Legionaires Disease, Wayward Youth and Samba Rio. Freddie also jumped up on stage near the end to sing the chorus of "Dead Neighbors", which he wrote back in the day.
Well near the end of the show, during the Hogshead Cheese sing a long, even if you don't know the words, the stage got mighty crowded with everyone in the spirit and shouting whatever they liked into the choatic mikes. The boundery between artist and audience had finally been smashed, at by MIB at least. A few people came up tome during this last few shows and confided in me that men in black, "play the kind of music that the indusrty has totally forgotten how to create." Well, that's the idea isn't it ? Sad to say that these were the last shows for a while for this , the V'th encarnation of Men in Black and I agree with some opinions that is was the best.
Not to worry friends and neighbors, this band learned a long time ago to "never say never". Men in Black have been buried before, only to rise like the Phoenix from the ashes. Mainly, THANKX to everyone for their support through the years. There may be some new stuff released this fall from MIB V, watch out. A quick note about Men in Black Members. Until a functioning version of MIB VI arrives, all current members will be considered as the current members of men in black. A bit redundant, i know.
Let me finish while I can, "it's not forever, it's just for right now." Also, like I said in 1980, "Old Punk Rockers never die...They just go Rock A Billie."
DUVAL
d-MONEY presents "THE PLAYER'S BALL, 2000", Sept.21, 2000, State Palace Theater, ICE Tee, TOO SHORT, SLICK RICK, Busty DJ's from LA, invite only
Review by D.Groove
This was D-Money's semi-annual big budget event for high rollers in the Adult Entertainment Biz, and with the IA2000 convention being in New Orleans this Sept., The Old State Palace got the call for the party. This whole thing was kind of a Rave for adults, really weird. Besides a few Free Bass types hanging with D-Money, helping throw the party, I think I was the only rep at this, what may turn out to be the Last Great Party 2 The State Palace. Everyone was dressed as a pimp or a 'HO, and the crowd was made up of players from all over the states, Japan and Europe. Most not knowing how to behave in these environs looked to me for their que. Too Short's DJ gave me a bag of glow stick to hand out and I went around showing these newbies how to dance with them as well. All was kind of amateurish at best, but everyone had a great time.
Ice Tee was a no-show, figures, but the rest of the talent did their best. The Bucsty DJ's from L.A. both opened and closed the party. DJ Leon started out with smooth house, mixed with wicked Jungle, very fine. I had to soend half his set explaining to straights from Balitmore the theories of Techno. He was followed by 2 Hip-Hop African DJ's who got everyone in the building in the mood to Party. As D-Money finished hab=nding out his "Pimp of Da Year" awards, Too Short strolled out to kick our ass. His ultra nasty, simple rap forced the Busty Amateur contest to occur during his set. He whipped his ryhmes about sex with ugly girls, models, etc. while grabbing his member inside his pants and shaking it at the audience. The stage was filled with over 40 amateur babes and black guys, dancing, grinding away, exposing themselves and doing all sorts of nasty things. Too Short was too much.
Slick Rick then took the stage and compared to Too Short was totally boring. It was late and this sent me to the exit with fond memories of not just this night, but every other fine party night we've enjoyed there. Frieds from the convention told me that the Busty DJ's rocked the place till 7 a.m. and that all loved the party, not to mention, loved our fair city.
MEN IN BLACK, The MacGillicuddys, 07-01-2000, Casey's Place, 18th & Hessmer, Metairie, LA, 10.00 p.m., $ 5, CD Release Party
FAN MAIL concerning Men in Black's 07/01 gig, CD Party and the state of PUNK Rock, then & Now. by Stich
Thanks for getting back. Preciate' the info. I'll try to drag myself out of toilet Hammond and cross the pond over to Metaire for the Cd shin-dig. Can you do me a favor though? It's not a big one.
Sounds like you guys are as much up to the gills in newbie sonic abortions as I am. I tell ya I've had my fill of Al-turd-a-tive whatever, or as I call it amorfous platypus shit. I can't stands it, can't stands it no more.
Here's the favor I ask. I used to live in Cairo, Egypt where I lived for about a year studying Arabic, Political Science etc. I randomly stumbled on to a website dedicated to getting the word out to generation catatonic swine about an Israeli band calling itself "Useless I.D." These guys don't have the first fucking clue about tunes. I fucked with them about the Intifadah just to get a rise out of them. Called Yitzhak Shamir a butchering cock sucker for blowin' down arab kids holding rocks. Shook these dudes a little. They needed it too they're just takin' the party boat route like most of today's tiny tadpole turds. I like em' they're good brats, but they need an ass whoopin' from the "old school"
I'm giving them a crash course, but I need to call in some real professionals. In other words a plumber to unstop the hopelessly full of shit. If you should decide to take this assignment, here's their site address: www.mp3.com/uselessid
Make them hep to your site too. These guys are seriously lame toe fuckers. I mean give me a fucking break. I've already had to suffer the latter day dung heap of Green Day and Bunko Shit 183! Cut the shit already! These brats need to tighten up!
Music doesn't necessarily have to be all that politically or socially revalent, but it sure doesn't need to be stuck in permanent pussyhood either. Thanks, I think you'll be doing the world a favor. Tell them Stich sent you if you want to. Ishay is the bands top banana, or as he'd have it top felafel.
I hope you CAN convert a contingent of the Al-turd-a-tive detergent generation to pay notice to you and other bands. I like the Big Boys mucho myself and miss Joe Star's Omni, the Island, and other long perished joints like that were in the big Houston Tejas when there really was an underground scene.
Generation Emergent Detergent likes it's tunes cleaned, bleached, and pressed real neat. Well, this shit just needs to be hung out to dry, or else fuck off and die if you'll pardon the pun. It comes right to us from the auto-spade & neutering tune mill. Take care, make trouble and I'll see ya.
STICH
New Orleans Punk Heritage Festival, THE NORMALS, ORANGE EYE, THE RUBBERMAIDS, & THE MacGillicuddys, 04-22-2000, Howlin'Wolf, Review by D. Groove
For a little while on this spring Saturday night, The Howlin' Wolf was transformed into Jed's, as the surviving original punks of New Orleans took a stroll down memory lane. The Normals were the only old band to play, backed up by 3 more recent New Orleans' "punk" outfits. Among those in the audience this night were, Steve ( Airline61 Records), Tommy Lee(ex-manager of the Normals & Red Rockers), Larry the Punk ( Vinyl Solution Records, 30 Second Flash), Rockin' Rick Connick ( Totally Cold, Wayward Youth, Men in Black), Emily, fresh from the Soprano's set, Fish, Freddie Woodworth ( Wayward Youth, Legionnaire's' Disease, Samba Rio), Kevin Woodworth (Samba Rio), Darius Kalil ( Samba Rio, Men in Black, Wayward Youth, 30 Second Flash, Probes, etc�), Duval (Men in Black, the Pods, & Samba Rio), tattoo artist Henri & his Goth ladies, David Normal's Mum and the original bass player from the Red Rockers, plus the drummer from the Rat Finks ( did I forget anyone?). Next time they throw a punk heritage festival, maybe we can get some of these folks on stage, instead of just in the audience.
The low turnout is one of the things that made the Wolf seem so much like a "normal" Saturday night at Jed's in 1979. What the opening acts lacked in traditional punk expression, The Normals more than made up for. They started off slow, just kind of getting through the play list, but were really saving everyone's favorite songs for the last half. They did all their releases, plus their standard covers we associate with the band, i.e. "Henry the VIIIth", "Secret Agent Man", "New Rose", and of course closing with " Surfin' Bird". They made more mistakes in one set than I've seen them make in 22 years, but I guess they're human too. Not to worry, this is punk rock, not classical music and the mistakes just added to the night's fun. The mix was terrible (no one seemed to care except myself and Tommy Lee) and we agreed that Charlie used to mix them better from on stage that this guy did out front. Anyway, a great show, good old friends, pogo dancing and cool connects made this the best Normals reunion show I've been to.
NEGATIVLAND, 05-14-2000, Howlin' Wolf, New Orleans
Review by D.Groove
The East Bay phenom, cyber-punk, electronic, head fuck, noise, revolutionary ensemble known as Negativland has launched a 15 city campaign throughout North America. From what I hear, the band has only performed a known 24 times in 20 years, but sport 18 CD's, 2 films and a book in their huge catalog. For both devotees and Nega-curious, all felt lucky enough to be there and lucky that New Orleans was a stop on this "True or False" tour. Negativland hadn't played in seven years and have no new project to push, beside this 2 � hour special, multi-media performance.
Now their web site stated that they would be doing some old favorites, but this was hardly the case; not that I'm complaining about hearing their unreleased new material for the first time. There was no "car bomb", no U2(aside from a poka version of "I still haven't found what I'm looking for"), no "Time Zones", nothing from "Helter Stupid", no "Christianity is Stupid", no Cassie Cassum(although his image was montaged in throughout the slide show), and no "Guns". There was however, a first time live appearance by Pastor Dick, who delivered a scathing attack against organized Christianity, along with his Manger Babies parody from "King of the Hill" and a very funny video story of his on the number 180 and the letter G, an obvious variation on their use of the letter U and number 2 legal stance. They also performed several cuts off their "DESIPEPSI" CD, taking digs at McDonalds along with the cola wars. The rest of the set was a marathon, sight n'sound bombardment of controlled racket, five 16mm projectors, numerous slide projectors, tape loops, film loops, turntable scratching, treated drum machines, samplers and synths. Exercising their "Fair Use" option of the U.S. copyright law, they ripped into "the Sound of Music", "Titantic" and Henry Mancini. This was all done with their tell tale sense of razor shape humor, in the tradition of Zappa and The Residents. Asking the musical question, " What is true in this culture of too much information?" The answer being "THERE IS NO ESCAPE FROM THE NOISE !!!!!"
NEGATIVLAND.COM
Katia Morales & SAMBAGURU, Patrice Fisher and ARPA, 04/16/2000, French Quarter Festival, Review by D.Groove
On this beautiful Sunday afternoon, sunny, outside at the Whiney stage on Royal Street, by the old courthouse where Garrison put the U.S. Gov't on trial for conspiring to kill President Kennedy, the gathered fans of jazz and Brazilian music were treated to a little bit of both. Patrice Fisher's band opened up, but yielded the stage to allow Sambaguru( in town only for the day) to play a set at this year's French Quater Fest. Patrice's beautiful rosewood harp looked as good as her band sounded. Fran Commisly (Woodenhead) sat in, as well as other well known jazz locals. Today they played a fushion of jazz, latin and irish tunes; music to the ears of the crowd in the street. I hadn't seen them perform in years and they wre all as good as ever.
Then we were all blessed with a 10 song show by the incredible Katia Morales and Sambaguru, direct from Brazil, via California, a total collaroration of the different world beat formats, not just the Brazilian schools of play, they jumped to different genres with each song; from Brazilian jazz, Samba, Pagode, Afrikan( camaroon/south africa/juju/ghanna beat), to covering the styles of northern Brazil's bands like Timilata and O Le Dun. Topping it off was Morales energetic dancing, crowd interaction, and a god like way of spitiing out these Portugeese lyrics from the soul as fast as you could pay attention. World Beat, that's an understatment, the band members come from all over: India, Sri Lanka, Brazil, California and even our own 9th Ward. Several members are regulars with Sergio Mendes, which is why we came to the show, but couldn't help but get blown away by everyone's talent and performances.
PRIMUS / BUCKETHEAD, State Palace Theater, 11/22/99
by Ricky Rockett
Well, no better opening act for a wigged out, back woods psycho rock, jazz, funk band like Primus, than the equally semi-pschiso, wild man guitarist, Buckethead. Him, being late of Praxis fame hasn't left his trademark sound or songs of Praxis far behind. Now he performs the tunes ala the one man band routine, playing all the Praxis faves on tape, allowing the visually challenging Buckethead to dance wildly and literally tear up his custom chopped and modified Flying V guitar. Clad in a KFC bucket for a hat (hence his namesake), an afro type mask which hides all facial features and emotions, colorful garb and long flowing hair, displayed his talent for techno dancing , as well as his guitar tricks to the delight of all there early enough to catch his act.
Now the headliners, Primus are no slouches at all. Another flawless set delivered, bass slappin', poly ryhthmic poundings, polyphonic melodies, pronouced bizarre lyrics, jux-oppossed between Claypool's voice and bass fingerings. Oh Les is still playing them old Fender Precession basses, rather than the new school more funky sounding basses he used in the early 90's, and I think he's becoming more of a traditionalist trapped inside an inovator's body ( or at least in his opinion ). The band played almost all new material ( the price of success I guess ), and leaving out any of the radio favorites from the old stuff they did. Climaxing Primus's set was a re-emergence of that wild man Buckethead. Seemed like for a while than Claypool had finally met his match in a guitar player that could not only keep up with him, but maybe even out do him in the creative realm, but not to worry. Who's show is this anyway ? Primus and Buckethead teamed up and synched up for an all out musical blowout to end the evening.
You gotta admire a band who refused to buy their domain name from fans who had scooped them on it. Their offical primus site may be found at Primus Sucks.Com
THE COLD / 1966, 11/26 & 11/27/99, Howlin' Wolf
by D. Groove
I don't know. I didn't see it ( shades of Bill Murray's Oscar Previews ). Be it 1981 or 1999, I'm still not going to pay American Cash, much less $ 20, to see the COLD. So once again, if I'm not on the list, I can't very well review your band. Be thankful that I even mentioned this non-event on our new event page.
Talking to those who did attend (you know who you are !), it was a what?, 16 year wait for the SOS. More slick, polished pop songs, perfect then for mindless little rich girls, even more perfect now for mindless, yuppie old ladies(like I should talk, hehe). The same old thing that took over New Orleans' original Punk scene, replacing it with a bigger Prep scene, thus bringing the premature death of the whole scene.
I have seen 1966 before and no better mid-60's, British Invasion cover band exist below the Mason-Dixon Line. So if you're a closet Mod and are sick of being ignored, check out 1966 for a quick fix of "that Mersey Beat" and more.
BAYOU CLASSIC JAM, the ENTIRE CASH MONEY CREW, 11/27/99, State Palace Theater
by D.F.W.
I don't know what went wrong. When we finally got to the gig, it was a big mob scene at the ticket window. Serveral fights broke out, which quickly turned into a mini-riot. The New Orleans Police showed up in an instant and in full force, restoring order in a hurry. Their next move was to suspend ticket sales and annouce that anyone on the street for the next 30 minutes without a ticket would be arrested. That sent this underaged reporter to the bus stop for an early ride home.
Too bad, that was a lot of talent under one roof for a $ 7 cover charge. No wonder half the city's population tried to muscle it's way in.
MYSTIKAL, MS.TEE, PNC, & others, July 22, 2000, State Palace Theater, FB Society & South Coast Music Group Production, $ 30
Review by D.Groove, Photo by Brandy
Well Free Bass went out on a limb promoting a concert / rave with a 100% South Coast, New Orleans project, rap line up. The gamble didn't pay off, judging from the low turn out, estimated 350 paid attendees. I guess the ravers were afraid of the blacks, and the blacks weren't going to support what they saw as a white event ( "can't we all just get along?" ). The ravers outnumbered the blacks around 5 to 1 and there was no trouble, not like some Free Bass shows.
The opening acts didn't really go over. Was interesting see pure Hip-Hop DJ's spin to a pure Techno crowd, it's a little different. Drama Squad and Ms. Tee didn't go over that great either, but a big E for effort there. She vasilated between 2 common R&B themes. That her man done left and done her wrong, and that she's a strong Black woman, who doesn't need a man. Been done this road before and of course heard said better by the likes of Billie, Ella, Nina, Janis, Etta, Joan, and the greatest, Aretha. Highlight of the first few sets were the amateur poppin' contest on stage. Shades of 2 Live Crew & Bourbon St. @ Mardi Gras as underaged cuties showed more than I can talk about here. I know all these girls and no names will be mentioned, your secret is safe, Whew !!
Then without warning came Partners N' Crime. "Who's from the West Bank? Who's from the Calliope?", they shouted to the crowd. Should asked who's from Bucktown and Chalmette. Anyway, right off they kicked the music up to a new level. More complicated breaks, 3 part orchestrated raps, meaningful lyrics and heavy on the hook. They slayed the kids for about 1/2 hour until out of a cloud of smoke (fitting), Mystikal transported himself and his fast talking voice to the front of the stage. PNC stayed on stage with him, supplying more than adequate back up to his really up tempo rap. His voice is so huge that I was surprised at how small he was. He hadn't played New Orleans in over five years and must've practiced with PNC a few months to pull of this excellent, if short set.
Two of the three advertised DJ's didn't play the after party in the Jungle Room, due to the low turn out. This forced an early end to the party, leaving around 40 kids on Canal St. @ 4 a.m., waiting for their rides. Around 4:30 a stretch limo pulls up. I walk up to the back window, assuming it was my ride. The window rolls down to reveal Mystikal and PNC. The kids crowded around the window for high fives and a big shotgun from Mystikal himself. I smell smoke?
Freak Fest 2000, 05-27-2000, State Palace Theater, Free Bass Society,
Review by D.Groove
FREAK FEST 2000 PICS click here
Talk about a bad moon rising. Despite having boux coups, international talent on the bill, party goers showing up from all over the country, a negative veil hung heavy over the State Palace Theater this hot summer night. The violence and threats of violence started before we even got in da' joint. The now beefed up and buffed up, over aggressive Free Bass security squad had their hands full right away with a run away, bull elephant of a man, weighing nearly 350 lbs., in an out of control, violent rampage ( shades of PCP ). They escorted him into the ticket booth metal door with extreme prejudice to say the least, then released him. He then stampeded into a crowd of red rag wearing gang members on the sidewalk, shouting racial slurs all the way down to the hard, New Orleans banquette, which took the assaulted members a fraction of a second to slam his face into ( along with assorted kicks, punches, blows to the head and their own insults). This prompted the Free Bass squad back into action, restraining the beast while awaiting N.O.P.D.'s services.
Lil' Greg from Trip Hop came running up to me, all excited, " Man, did you see that?"
"Yeah, I saw it, but that's not my idea of entertainment. What's on the stage is entertainment," was my reply.
Ok, it wasn't all negative. Besides the violence, heat exhaustion, rumors of a death ( unconfirmed ), OD's and arrest, there was plenty good times to be had by many. I met many first timers to Free Bass parties from places like Kansas, Northern Mississippi, Alabama, Memphis, and Florida, all of whom had a wonderful time. OK, one more negative thing, then on with the review. What was available that night ranged from "fire" to "fake" to "wack", and it was a good thing the wack went to vets that could handle it, rather than to the many first timers there that night.
The only act I got to really observe on the main stage was Cirrus from California. They are a two man tag team that bounce around their stage full of toys, creating a funky, kind of "Gang of Four", jungle-house, Miles Davis groove. They jumped between 2 turntables, drum machines, samplers, finger poppin', slappin' funky Fender Jazz Bass (ala Bootsy), wah-wah propelled Stratocaster (like Shaft, well I can dig it) and a full trap set, treated of course. I've never seen a drummer hold a techno's audience attention like this drummer did during his groovy 10 minute solo, very hot !
My next stop on my tension filled odyssey was the Red Room, usually my favorite room. There I caught a long performance piece by Louisiana's own techno ensemble known as Teen Squab. Made up of two guys and a girl in black uniforms with red aprons, a girl photographer, they played a kind of pedestrian, pop brand of house. Armed with two laptops, three turntables, a Quisinart (food processor), and a table full of food, condiments, Easter egg grass and plastic Easter eggs. The food processing and distribution by means of hurling it at the audience, proved to be as much of their art as the music (all pretty tame compared to acts like Gwar, Machine Screw or The Impotent Sea Snakes, where wearing disposable clothes is mandatory). The audience was invited to participate in all this, I myself unwrapped some processed cheese during the set and made a hungry Raver a sandwich. The whole set had a calming effect on me on this not so calm night. Learn more about this group at their web site, http://www.chromsome57.com .
I killed an hour by running around the building, arriving just in time in the Jungle Room for Dara's set. I got comfortable against the wall, awaited the onslaught and assisted the B-Boys with their valuables. Right off the bat, 40 seconds into his first song, Dara threw the turntable out of gear, killing the beat and employing his backward scratching Technique, then proceeded to slay his fans for the rest of his non-stop, hour and a half barrage. Most of it seemed like new material (as usual with Dara live) and all was very "Daraesique". I don't think anyone was disappointed by his set. I know I wasn't.
Alright, so I only caught part of Ak1200's set and totally messed Terra Firma (who I'd really come there to see on DJ Delux's advice) and for this I apologize for not covering them. In conclusion, the whole course of events were pretty hardcore. Dredging up memories of what the old Acid Test must have been like. This of course takes it's toll on both the body and soul. Would I do it again ? You bettcha' !!
Review by D. Groove
Greetings and salutations to all. This is the all mighty, the all powerful D. Groove reporting on the Free Bass Society's latest big budget party at The State Palace Theater, celebrating the Chinese New Year, complete with Chinese lanterns and oriental decorations. Now some older musicians like myself (as in older I mean over 18) have expressed to me that Techno, i.e. created music from a DJ with turntables and a bag of tricks does not constitute music. Well, "Hello?", when you have thousands of kids willing to pay $ 30 a pop on any giving night to dance to this,
not to mention have a great time as well, plus the millions generated in CD sales and the related fashion sales that accompany the genre, any thinking man would have to conclude that this whole scene validates itself simply by being. " It grooves, therefore it is!"
Well, the sub freezing temperatures keep the attendance down slightly, We incorrectly reported that the roof stage had been cancelled (thanks for the update J-Groove), but still allowed for easier access to the main floor. The featured attraction that more than half the people came there to see and groove to was the intense master of House, DJ Richard " Humpty" Vission. It had been almost a year since his last New Orleans show and this skilled spinner disappointed no one. Humpty employed a variety of samples throughout his set, the Average White Band, Miles, Monk, and his now trademark use ( yeah, I know) of Martin Luther King's "I Have a Dream" speech, but didn't close with it as usual.
Instead mixed King's speech in with his cacophony of house rhythms, while doing all of his "hit jams" that these kids came to see. Entertaining and creative, Humpty's unique mixes had all on their feet and screaming throughout his hour long set.
My next stop on this long night of music was the Red Room, home to non-stop "drum & bass". Now I know that "Jungle" is all the craze these days and that all the B-Boys displayed their best shit in the jungle room all night, but for this reviewer, drum & bass is the closest thing to rock in the whole Techno field. You can actually play air guitar to it. The next 3 hours of my life were gleefully taken up by the whole crew from 32nd Degree Pruductions (thanks to MC Alias and Melle Mel for their updates, keep it coming). Their DJ's and MC's ripped through song after song of Hip-Hop, drum & bass movements, beat killing cadences, gut wrenching low frequencies, backwards scratching on the turntables ( ala DJ Dara), all mixed to familiar and classic Hip-Hop and Rap standards. The whole marathon set was engaging and had many happily dancing the night away to this crew's funky variations.
In closing I'd like to add that this was one the best times I've had at a Free Bass Society party. License plates from all over the South surrounded the theater, a wide variety of outfits were displayed by the party goers, there were plenty familar, smiling faces and the place was still packed when the show ended at 7 a.m.. And to the best of my knowledge, there were no fights, no arrests, no incidents and no OD's. One couldn't ask for a better night of pure FUN !!
A VERY DISCO PORNO CHRISTMAS, 12/04/99, State Palace Theater,
Review by Duval
(DFW) & Amy.
A very long, talent filled, over crowded, over sold show, but overall a good time had by most that attended.
The vast majority of the throngs of folks there were Candy Ravers at best, at worse, young, naive suburbanites who had no idea what to expect or any concept of Rave Etiquette.
Not that this was these poor kids' fault, owing to the fact that The Free Base Society has now turned to mass marketing their parties via Radio Ads, etc.
Instead of trying to attract the right type of audience, is now opting to attract any and all to it's shows. Rumour has it that the ZOOLU 2000 shows this Mardi Gras will be the Swan Song for Free Base, thus explaining the recent grab for the masses ( and their dollars).
This all nighter featured no less than 23 acts on 4 different stages, all going down at the same time. Besides the main hall of the old,
art deco State Palace Theater (which was inaccessible most of the night due to the crowd), the other 3 rooms buried deep in the building's belly
featured the more intimate performances. These other rooms are The Jungle Room, The Red Room and The Drum & Bass Room.
The Bomb got dropped on the main stage early in the night when 'round Midnight, AK 1200 attacked the swelling masses with a
double barrel assault from his twin customized turntables, armed with a suitcase of 12" ammunition and a passion for vinyl and a Drum & Bass Techno barrage.
For most of the party vets at the show, this was the featured act and he left none of the laser coated minions disappointed. AK 1200 hails from Orlando, FL and is approaching the cult status
of L.A.'s DJ Dara in the Drum & Bass world.
Spearheading the local representation at this annual Christmas Party, for the second year in a row, was non other than PNC ( Partners N'Crime ). Direct from the Melpomene Project in New Orleans, this long established Hip-Hop rap group
seemed to bring most of the G's from the project into the Drum & Bass room with them. No problems, on or off stage with this outfit, the band and the audience loosing themselves
in the groove of the music and songs that both celebrate and document their social condition. Incorrectly credited for starting the whole New Orleans Project Rap scene, ( God knows the people that really kicked this scene off
never made it to records or CD's, exist only as legends to today's rappers and more than likely are dead now), they're still one
the oldest established Project Bands that still make their home there. PNC turned in another great set, as usual,... So,
do yourself a favour next time they play, and DON'T MISS 'UM.
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