wish I knew when connection beside me, pinned but somehow, every time I months later sent me a live this article had down by pebbles from the came up against a brick wall tape with ‘ya gotta hear this, started to take shore of some long-forgotten when it came to the real facts Phil!’ scrawled all over it. hold of me. It’s holiday. surrounding the band. One of Colonel Bruce Hampton And like trying to pin the few pieces on the band was The Aquarium Rescue Unit, down the source ‘Half-articles’ because until (interestinglly) penned by recorded live in Charlotte, Iof some dread very recently, not a great deal Peter Holsapple, later of the North Carolina in late 1990, antisocial had been written about the dB’s (etc) in a fanzine called as bizarre a mess of disease, one which pervades Hampton Grease Band. They, ‘Groove Associates’, wherein Beefheartian wailing and your everyday life and ruins and their sole album, seemed he claims that because ‘Music twisted jazz impromptu’s as what were once stable to be one of rock’s best-kept To Eat’ had sold the most you could wish for and relationships. Instead of going secrets. Overlooked by the copies in Winston-Salem in evidence indeed that one of my off for the day with Heather collecting fraternity, forgotten North Carolina, they played a heros of old was indeed alive, and the kids, I sit here - if ever known - by the gig there which Mitch Easter and moreover still doing it. punching the keyboard with underground press and described as ‘a bunch of Immediately going into a the sun pouring through the certainly ignored by the normal looking guys playing frenzy of letter-writing and window and the tortured mainstream, their mayfly-like Ventures songs at twice the attempted research, I was guitar screams of one of existence seemed perfect to normal speed...’. Not much to beaten to the case, thankfully Phillips’ less tortured albums me; they were my secret love, go on, anyway. Until earlier because he made a better job slicing through the warm air an album I could wig-out even this year, that is, when the of it than I could ever manage, around my head. Yesterday, the most knowledgeable threads started pulling by another pal; Chris whilst tea was being taken on colleague with during one of together. My good pal and Stigliano who runs ‘Black to the lawn, I could be found those record-playing sessions colleague Fred Mills Comm’ magazine in huddled under a cooling tree that we all indulge in from discovered their album - Pennsylvania. Like me, a man with my knees drawn up near time to time. I tried a dozen whether it was due to a tip-off who had been blown away all my chin and with a mountain times to start researching and from myself I can’t remember those years ago by ‘Music To of paperwork and half-articles writing something about them and it’s irrelevant anyway, but Eat’ by the Hampton Grease on the Phillips/Hampton (hence all those half-articles) discover it he did and a few Band, he interviewed the hell out of Bruce Hampton and Beefheart and similarly a my father’s wishes. I’d storm hipper college types in the produced a piece on the band passing resemblance to fellow out of the house to play for South as well as the rednecks. in BTC Issue 18 (Spring, regional acts Red Crayola and 50 cents a night at the Stables They became so popular that 1991) which I freely admit to the Elevators. They gained a Bar and Lounge and get home they were the standard having drawn from for this large, devoted following in at three in the morning. My opening act for any big-time article. Chris’ article however Atlanta as a ‘people’s band’ lifestyle confused my father touring acts that hit town, was written from the who played totally out of and we began to fight...’ despite the fact that their standtpoint that Harold control gigs consisting of wild increasingly weird stage act Kelling was the Hampton’s onstage antics, lashings of Now, there’s an apocryphal invariably left their audiences front-line guitarist; for me, freeform jazz and all topped off story about young Glenn in a totally confused state - Glenn Phillips was the one which I’d heard repeated friends of the group would and since Chris hadn’t often (and which is recounted share the stage watching T.V., spoken to Glenn and I felt by Stigliano) that he didn’t marching around the stage as another angle was called for, have any idea about how to if in their own living rooms I set out to track Glenn down tune a guitar when the and oblivious to the music and pen the following piece Hampton Grease Band first around them; popcorn fights on both the Hamptons and formed and that the function would break out during the set, on Glenn’s subsequent solo merely consisted of turning people would sit reading a career. It doesn’t really matter all the pegs so that they lined book, chaos ruled the stage which way you look at it: the up in the same direction. It’s and not always was it Hampton Grease Band a good one and as always has organised. Phillips (this quote sported one of the most some foundation in fact, but doesn’t really sit easily here, distinctive vocalists in rock in just to set the record straight: but I couldn’t write it in the shape of Bruce Hampton anywhere else): and two (yes, two) of the most ‘It’s true, when I first picked exciting guitarists I’ve ever up a guitar I wondered if you ‘When we first started out, we heard in Harold Kelling and tuned it by lining up the pegs used to take our equipment to Glenn Phillips. They are quite with distinctly Beefheartian - but by the time the Grease a park downtown. We’d plug simply a MUST for any weirdness, and went on to Band started I realised that the into a live outlet and play all Terrascope edited by yours record that one double album best way to tune it was actually afternoon while a crowd truly, a band I’ve been trying for Columbia entitled ‘Music to throw it against a wall....’ gathered. Eventually, the to do justice to since I set out to Eat’ which remains totally police put a stop to that, and on the rocky road to oblivion unique, and which is the Bruce Hampton, by the way, we went on to do everything as a self-styled writer and critic lynchpin for this article. But was the son of a fairly rich from small clubs to pop some ten or more years ago. as ever, I’m getting ahead of family (connected in some way festivals. We played shows with myself here. Cut to Glenn to those responsible for Coca Jimi Hendrix, the Grateful All of which is a long and Phillips’ comments about the Cola) of solid miltary stock Dead, Peter Green’s pretty pointless intro to what formation of the band, who rebelled in time-honoured Fleetwood Mac, N.R.B.Q., is actually quite a short piece, starting with an answer to a tradition and at one point the Allman Brothers, one which sits neatly in two question of mine about any actually set out to become a Mahavishnu Orchestra, parts viz the Hampton’s pre-Hampton’s musical professional wrestler; music Procul Harum, Country Jow history and Glenn Phillips’ involvement: was his forte however and he & The Fish and countless subsequent solo career. By way embarked on a career which others.’ of scene-setting, I’d better first ‘No, I’m not on any was to spin off in increasingly put the Hampton Grease recordings prior to the HGB. strange directions. For all that, Nevertheless, the band Band into some sort of I started playing in 1966 at he stoutly refused to embrace weren’t always the raging historical perspective. Hailing the age of 16. In 1967 I the fashions of the day and success I might be intimating from Atlanta in the deep formed the Hampton Grease studiously avoided rock-star by the above. Phillips recalls, South of the USA in around Band with high-school friends status by wearing his hair 1967, their only similarities Bruce Hampton on vocals and close-cropped and wearing ‘We opened a show for Three with the hippy scene of the Harold Kelling on guitar. We nondescript clothes - in itself Dog Night in Alabama and West Coast of that time were didn’t have a bass player or a an act of rebellion, it could be were booed at and pelted with their extended jams, for they drummer, so we asked my argued. This fact, coupled with objects from the audience. I weren’t hippies by a long chalk brother Charlie and close the total strangeness of the ended up asking the audience and indeed had more in friend Mike Rogers to learn band’s music, ensured an even to leave the auditorium until common with the likes of how to play. We began playing wider audience since they were we’d finished our set! The Zappa and (especially) out on school nights against popular at once with the show that stands out even more in my mind though was ‘The band got to know Zappa which is a distinctly when we opened for Alice pretty well. We played on the psychedelic painting by Cooper in New Jersey. At the Mothers’ show at the guitarist Harold Kelling, end of our set, half the Fillmore East that John backed with a woodcut of an audience was booing us and Lennon sat in on and which army tank crafted in turn-of- the other half was yelling out was later released as a live the-century newspaper style. for more. Their cries grew album [‘Live At The Fillmore Inside, the gatefold sports a louder and louder. Suddenly, East’ and Lennon’s collection of odd drawings instead of yelling at the stage, ‘Sometime In New York and photographs of the band, they began to yell at each City’]. Harold, Bruce and their friends and complete other. At this point, a large Charlie also appear on strangers (during the signing portion of the audience was ‘Lumpy Gravy’ - they were in ‘Music to Eat’ has already ceremony to Columbia, standing up and arguing with the studio talking one night, had enough of a build-up in Hampton dragged in passers- each other about the band. It and Frank used their voices on this article to encourage most by off the street to pose with got so bad that the house lights the record’. adventurous readers of this the band for the official had to be turned on and the magazine to search it out I photograph) and even a bad ushers had to break up the It was shortly after this that suspect, but despite its non- review of a Hampton’s gig fighting...’ Charlie Phillips and Mike rare status in collector’s terms from a local newspaper. As far- Rogers left the group, to be - it can be picked up, if at all, out as it is, it’s inside the sleeve The festivals mentioned above replaced by Mike Holbrook for around the price of any on the records themselves included a successful (bass) and Jerry Fields still-on-catalogue double where the fireworks really start appearance at the Atlanta Pop respectively - the latter being album - it’s extremely difficult to happen, kicking off with the Festival where they caught the not only an accomplished to find since it just happened twenty-minute ‘Halifax’, a attention of Duane Allman percussionist, but the first to be Columbia’s second-worst travelogue inviting the listener who in turn brought tapes of ‘northerner’ to join the band. selling album of all time and to go there sometime. The the band to the attention of They went through several has, to my knowledge, never song quickly breaks into a Columbia Records, but again drummers over the years - the been repressed either legally or completely free-form rave up I’m getting ahead of myself band lasted from ’67 to ’73 all otherwise; consequently with Harold Kelling’s here. Back to 1967, and a trip told, with Phillips and almost all copies are now in the devastating lead-breaks hitting the band made to New York. Hampton being the only two hands of people who, like you from the left channel and Somehow they ended up consistent members - but it myself, wouldn’t part with it Phillips weaving an involved meeting Frank Zappa, who at was this line-up of Hampton, at almost any cost (try me - tapestry of tight cross-stitches the time was sharing a 6- Phillips, Kelling, Fields and all four-figure bids will be on the right. Near the end, the month bill at the Garrick Holbrook which recorded considered). All of which leads whole thing reaches a climax Theater with the Fugs. ‘Music To Eat’, released on me to introduce it a little more of sorts before Hampton says Phillips: Columbia in early 1971. lengthily than I might usually ‘let’s do it again, I don’t trust do, starting with the cover this tape recorder’ and the whole song starts Phillips had been tantalisingly over. Flip the working on to Warner record over and you get a Brothers, who expressed short erotic number called an interest in releasing ‘Maria’ about the first sexual it. ‘Unfortunately’ says experience of a thirteen year Phillips, ‘Herb wouldn’t old named Sanchez release me from my Rodriguez, followed by contract with him, and another extended piece called Warner’s wouldn’t deal ‘Six’ which consists of a series with him because they of songs and melodies shot were suing each other at through with some incredible the time’. guitar work, akin to some of the Mothers’ more Before moving on to experimental pieces. Phillips the second part of this recalls that the album was piece, dealing with originally meant to be a single Harold Kelling Phillips’ subsequent solo LP and not a double: is a three-minute interlude of player, and the band continued career, a word about the country-rock madness and the to play live; I knew little of this current whereabouts of the ‘The album was recorded live lengthy ‘Hendon’ is another period of their career until a remaining Hampton Grease for the most part, and was suite, even more disturbed and few years ago, when a tape Band-ers. Bruce Hampton done on two separate disturbing than the first and turned up of the Hampton himself (and here’s where I occasions. Originally, we only one which kicks off with Grease Band live at Atlanta’s owe the debt to Stigliano, I recorded a single album Hampton reading the Sports Arena (recorded for a hadn’t the remotest idea about (‘Halifax’, ‘Evans’ and directions from a tin of spray radio show) which shows just all this stuff until I read it in ‘Hendon’) but when Columbia paint before launching into what a transformation they his piece) formed the Russian heard it, they didn’t know what free-form jazz territory. had undergone - sounding far Butt Broil immediately after to do with it. The shortest Phillips: more professional, they had HGB, a band which consisted song was about 18 minutes. strayed dangerously into jazz/ of him on guitar and vocals In hopes of getting something ‘For the most part, Harold rock fusion territory and aside plus three drummers. They more suitable (shorter) for the or I wrote the music, and then from the distinctive Hampton played one gig in Atlanta, radio, they simply asked us to we’d work with Bruce on the vocals, they could be a opening for Fleetwood Mac record another album with the lyrics - of which he rarely had different band in a different and Pink Floyd - Hampton idea that they’d release them any. That’s how we ended up era. Which, to all incense and reportedly played his guitar both as a double. We went back with songs like ‘Halifax’ (with porpoises, they probably were through either 14 or 18 amps into the studio and recorded Bruce reading straight from an and it’s a salutary lesson to me whilst rolling around on the ‘Maria’ (the first song I ever encyclopedia) and ‘Spray to let the past well alone and floor. He then formed the wrote), ‘Six’ (which I’ve always Paint’ (with lyrics lifted off the not expect the kinds of sounds Early Ice Age and the Late felt was Harold Kellings’ best side of a can of paint). We that appear on ‘Music to Eat’ Bronze Age (two jazzy albums recorded work), ‘Lawton’, and started out as a kind of weird to ever be heard again. The on Landslide Records), did a ‘Hey Old Lady’.’ blues band, and it kind of band struggled on until May solo album called ‘Life Of A evolved into this stuff which 1973, when they self- Bronze Tourist’ in 1977 and Of the songs I haven’t Harold and I were writing and destructed for once and for all. as I said earlier, is currently mentioned already, ‘Evans’ which Hampton was throwing There was to have been a gigging with his band The consists of two lengthy parts stuff on top of.’ second album, on Zappa’s Aquarium Rescue Unit. Mike according to the band (I make Bizarre label (they were signed Greene (who replaced Kelling it five discernably different The album was to be the with Zappa’s manager, Herb for a few months at the very pieces, but what the hell?) Hampton Grease Band’s Cohen at the time), but it was end) formed a new band after which ranges from dreamy, memorial and epitaph, for never even recorded let alone the split who released two ethereal instrumental guitar cripplingly Harold Kelling left released. albums, one on an indie label parts to distorted fuzz frenzy the band shortly after it was and one on Mercury - the not that far removed from the recorded. It was a blow which After the band broke up, latter also features Mike Deviants’ ‘Deviation Street’. they never recovered from. He Glenn Phillips sat in for a Holbrook. Greene is now The Theramin-fuelled was replaced by Mike Greene, while with Little Feat. Lowell president of the N.A.R.A.S. ‘Lawton’ is a demonic avant- who was a woodwind player/ George took a tape of some (the organisation responsible garde twin-guitar workout; keyboardist and not a guitar solo-instrumental stuff that for dishing out Grammys). ‘Hey Old Lady & Bert’s Song’ Charlie Phillips went on to become a music lawyer; come to in a minute, is also To Eat’ by the Hampton started with a quote from Harold Kelling (‘as brilliant a involved in a band called The Grease Band. The intention Glenn Phillips about how guitarist now as ever’ Supreme Court with Jeff this time is to continue from young Glenn would be out according to Phillips) released Calder from the Swimming where I left off by making playing with the Hampton a solo 45 on Hib Tone Records Pool Q’s (Phillips formerly some sense of the slew of solo Grease Band on school nights (‘Jezebal’/’Harlem Nocturne’), worked with Calder on some albums released by Hamptons against his father’s wishes. had a band called IV of IX for material for the Q’s, but they guitarist Glenn Phillips from They fought, and when on the a while and is currently playing came up with so much 1974 to date - albums which day of Glenn’s 18th birthday with two groups, Creatures del material that they began all bear the trademark Phillips a baby was born to his then- Mar and Masters of the Edge. playing out on their own.) guitar work, fretful, incisive girlfriend and immediately put Neither group has released any They’ve recently recorded an and melancholy whilst at the up for adoption, the recordings to date. Mike album, which is slated for same time bulging the cones estrangement was completed Holbrook, as mentioned release ‘soon’. Phillips has also of your speakers in sheer and Glenn left the house never above, worked with Greene worked with the ubiquitous surprise at the speed and to return. and has appeared on Glenn Henry Kaiser, most notably on ability of it all. Many of the Phillips’ solo albums - remakes of the Dead’s ‘Dark quotes used herein are to be The reason for using that tale including one Phillips is Star’ and Hendrix’s ‘If Six duplicated in the sleevenotes as an introduction to Glenn working on at the moment. Was Nine’ for the Imaginary for a (at the time of writing) Phillips’ post-Hampton Jerry Fields likewise, although Records tribute album of that forthcoming double CD Grease Band solo career is shortly after the Grease Band name. compilation of Phillips’ solo twofold. For a start, it appears broke up he changed his name work, rather as Dave Stewart epigrammatically on the rear- to Gurivir Singh (and as Sant PART 2 - THE SOLO did for his National Health set sleeve of Phillips’ first solo Ramh Singh on Phillips’ first YEARS after penning the account for album ‘Lost At Sea’ in 1975, solo release. At one point he an earlier Terrascope. and secondly subsequent also became Bubba Freon and Last issue, I self-indulged in a Remember where you read it events acted as an impetus to joined the Late Bronze Age lengthy account of the history first.... push Phillips into recording with Hampton. Glenn surrounding one of my all- again after a two year lay off Phillips, whose solo career I’ll time favourite albums, ‘Music The first part of this piece following the break-up of the Hampton Grease Band. immolating collection of oversee events, but Phillips Phillips started wearing despair-songs that you might refused to allow him entry to kneepads and attacking his ‘After a few years we began expect it to be considering the the studio. guitar with a hammer during speaking again. Gradually, the circumstances surrounding its live performances. Dana distance between us began to recording. ‘Lenore’, billed as ‘I spent the next eight months, Nelson joined the band on fade and it felt good. Well, one ‘music for as girl that makes day and night, trying to chase keyboards, and this line-up day he came over to visit me - me roar like a lion and soar down every sound I’d ever recorded an album entitled I was living then in the same like a bird at the same time’, heard in my head. One night ‘Dark Lights’ (SnowStar house as I do now. He walked seeks to recreate exactly those we had a whistler, a banjo SS3, 1980) which features in and looked around. I was emotions with delicately player and a guy marching some of Phillips’ most bracing myself for some piercing guitar work which around in circles with a unrepentant guitar disapproving remarks about never fails to curl my toes in a bagpipe in the studio’. pyrotechnics since his days how I was wasting my life similar manner to hearing with the Hampton Grease playing guitar and what a fingernails scratched down a The result was ‘Swim In The band. The constrast with dump I lived in when he spoke blackboard. ‘Hubbler’ is Wind’ (Virgin V2087, 1977), ‘Swim In The Wind’ couldn’t up. “You know, you’re one of perhaps the most interesting, an album which sports one of be greater, the shadowy the luckiest people in the a full-frontal guitar assault it’s the blandest sleeves ever textures of the former giving world. You get to do exactly actually a holdover from mulled over - a kind of way to live-in-the-studio what you want to do, you’re Hampton Grease Band days, inverted fried egg effect with a guitar/bass/drums/keyboards good at it and you’re happy. recorded live at one of their white central spot fading to simplicity and rawness which Don’t ever give this up”. I last gigs (the 12th Gate, a jazz yellow at the edges. The music captures the band at their couldn’t believe it.’ club in Atlanta on 15/7/72). was to these ears similarly explosive best. The line-up ‘Guruvir’ was written for Jerry insipid, a pale imitation indeed didn’t last long however, for The next day, on his 50th Fields (of the Hamptons), of the former album although within a few weeks Dana birthday, Glenn Phillips’ after he ‘called and told me he as ever, Phillips’ guitar work Nelson left the group (married father killed himself. Glenn had changed his name and was makes up for any limitations with two children, she simply didn’t even make it to the getting married to a woman he in the songwriting by wasn’t up to the demands of funeral - the void he was falling had never met’. All in all, a continuing to sound rough- constant touring) to be into was complete. His father’s fascinating album of solid rock hewn and abrasive, ready to replaced by one Jay Shirley. last words haunted him riffs and melody which, whilst cut not by simple flashiness Drummer Doug Landsberg though, and after a while a product of its time, stands alone but by a controlled kind was proving increasingly Phillips started to write and up pretty well to this day and of bleeding which in any kind unstable - including one record again, using equipment well deserves the accolades of context (even the moment during the recording scattered through the house afforded it by the Melody resoundingly spaghetti- of a song when he decided to and with no money , no band Maker readers of the period westernesque mournefulness lunge forward and attack the and no existing record (Glenn also related a near- of ‘Druid Hill’) nevertheless rest of the band, forgetting contract to release the results. hysterical story surrounding hits the mark. that he was sat behind his Unusually for those days (it the guitar he used on ‘Lost At drumkit however he was only was late 1974) Phillips pressed Sea’ which I think will be used Virgin, convinced they had a brought back to his senses up and released the album, in the sleevenotes of the bona-fide star on their hands, when the kit crashed to the ‘Lost At Sea’ himself on aforementioned CD flew the Phillips band over to floor in front of him (complete ‘SnowStar Records’. John Peel collection, so I’ll spare you England to tour and prodded with the words ‘hate’ and ‘kill’ picked up on it and aired it on that one for now.) them into moving scrawled onto the heads with BBC radio here in England permanently to London. ‘I black felt-tipped pen) and orders started to flood in Virgin Records, not figured we could carry on just whereupon he pulled the to Phillips’ house. ‘Melody surprisingly, wanted a follow- as well with their American drums back together and Maker’ ran a readers’ poll in up album recorded and asked office’ recalls Phillips, ‘and carried on playing as if nothing which the ever-amazing Phillips to travel to England besides, I wanted to get back had happened. Drummers - British public voted ‘Lost At to record with a select bunch to my girlfriend Lenore as did who’d have ‘em? Sea’ into second place; Virgin of studio musicians (history Bill to his wife, Janie. Shortly Records picked up on the buzz, sadly doesn’t relate who they after we returned, Janie and ‘Although this sort of flew Phillips to England and were). Phillips refused, Lenore moved out the same behaviour bothered Bill and I, offered to release the album in preferring to stay in Atlanta day, Virgin’s American office we both loved Doug’s Europe. and record with buddies Bill folded, and we were dropped drumming and over the years Rea (bass) and Doug from the label.’ had become used to him. Jay, ‘Lost At Sea’ (Virgin Landsberg (drums) - Virgin on the other hand, was new to C1519, 1975) isn’t the self- even sent over an emissary to It was around this time that all this and one night he finally cracked. While loading our on the local Shanachie label I recording ‘Lost At Sea’. Both the return of THE HAMP- equipment after a gig one believe). After these two Doug and Paul had left by this TON GREASE BAND night, he took a speaker albums were released, Doug time, drummer John Boissiere cabinet and threw it at Doug. continued playing with us for joining and making an Just as you thought it was safe Next thing we knew, he had a short while but I knew his important difference to the to dive back into the Doug pinned to the floor in departure was inevitable. I band’s overall sound; never Terrascope, the Hampton the middle of the club and was wanted this era of the band to intrusive, he is nevertheless an Grease Band raise their ugly choking him...’ end with something stronger intuitive player who has (for heads again. To be honest, than those two albums, so we me at least) helped Glenn there never was going to be a Jay left the band soon after, to started work on what was to Phillips to achieve the aim he Hampton Grease Band arti- be replaced by Paul Michael become ‘Elevator’. After that set out with when he started cle part 3. I figured that one Provost - a man who added a came out, Doug left the band.’ putting a band together, to short piece detailing the back- whole new sphere of energy to combine the emotional ground to the ‘Music To Eat’ the band. ‘Razor Pocket’ ‘Elevator’, Phillips’ most intensity of ‘Lost At Sea’ with album and another one follow- (SnowStar SS4, 1982) was critically acclaimed album the musical depth of ‘Swim In ing the subsequent career of recorded in Atlanta and sold since ‘Lost At Sea’, came out The Wind’. Live, the current that band’s most prolific son, from home once again, and for on SST Records (SST 136, band are a different prospect - Glenn Phillips, would be me it’s this album which works also SnowStar SS7) in 1987. Bill Rea is suffering the results enough. I’d have done my better than anything released Still based on the band’s ‘live’ of a car accident which part, I’d have finally got it all by the Glenn Phillips band sound, the production (by damaged his wrist meaning he out of my system and perhaps since ‘Lost At Sea’. ‘Guitar Phillips as ever) sounds more can rarely play live any more; at the same time repaid the Intro’ is a two-minute guitar rounded somehow, as if the in a full-circle turn, he has band in some small way for all masterpiece of controlled very expectation that the shift been replaced by former the pleasure their sole album feedback and slashed notes; to a ‘major’ indie label like Hampton Grease Band has brought me down the Side Two’s ‘The Way I feel’ SST might make a difference member Mike Holbrook, and years. I didn’t count on two and ‘Fallen Angels’ burst out to the sound had somehow one Bob Andre has been things though: first, the enor- at you with sheer energy and been realised. Provost’s ‘Vista brought in on drums in place mous amount of interest there the bluesy ‘The Lonely Night’ Cruiser’ on Side 2 (inspired, of John Boissiere (again for still is out there in the Hamp- seems to have all of Phillips’ it’s said, by the film ‘Road live shows). ton Grease Band and all its best licks rolled into one Warrior’) shows what an spin-offs, and secondly that melancholic whole. The band integral part of the band Glenn Phillips is a their long lost ‘other’ guitar- seemed to have found a settled Provost had become, or at the fascinating guitarist, one ist, the truly remarkable line-up which was producing very least what an who’d probably be described as Harold Kelling, would get in and recording music which understanding he had of the ‘a musician’s musician’ if he touch with us as a result of the would appeal to a wider style which would best suit were talked about at all in the original article. This then is audience than the cult, mostly Phillips’ guitar. I can live press. He has a light-hearted another short article, dedi- overseas, following they had without the fretless bass sound and yet never light-handed cated to Harold Kelling and earned to date; but as ever, it at the best of times, and it approach to his music, and an telling his side of the was to be short-lived. intrudes into this album on emotional depth which can Hamptons story as well as almost every track which is sometimes work against him; picking up on some of the in- ‘We continued our constant possibly why I never could get there’s invariably a track on teresting directions his music touring, at one point driving into it; again though, it’s the his albums which make you has subsequently taken. non-stop for 52 hours from guitar work which saves the wince in mock sincerity, but Atlanta to California to play day and it’s an argument the fact that he can scar your Harold Kelling’s guitar style some shows and then driving which doesn’t hold water when backbone with clusters of is harsher, more up-front and straight back, slowing down considering the follow-up shooting stars from his guitar in some ways tighter than only when we were hit by an album, ‘Scratched By The endears you - or me anyway - Glenn Phillips’. Indeed, it’s earthquake. When we got Rabbit’ (SnowStar SS8, also to his entire recorded output. easy to see in retrospect why back, Doug announced he was released by Demon Records in the loss of Kelling changed the quitting the band. I decided to the UK as Fiend 180 and in Hampton Grease Band so get as much down on tape as I the US by East Side Digital, radically and had something of could before he left, and an offshoot of Rykodisc) which a terminal effect on their ca- during the next few weeks we instantly struck me as a classic reer. Phillips had long been an made two quickly-recorded of the Phillips ouevre - one admirer of his style, and ru- albums ‘St. Valentines’ Day’ which was completed, oddly mour has it - another (SnowStar SS5) and ‘Live’ enough, 15 years to the day unattributable rumour and (SnowStar SS6, also put out after Phillips finished palpably untrue, but then the whole story of the Hamptons 1967 and Bruce, Charlie and invited us over for the a broadened and more eclec- is shot through with rumour Phillips, Sam Whiteside and evening.... I just walked up to tic compositional mode. This and intrigue - that the reason I went to New York, where we him and said ‘Grease’ with no evolved gradually and came to Kelling left was because he was met Frank Zappa on the street particular context in mind. its head with the material on fed up with Phillips copying that September. We saw Somehow we communicated ‘Music To Eat’. his style. Kelling sets the Cream’s first US gig in Bos- to him our compatible weird- record straight on that score ton, and walked out on The ness.... “Some people who hear the however later on in this piece. Doors at the Fillmore East. band have absurd ideas about Talking to the two of them After we returned to Atlanta “The Hampton Grease Band the meaning of the lyrics and there seems to be a mutual we picked up on Paul were formed on 10/10/67. the music, talking about respect for each other’s style, ‘psychedelicesized multi-level they fed off each other increas- innuendo’ and ‘mystical rev- ingly during the Hamptons elation’. Horsefeathers. Some period and it was this stylistic of the lyrics are obviously lifted development which reached its from printed material (on apogee on the now legendary ‘Halifax’ and part of ‘Music To Eat’ LP. But, you’ve ‘Hendon’), but most of it was had enough of my ramblings a tribute to friends, inside on the subject already over the jokes and playful abstractions last two issues: here then is - with the possible exception Harold Kelling’s own account of ‘Hey Old Lady’, which was of the story. about a mentally ill old lady who did just what the song “In the summer of 1967 a says. Charlie Phillips wrote the band I was playing with called lyrics, although he is not cred- The IV of IX broke up after ited on the LP. The song ‘Six’ three years of high-school however does contain some dances, college frat parties and veiled references to a very bi- night club gigs all over the zarre and unexplained series of south-east. We were basically events that occurred to Bruce a covers band, playing tunes and I in New York on and by the Stones, Byrds, Beatles, around June 6th, 1966. Over- Ventures and Link Wray plus all, the lyrics have about as some originals written by much philosophical depth as Tommy Charter (singer and a sheet of saran-wrap. All the rhythm guitarist) and myself. heaviness is in the music, with In 1965 our bass player, the emphasis on variation, George Vance, had told us that Butterfield and various other Glenn, Bruce, Charlie, Mike dynamics, texture and drama. a friend of his in our school blues acts which had been Rogers and I were the found- was going to professional wres- hitherto unknown to us. This ing members. We went “Around the time of the al- tling matches and had a blues music hit us hard and through several drummers be- bum’s release date, internal mighty unusual sense of hu- was very inspirational. We fore we found Jerry Fields, who frictions within the group mour; and so he brought wanted to play it, but there was perfect - and Charlie was forced me to leave, and Co- Bruce Hampton along to were no white blues bands any- replaced by Mike Holbrook in lumbia shied away when they practice one day. I think he where in the South - so we the Autumn of 1968. When found out what we played like was 18 at the time. With a lot were unique and alone. the Hampton Grease Band - ‘too surreal and un-commer- of encouragement and some first started playing we were cial’. Some of the gigs we coercion he started coming to “We chose Bruce Hampton’s exclusively blues oriented and played were really fun and gigs and began to develop a name for the band because he tried to exemplify what we musically transcendant for us, stage persona and vocal style, was our only vocalist. He was thought was a sincere blues and these memories I cherish. coupled with self-confident NOT the leader. We added the feeling, choosing material abandon and powerful delivery. word ‘Grease’ because that was from blues greats such as J.B. “The rumour about me leav- We loved it, and his contribu- the first thing I’d said to Frank Hutto, Otis Rush, Howlin’ ing the Hampton Grease tion brought the band (IV of Zappa on the street in front Wolf, Robert Johnson etc. Band because of Glenn copy- IX) a unique dimension, un- of the Garrick Theater in New However, after about a year ing me is totally untrue. We like anything else in the area. York. He in turn responded Glenn and I started to pursue began to go in different direc- The band broke up in August with hospitality and friendship tions musically as well as spir- Kelling’s, including Robert is keen to promote, and I’m O’Toole and Harold himself glad to be able to help out be- on guitar, Bill Porter on elec- cause it is quite simply one of tric piano, Ken Gregory on the most adventurous pieces of bass and Tom Rafferty on improvisational jazz/rock (yet drums. They were more jazz not ‘fusion’, that horrible word oriented than the Hampton that conjures up mindless Grease Band, but did do ver- flash for the sake of it) that sions of ‘Six’ and ‘Hendon’ it’s been my pleasure to hear (recordings of which languish in a long time. Bob Grimes in the vaults somewhere - plays a concert Steinway grand Harold’s working on that piano in a totally unique man- one!) Harold told me, ner, his fingers flying around the keys both rhythmically and “One day in the summer of seemingly without direction at itually and as these tensions drawings that grace the ‘Mu- 1973 John Hammond Sr. was one and the same time, Rick increased, a split was inevita- sic To Eat’ sleeve - well worth in town and heard a tape of Bear plays drums like a mad- ble. My guitar style was evolv- searching out, anyway. the Starving Brain Eaters at man, someone called L.A. ing more into a 12 tone and a local radio station. He loved Tuten lays down an unobtru- polyharmonic expressionism, “The drawings just come off the band and came over to our sive yet solid bass line through- the forerunner of which is the the top of my head”, Harold practice room and listened to out and Harold Kelling’s own song ‘Six’ with its many fac- told me, “A very close friend, us live. He was on the verge of synth-guitar has to be heard eted, harmonic and rhythmic Espy Geissler, taught me prac- signing us to Columbia but he to be believed. A couple of the explorations. Glenn’s style was tically everything I know about had a heart attack and then tracks are slightly whimsical and is almost strictly dia- colour and painting. We did a the band broke up; although (‘What’s That Down There’ tonic... Glenn and I are good series of paintings together we reformed a year or so later which has definite leanings friends and have learned from from 1970 - 1980 and had events didn’t lead us back to towards the HGB school of and inspired each other and several shows in Atlanta and him.” weirdness and the country have recently been working to- New York. The paintings were rock of ’30 Links Of Chain’), gether on ‘Halifax’, ‘Evans’, done simultaneously by each During 1974, Harold met up one or two reflect Kellings’ re- ‘Hendon’, ‘Six’ and ‘Hey Old other on the same canvas, just with keyboard player Bob ligious beliefs - during the Lady And Bert’s Song’ for as musicians improvise to- Grimes and “instantly became Hampton Grease Band years some reunion gigs with Mike gether.” musical brothers - and have both Harold and his wife be- Holbrook and Jerry Fields. So been so ever since”. Through came involved in various forms far Bruce Hampton has been several name changes and per- of occultism; he subsequently unwilling to play with us, I denounced that and now de- don’t exactly understand votes “all the music I play to why.....” (Gosh! Ed.) our Lord Jesus Christ, whether it’s rock & roll, jazz or just Harold Kelling’s one piece of plain weird” - but when the post-Hamptons vinyl consists band get into some serious a- of a single released in 1982 compositional mayhem there’s under his own name. Released few around to touch them, on the Hib Tone label (the certainly some of their chord same one that brought out progressions are unique to my REM’s debut single ‘Radio knowledge. My own favourite Free Europe’ in 1981!) it is ‘Steps To Crisp’ (re-anno- couples the old guitar instru- tated as ‘Steps To Christ’ by mental chestnut ‘Harlem Kelling on my copy) which Nocturne’ (anyone out there starts off with some fairly heard Bob Flurie’s stunning Kelling has had (or has been sonnel changes (“and many straightforward soft-jazz piano version of that circa. 1977? in) several other bands though, strange and fabulous gigs!”) work from Grimes before fal- A gem!) with ‘Jezebel’ by, con- starting in roughly chronologi- the band gradually evolved tering once, twice, and as the fusingly because of the way I’ve cal order with The Starving into an outfit which is now drums crash in taking off on just written that, the Chest- Brain Eaters. This band was known as ‘Masters Of The some fine exploratory work on nuts. The pic-sleeve features formed in 1973 with some Edge’. This band currently the bass guitar which leads you more of Kelling’s own strange close musical friends of have a tape out which Harold gently towards some truly familiar with the ‘Music To Eat’ album seemed more than happy to find out a little more about it, and a great number of others wrote in to ask where they might be able to find a copy. The only answer really has to be “with a great deal of luck” - just how many were pressed originally seems to vary according to whoever you’re talking to, although I’ve never seen the figure put any higher than 3000 and since the album has never been re- issued in any format you can rest assured that most copies are by now in the hands of collectors.

And one last word for the magnificent guitar work that you’re about it. The band in- approach is more straight- completists, a US compilation shows with its speed, soul and cludes Harold’s son Tarmon ahead rock although numbers album released in 1991 on the dexterity just why Phillips (now 23 years old) amongst its like ‘Cedars of Lebanon’ reveal Sacred Flame label entitled rates Kelling so highly. ‘KPB’ members - ‘Hypnotised’ is a a finely-honed sense of musi- ‘Mighty Risen Plea’ (in case is another favourite, you have fine, fine song indeed which cal direction, that one in par- the title doesn’t suggest it to no idea quite where it’s going features some neat variations ticular featuring some particu- you, it’s an AIDS benefit to lead from one moment to in tone and speed, the guitars larly fiery guitar work from compilation) includes a track the next, sometimes it’s the at one moment sounding Kelling himself, and ‘San by ‘Colonel’ Bruce Hampton kind of guitar attack that pretty much straight-ahead Andreas Fault’ reveals an al- and Ricky Keller entitled ‘The would have thrash metal mer- Amer-indie ROCK and the most Beefheartian angle of Pope & One’ - it’s not actu- chants revolving in their co- next having a twisting little contrapuntal mayhem. ally by Bruce Hampton’s coons and the next there’s al- sting in their tail which was Aquarium Rescue Unit as most straight (if there is such enough for me to stop the tape Like I said at the outset, the credited on the label, but a thing) improvisational jazz and rewind it a couple of times response to our original shows if nothing else that the coming towards you. It’s to find out just what the hell Hampton Grease Band arti- legend lives on. pretty well unclassifiable stuff was going on. The lengthy cle a couple of issues ago has and I have to say that I love ‘Heavy Lucifer’ likewise; al- been pretty much unprec- Written, produced and di- it; details of ‘Light At The though the vocals are unre- edented. Those of you already rected by Phil McMullen Speed Of Music’ by Masters markable there’s imaginative Of The Edge are available on use of the rise-and-fall scheme receipt of an IRC or two from of sonic oblivion that only Harold Kelling at 514 Valley needs the right producer to Green, Atlanta, Ga 30342 topple them over the edge into USA (“There’s only 8 tapes distinction. Bloody marvel- left at the moment, but if any- lous guitar work at the end one wants them they’re avail- too, put me in mind of the able for $10 each - we’ll make Walkingseeds for some curious some more soon”). The less reason. adventurous explorers amongst you, those not so Harold Kelling also has a used to improvisational jazz- band called Creatures Del like elements, could also do a Mar, who consist of Phillip lot worse than check out a 4- Stone on vocals, Harold on song tape from El Supremo guitar, Pat Creel on bass and which I assume is available Tony Adams on drums. Their from the same source while

(May, 1992)