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Home , Adele Bertei, Anya Phillips, Arto Lindsay, August Darnell, Bush Tetras, James Chance

www.zerecords.com UNDER THE INFLUENCE / WHITE SPIRIT

The 21st century has produced a new generation of young contenders of all kinds, who have, within months, spread a new string of names across the planet such as The Rapture, Playgroup, LCD Sound system, Liars, Yeah Yeah Yeahs, Radio 4 and the likes, just to name a few. Once again the heat was initiated in NYC, even though its epicenter « cleaned up » by Giuliani and Bloomberg, has moved a few blocks east and across the river to Brooklyn and Williamsburg. It might be wise to remind the younger ones among us that the origins of this new musical cycle is for the most part rooted in the NO WAVE movement of which James Siegfried aka James White, aka is undoubtedly one of its most prominent figures. City was hands down the artistic telluric center of the second half of the 20th century, especially from the 70’s, on. Rising from the ashes of the Velvet Un- derground, a slew of local bands redefined the aesthetics of rock’n’roll which the merchants of the temple hastened to rename under various designations, such as Punk, New Wave, No Wave, - or even and Disco- Punk without forgetting to mention the original Electro designation pioneered by the band Suicide. One of the indispensable and emblematic figures of the mid-70’s is of course James Chance.

James Siegfried, born in in 1953, began his musical journey on the at the age of seven. His style evolved towards a more « free » sound, influenced by the likes of Thelonious Monk and Cecil Taylor, which clearly frightened his teachers at the Wisconsin Music Conservatory. From early ad- olescence on, he set his sights on the alto sax. John Coltrane’s, « Love Su- preme », opens up a whole new world to him, at which time the young prodigy immerses himself in the works of Albert Tayler, Lester Young and Charlie Parker and puts together the James Siegfried Band with future Jazz Messen- ger Brian Lynch at the trumpet. He participates in the post Velvet/Stooges rock band DEATH but ends up leaving his native Wisconsin where he clearly finds no one to understand his musical style. In 1976, New York looks more like a Martin Scorcese film set than Giulani’s post-9/11 aseptic Disneyland. The city’s downtown heroes are The Ramones, the , Patti Smith, Television, Blondie, Richard Hell and Johnny Thunder’s Heartbreakers. But it’s most certainly ’s Lounge Lizards that are truly representative of the Free Jazz Loft spirit of which James wished to be the heir.

“James saw the obvious. Jazz had entirely ceased to be dance music and had become an entirely intro-spectator sport. It had lost everything below the waist. It had lost its sexuality and its funk. Jazz had also lost its audience to rock’n’roll, but despite glorious moments, that too was quickly being frozen into cliché and caricature. Then this white dude with free licks comes booga- looing in on the pointiest shoes you’ve ever seen and it’s okay again for high- IQ booty-shaking”. Glenn O’Brien

But the exclusive world of New York jazz looks down on these new poseurs and particularly this « white dude », who gets his kicks from listening to Or- nette Coleman, or Funkadelic. So James turns towards the Lower East Side « rock groups ». He explores venues such as CBGB’s, the or Max’s Kansas City and, hiding behind the pseudonym « James Chance », sets out to link together the bare threads of punk, funk and free jazz. He produces an electrifying sound that will subsequently give birth to a musical current from which today’s young contenders will draw their plagia- rized « inspiration ». In 1977, James is still an odd ball with his unclassable and non-negotiable Teenage Jesus & the Jerks, with Lydia Koch, soon to be known as , occasional cocktail waitress at CBGB’s, Reck a Japa- George Scott and Don Christensen, other member of Loose Screws. Adele nese bass player, and Bradly Field on the drums. James revisits nihilism in a Bertei becomes the keyboard player after having learned her skills in Cleve- world of rock’n’roll in which new wave rules and is especially lucrative for the land with Peter and the Wolves with the fonder of , Peter Laughner. majors, particularly in Europe. In reaction to this, our newcomers are going to With this line up, in the spring of 1978, James Chance & the Contortions play develop a style. Two other bands from New York’s arty downtown scene turn for every club in town, opening indifferently for Suicide, or Mars, the clubs into rehearsal spaces since none of the band members know how transforming every one of their sets into barroom brawls. This phenomenon to play of an instrument. The first band, China, has just renamed itself Mars. undoubtedly enhances James’ bad boy reputation. He confides to the Soho Formed around Marc Cunnigham, China Berg, Sumner Crane and Nancy Ar- News: « If somebody comes to see me, they have to pay. And not just in len. They have recorded two titles: 3E and 11 000 volts with Jay Dee Daugh- money... New York people are such assholes-so cool and blasé. They think erty supported by Patti Smith who wanted to start her own independent label they can just sit and listen to anything and it won’t affect them. So I decided I “Mer Records” (en Français dans le texte), but too busy dealing with her own just had to go beyond the music, and physically assault them... The first time success finally entrusted me with the recordings that I released on my first I actually did it, really hurt people, was in Soho. I really fucking hate Soho. It label, pre-ZE: « Rebel Records »... was a benefit for this artsy magazine, and all these artsy-fartsy people were sitting on the floor-and if there’s one thing I can’t stand it’s people sitting on The second sensation, the DNA trio, is built around on guitar, the the floor. See, there was all this room, and no tables, and I figured everybody Japanese on drums and on bass. At the same time, go- was going to dance. But they just sat ». ing by the name of the Pill Factory, James and Arto begin recording the origi- nal soundtrack of Diego Cortes’ film: « Grutsy Elvis », featuring , James attacks. The first rows won’t resist, but seeing his size, it’s often him future muse and manager of James’. Four titles are released on a maxi ZE who ends up with a black eye, which doesn’t stop him in the least. It’s during records in 1978, one of them being a totally improbable cover of Elvis « That’s one of these battles, in the middle of summer 78, that James eyes first cross when your heartaches begin ». Inevitable ego problems at the heart of Teen- those of Anya Phillips. A glance that said: « Don’t you dare do that to me! » age Jesus lead James to leave the band and start his own: The Contortions. It was love at first glare! Anya was a famous wanabe downtown scenester, With the painter and actor James Nares who takes on the role of the guitar- the brain behind the conception of the Mudd club and a talented fashion de- ist and will be replaced a few months later by of the band Loose signer. An actress in the films of the periods’ New Cinema, “Grutzy Elvis” di- Screws, a combo with which he jams occasionally. Pat Place, a visual artist rected by Diego Cortes, « Rome 78 » by James Nares, where she plays the from Chicago, takes up slide guitar, while Reck the Japanese bass player of Queen of Sheba or in « The Foreigner », by Amos Poe. She became James’ Teenage Jesus joins the band bringing with him his compatriot Chico Hige soul sister. She took care of management, of the band’s look and played an on the drums. They eventually both leave for Japan, leasing their place to essential role in the development of James’ budding career and the different incarnations that were going to become his trademark. Sadly, Anya died of cancer in 1981. She was only 26!

In may, a sort of festival in the Soho Artist Space Gallery involving all of New York’s arty/punky/noisy members, including the Contortions, Mars, DNA, Teen- age Jesus & the Jerks, Boris Policeband, Theoretical Girls, etc... was most certainly the starting point of a movement, which the local press immediately took hold of and baptized: No Wave. At the same time from , who had missed the first wave of New York bands three years earlier, including: Blondie, Television, Talking Heads, Patti Smith or Richard Hell, had entrusted with a budget for a demo to record the best of these newcomers. His plan being the signing of future record deals. But none of the bands ended up being to his taste so Eno put together four titles of his favorite bands: Mars, DNA, Teenage Jesus and The Contortions on a compi- lation which he baptized and which came out in November 1978. James Chance & The Contortions signed with ZE records for their first and entered the Blank Tape Studio in the fall of 1978.

Michael Zilkha and I would spend our days in the studio and our nights at the Paradise Garage, , Max’s Kansas City, CBGB’s or at the Mudd Club. It did not seem incompatible to us to love underground disco played by Larry Levan along with James’ Punk/funk/No Wave. After hearing the Contor- tions’ album, Michael suggested to James to re-record new « disco » titles. Anya seeing an opportunity to cash in on another advance suggested an- STELLA RICO other concept: JAMES WHITE (alluding to James Brown) & THE BLACKS, AKA LYDIA LUNCH a « disco » version of The Contortions and obtained a new budget to record a second album, which was immediately recorded in the aftermath of « BUY ». , transfuge of Dr. Buzzard’s Original Savannah Band, that DON PAT CHRISTENSEN ADELE GEORGE PLACE BERTEI SCOTT Michael hired as a house producer and who worked in parallel on different ZE projects: the first album of his new band Kid Creole & the Coconuts, Cristina’s album, Aural Exciters’, Bob Blank’s afterhours party band, brought his touch to what is soon to became a classic on the Dance floors and an inspiration for numerous bands, the cult classic « Contort Yourself ».

“James White’s most cold and cogent manifesto of white blackness is prob- ably “Contort Yourself.” Chance’s vocal on “Contort Yourself” reaches a de- gree of droll dryness rarely attempted by Mick Jagger or even Lou Reed- -a combination of Mose Allison on Methadone jazz vocalization and an evil mind control guru. It’s a groovy epic vision of world transformation through disco-self-destruction, taunting “Why don’t you trying being stupid instead of smart?” Glenn O’Brien.

Numerous guests join in the Blacks’ sessions: Lydia Lunch under the pseudo- nym of Stella Rico, Anya Phillips under Ginger Lee’s, under Tad Among’s and Master guitarist Bob Quine who played at the time in Rich- ard Hell’s Voidoids and who will later join Lou Reed.

“Thanks to the support of ZE records and visionary fan president Michael Zilkha, James got to make his really primitive disco album, just as he had made the sick debut “Buy the Contortions”. These records not only had the BOB sound, they had the attitude perfect packaging and a murderously post-chic atmosphere. They were the revolution, whether one realized it or not. The Contortions was the first chic death fashion Pop art band since , and it sounded better than if Iggy had gone to Julliard.” Glenn JODY QUINE O’Brien. HARRIS These two first which came out on ZE records in 1979 and haven’t aged in any way, open up a new standard: introducing Funk grooves, Free Jazz improvs and Disco efficiency, from which the British scene from Man- chester will draw its full inspiration a few years later, thus creating the perfect scam.

“I have always been moved in new directions by the sound and vision of this band. I remember thinking long ago that james Chance should be the greatest star in the world. And then I realized that he was, really; it was just that almost nobody realized it. Only the very few. I knew at least a dozen or more thinking hedonists who knew at any one time that James Chance was the most excit- ing man in art and show business. I also observed that sometimes the entire audience noticed that James Chance was a great star. He was amazing. He burned the house down. He punched the audience in the face and then they asked for more.” Glenn O’Brien.

In the same vein as George Clinton, James becomes James Chance & The Contortions, then James White & The Blacks, and has a third incarnation as James Whites ‘s Flaming Demonics in four years, James will record his three best albums on ZE records. A considerable number of musicians participated in the adventure. James experimented the most adventurous combinations, Funk rhythmic sections, arty poseurs, rockers, a kaleidoscope of picturesque characters which we will discover later in many bands directly inherited from this experience: , Raybeats, Defunk, 8 Eye-Spy, etc...

“James Chance’s music changed constantly. He told Allen Platt from the Soho News: “I believe in being dissatisfied at all times. If I could be said to believe GINGER LEE AKA in anything. I believe in that.” He played new music that was new by method, ANYA PHILLIPS RANDI MARLOWE

. Glenn O’Brien.

, Paris, April 2004 , Paris, pioneers were ahead of their times. pioneers were ahead Hall of Fame. No sinfluenceWave’s today proves how far this music and its sonalities, James Chance, have finally found their place in the Rock’n’Roll of music critics, the No Wave movement and one of its most imposing movement and one of its most per- No Wave of music critics, the Recently, thanks to several new releases and to the enthusiasm of a handful to the enthusiasm new releases and thanks to several Recently, Chance” He had reverses, but it was really but it was He had reverses, the scene that died, vision not the of James completion. He got results. He executed. And he never failed. He never quit. he never failed. And completion. He executed. He got results. performer in the greatest sense of the word. He carried the work through to through to work carried the He of the word. sense greatest in the performer sent. It worked like a juju charm. To hear it it was to be changed. He was a He was changed. to be it it was hear To a juju charm. like worked It sent. informed by history, contemptuous contemptuous pre- in the based and totally the future of by history, informed JAMES WHITE & THE BLACKS

SOUND ORIGINAL ALBUM

01 • Contort Yourself Written by James Siegfried. Published by Copastatic 02 • Stained Sheets Lead Vocals by Lydia Lunch. Written by Lydia Lunch Published by Copastatic 03 • (Tropical) Heat Wave Written by Irving Berling. Arranged by James white Lead Vocals by Anya Phillips. Publised by Warner Chappell 04 • Almost Black Lead Vocals by Anya Phillips. Written by James Siegfried Published by Copastatic 05 • White Savages Written by James Siegfried. Published by Copastatic 06 • Off Black Written by James Siegfried. Published by Copastatic 07 • Almost Black Part 2 Written by James Siegfried. Published by Copastatic 08 • White Devil Written by James Siegfried. Published by Copastatic 09 • Bleached Black Written by James Siegfried. Published by Copastatic 10 • Contort Yourself (August Darnell Remix) Written by James Siegfried. Poduced & remixed by August Darnel Published by Copastatic SOUND BONUS TRACKS

Recorded at Blank Tape Studios, NYC, Fall 1978 11 • Christmas With Satan Engineered & Processed by Bob Blank Written by James Siegfried. Published by Copastatic Produced by James White 12 • Disposable You (Live) « Contort Yourself Remix » Produced & Remixed by August Darnell Written by James Siegfried. Published by Copastatic 13 • Don’t Stop Till You Get Enough MUSICIANS Written by Michael Jackson. Arranged by James Chance Publised by Warner Chappell James Chance: Lead Vocals, Alto Sax, Organ on « White Savages » 14 • Exorcise The Funk (Live) Jody Harris: Guitar Written by James Siegfried. Published by Copastatic Don Christensen: Drums Pat Plac : Slide Guitar MUSICIANS George Scot : Bass : Electric Piano on «Contort Yourself», Vocals on «Almost Black «Christmas With Satan»: Recorded in 1983 at Big Apple Studio NYC Part 1» James Chance: Lead Vocals, Alto Sax, Accoustic Piano Kristian Hoffman: Piano on «Stained Sheets» Piano & Vocals on «(Tropica) Chris Cunningham & Jerry Agony: Guitar Heatwave» Rodney Forstall: Bass Paul Colin: Tenor Sax on «Almost Black Part 1 & Part 2» Ralph Rolle: Drums Bob Quine: Guitar on «Off Black» & «Almost Black Part 2» Bruce Purce: Trumpet Ray Mantilla: Congas on «(Tropica) Heatwave» Robert Arron: Tenor Sax Lydia Lunch: Guitar on «White Devil», Vocals on «Stained Sheets» Luther Thomas: Baritone Sax Vivienne Dick: Viola on «White Devil» Cherie Marilyn & Robin Marlowe: Backing Vocals Anya Phillips: Lead Vocals on «(Tropica) Heatwave » & on «Almost Black Live Tracks recorded in Rotterdam, Holland, June 1980 Part 1», Backgroung Vocals on «Contort Yourself». James Chance: Lead Vocals, Alto Sax & Organ Patrick Geoffrois: Slide Guitar, Backing Vocals Fred Wells: Guitar Lorenzo Wyche: Trumpet Al McDowell: Bass Richard Harrisson: Drums DESIGN

Original art Cover by Michel Esteban, Photo by Ania Phillips Digipack & Booklet Art Direction & Design by Michel Esteban Photos : Pages 10,11,17 by Anya Phillips, Pages 2 & 5 by Edo, Page 9 by Julia Gordon, Page 14 by Maripol Liner Notes by Michel Esteban, Special Thanks to Kim Massee, JB. Walter Weasel & Glenn O’ Brien

SOUND

Original album recorded at Blank Tape Studios, NYC, Fall 1978 Engineered & Processed by Bob Blank Produced by James White « Contort Yourself Remix » Produced & Remixed by August Darnell

Original Sound Recording Made by ZE Records ©1979 This reissue P & © 2004 ZE Records Remastered 24-bit Digital by Florian at Auvi One, Paris 2004 Special Thanks to Michael Zilkha This reissue p & © 2009 ZE Records Mundo Ltda