Tuesday, December 20, 2022

Ivan Pongracic reviews the new "Stargazers" single.

 


Truly enjoying this fantastic new 7" by Frankie and the Pool Boys, recently released by Hi-Tide Recordings. Both sides hold new tracks composed by my dear friend of 25 years, Ferenc Dobronyi, who has IMO developed one of the most distinctive melodic approaches to surf music of the past 30 years. I've been a huge fan of F&tPB since their debut s/t album in 2008 and through their two wonderful follow-ups, and this single continues that incredible streak.
Side A is "The Stargazers" which takes the Ho-Dads' '64 surf classic "Space Race" as the launch pad for a grandiose, heroic, even Shadow-esque (think Wonderful Land and Atlantis) melody that effectively captures the yearning of reaching ever further out to the stars. (The track is dedicated to the band's Seattle friends and fans, which strikes me as especially apropos given that Tacoma, just slightly south of Seattle, was the home of the Ventures, who wrote the legendary track "Journey to the Stars!")
The B-side is "Breathing Your Air", a gorgeous, romantic, even sensual, mid-tempo track with several mood changes, that nearly-miraculously for an instrumental does sound like a celebration of love (and I'm guessing it's Ferenc's dedication to his amazing wife Karen, who also plays the keys in the band)!
Both songs were recorded and mixed by Boss Martian Evan Foster at his Seattle studio, and they sound warm and crisp - and perfect.
A beautiful single, Frankie & the gang! Well done!

Order directly from Hi-Tide Recordings

Friday, November 4, 2022

New Pool Boys 7" Release: The Stargazer + Breathing Your Air

 



Frankie and the Pool Boys are thrilled to announce the release of our new 7" single, distributed by Hi-Tide Recordings


Frankie and the Pool Boys wanted to release a single of new material in between their 2021 best-of "The Wet Season," and their upcoming, fourth, LP. The two instrumental songs on this single are brimming with romantic optimism. The Stargazers was inspired by a story of two lonely, earthbound dreamers who found each other by observing phenomena that happened billions of light years away. The clean, echoey, lead guitar pays homage to the style of Hank Marvin and the Shadows. Breathing Your Air is the soundtrack for intimate discovery, written during Covid times, when the very act of sharing a breath was defiant and dangerous. New fans will be surprised that instrumental music can evoke a vivid mood and deep feelings, and allow for their own memories to guide the songs' narrative. Longtime fans of Frankie and the Pool Boys will immediately recognize the attention to song craft, the Stratocaster tones, and the atmosphere that swirls between the ears. The two songs were recorded during a tour stop in Seattle when the band made time to work with producer and guitarist Evan Foster (The Sonics, Boss Martians) at his No-Count Studios.

But the vinyl direct from Hi-Tide Recordings.

Sunday, September 11, 2022

A Listening Party with The Bradipos IV from The Continental #33




A Listening Party with The Bradipos IV 

The Bradipos IV - s/t - Hi-Tide Recordings

When a band self-titles an album, it’s a way of saying, “this is us, this is who we really are.” It is a proclamation of honesty, especially for a band who already has six albums out. The Bradipos IV, despite their slothful attitude, have consistently released a record every three years or so since their inception in 1996. The honesty, as presented here, shows a willingness to evolve and move away from the aggressive attitudes and tempos of their youth, and focus on arrangements that come from a tight group of friends that have played together for 24 years. The honesty comes from recording in a live situation, with the band members all in one room, which dictates absolutely minimal fixes.

I had the opportunity to listen to the test pressing of the new record with Amerigo, Francesco, Enrico and Massimiliano at their home in Caserta, Italy, getting their input on the recording while scribbling my own notes. The Bradipos never give credits on their albums for who wrote what song, or who takes the lead, so it was fascinating to get this information. Many of the songs started out as rhythm guitars from Massi that Francesco would add a melody to. Drummer Enrico wrote three of the songs, and he is, apparently, quite a good guitarist.

A big change for Amerigo is that, during the pandemic, he took lessons from Fugazi bassist Joe Lally via Zoom, and his bass lines show more confident melodic movement. The Bradipos work out their arrangements as a group with each member creating their own parts, leading to their unique sound. It’s a unified vision. They all commented that producer Lorenzo Valdambrini had some subtle but important suggestions that tightened up the group.

Digging into the grooves, side one contains the more heartfelt and personal songs, and side two is uptempo with a more traditional surf sound. Producer Valdambrini chose to mix the album almost entirely in mono, and I only heard two (shocking) instances where there was some left-right separation. Overall, the drums are dry, and with the mono mix, their sound present and snappy, with the abundant reverb on the guitars making a lush wash.



The moodier side one starts with a song from Enrico, Endless Bummer, a reference to the pandemic, but despite its downer title, has a compelling, uplifting melody.  Slated to be the titular track, When The Sirens Sing, is something of an mini-epic, with a dynamic arrangement co-written by Massi and Francesco. Little Scorpion is a song from Massi and he takes the lead on this Spanish style song with the surf approved Andalusian cadence. Savage Season is written by and features the lead of Francesco. To stretch a metaphor, it reminds me of Neapolitan (Napoli) style gelato with three distinct layers of lead, rhythm and bass that melt together for a tasty sensation. Waiting, another Covid collaboration of Massi and Francesco, begins delicate and pristine, sending a chill up the hairs of my arm, before a beautiful trumpet section opens the song up to a satisfying crescendo.

The rocking side two starts with 50, named because i ragazzi all entered their fifth decade in the last couple years. In this song you can really hear Amerigo’s melodic bass lines. Cocaine Cowboys reminds me of The Woodies at their happiest. Scuola di Ballo Al Sole (Dance School on a Sunny Day) is an obscure Morricone song from a Pasolini film, Uccellacci e uccellini , starring their beloved comedian Toto. They have done a significant rearrangement from the original, which had a crazy double time drum rhythm. The last two songs were both written by drummer Enrico. Sloth ‘til Death has some great guitar interplay with Massi playing a staccato double picked melody while Francesco arrpegiates. Zombie Maraja has Enrico laying down a twist beat with nods to the Penetration guitar riff. This is the first place I heard true stereo when a wide tremolo kicks in for a great effect.

The Bradipos IV’s eponymous album was recorded in October of 2021 in Livorno, the hometown of producer Lorenzo Valdambrini. The studio, Bigwave Recording, has a large main room with a tall ceiling, that allowed the band to record with all the drums and Lorenzo’s giant Showman amps in same room, and not require the use of headphones. The band was not present for mixing, and gave Lorenzo a free hand to mix it as he chose. Valdambrini also made the connection with Hi-Tide Recordings to ensure an international release.

The group is very satisfied with this album, feeling that it's their best music and also has the best sound. Watching their career closely, I am inclined to agree, and see this album as another great one from a consistently interesting band.

This article originally appeared in The Continental #33. Please buy and support the fanzine!

Saturday, August 27, 2022

Humanga Danga - Watusi Peak EP

 

Humanga Danga • Watusi Peak EP preview
I'm very excited to get a preview of the new Humanga Danga EP, "Watusi Peak" which is due for a CD and digital release on October 1. The six songs show a great breadth of songwriting, from exotica to spy, racetrack bombers to slow moody pieces, and all out party rockers. Every song is given individual production touches, so the EP comes off as a confident sampler of styles. The consistent factors are the great guitar tones, warm, roomy drum sounds, precise playing and great songwriting. The songs are original, without referencing the classics, and mostly mid-tempo, avoiding SBS (Staccato Blitz Syndrome). I'll have a lot more to say about this terrific EP in my full review for the next Continental magazine.

Bandcamp

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Friday, August 5, 2022

The Mach IV Reunite, release "Eleki Extra!"



In the early 2000s, I was playing with Pollo Del Mar, which had gone way over the edge into prog-land. I really wanted to play surf music, and found three other like minded guys, all of who happened to be fantastic reverb musicians. Mel Waldorf from Los Mel-tones, and in a few years, Meshugga Beach Party. Johnnie Hamilton from The Berzerkers who has since become a very desirable bassist of choice. Shigemi "33" Komiyama was an all around musician's musician, and had a long list of credits including the Shig and Buzz "Double Diamonds" album. (I'll post the liner notes to our reissued CD later, as it has complete details that I don't want to re-write.)

Anyway, we did an album, and broke up, and then almost 20 years later, it was reissued on Surf Cookie Records, based in Greece. Cool! For the reissue, we wanted to record some new songs, and this made it a lot more exciting for me; it felt like we were taking a step forward, not just sideways. Mel and I each wrote two new songs and we picked two of our favorites from Shig's catalog of songs. We also released a song recorded by Phil Dirt at KFJC way back in the day, and recorded a new version of Paul Johnson's Bedlam.

Jeff Hanson, the Big Tiki Dude, asked us to play at the Surf Guitar 101 Convention, and we said sure. The last time we got together was 2016 for the same event, asking Tony Bald known in the surf music world for his work with The TomorrowMen, and also currently plays with alt-country band The Whateverglades. But, we haven't rehearsed together in years, and Mel and Johnnie aren't currently in gigging groups. Rust and cobwebs for sure, not to mention playing songs that had never been performed live.

Johnnie, Tony and I drove down to Palm Springs where Mel lives for rehearsal. On Friday, the day before our first gig, we ran through the set about six times, taking breaks to jump in the pool. It was above 110°. We totally focused on getting the songs together, playing the right notes, and getting the groove solid.  There were hand cramps, blisters, and deafness. We ran through the set again Saturday morning, then drove to Long Beach– very slowly.

We were the opening band at a Convention pre-show at the Secret Island Tiki Bar. After setting up the gear, we had some time to relax and talked with all the fans there, most of them old friends by now. It was a great scene.


Here's the interesting thing. As soon as we started our set, Mel, Johnnie and I instantly reverted back to our old physical antics– syncronized moves, duck-walking, crashing into each other. All the proper notes in the rehearsal went out the window. As Mel says, "They're not bad notes, it's Jazz." Within minutes, we were covered in sweat, and the audience was dancing, and it was a total blast.

The next day, Sunday, at the VFW Hall in Hollywood was a lot tamer. It's a big, well lit room and, at noon when we went on, most people were sitting in chairs with their arms folded waiting to be entertained. I always feel like I'm under a microscope, which leads to scrutiny and self doubt. We did our best to entertain and get the crowd going, and there were a few folks ready to dance, which we appreciated greatly.

Eleki Extra! is available through Bandcamp or you can listen to it on Spotify, Apple Music or the other streaming services.




Monday, August 1, 2022

The Surfrajettes "Roller Fink" review from the Continental #33

 The Surfrajettes - Roller Fink

Vinyl, CD, Digital - Hi-Tide Recordings

Reviewed in The Continental #33 available from Double Crown Records

To say that the Surfrajettes care about presentation is an understatement, everything they do is carefully designed around their specific aesthetic. From the turquoise and pink mid-century pallete, the hand sewn band costumes, the matching B-52 updos— I can’t think of another band in the realm that works this hard to define themselves. And that’s a beautiful thing, because it also shows up in the music. When I listen to the Surfrajettes, I don’t hear them taking the easy route of low-if slop or someone cutting loose, I hear melodic, well thought out songs and group arrangements. Certainly their self-penned songs will demand respect and eventual cover versions, as The Manakooras did recently with their single release of the ‘Jettes Hale’iwa Hustle. The first three songs on Roller Fink— Warm Up, Roxy Roller and Salty Sister show that  craftsmanship and a deft use of 7th chords to pull some dissonance out of the otherwise bright melodies. The transition from Salty Sister to Surfer’s Slide is difficult, as they both share a major to relative minor chord structure. That said, Richard Podolor’s Surfer Slide is a real fretboard workout on guitar and is impressive. I’m not sure who’s playing lead, either Nicole or Shermy, but they are nailing it! Slush Puppy is another grooving county fair hit. While I’m flipping to side 2, I have to mention how great the record sounds, especially the drums, which pop with assurance courtesy of studio ace Dani Nash who has a long list of credentials. The Surfrajettes have had a rotating throne behind the kit, but always find killer musicians, like new, permanent drummer Sam Maloney. Meanwhile, Shermy and Nicole sound like they sat on a couch together for the last two years, woodshedding their interlocking guitars to a high degree of tightness. Train Kept A Rollin’ is an aggressive choice for a cover, as it begs for comparisons with great versions of the past, especially the Beck/Page Yardbirds. This version starts with Nicole playing about as bluesy as surf guitar can get, and giving the vocal melody a workout over a slamming backing track with notable walking bass lines from Sarah Butler. Of course, they had to shout the “Looking so good Jack I couldn’t let go” line! Another cover, this one more in line with their viral hit of Britney Spears’ Toxic, is a more or less straight take of Blondie’s signature Heart of Glass. The clear, glassy, guitars emulate Debbie Harry’s vocals, and take this version out of the disco and straight to the beach. Roller Fink has the feel of an obscure Ventures album cut, where they let loose over a groove, and everyone gets to take some licks. She Loves You— the Beatles don’t get a lot of surf covers, after all they are at least partly responsible for the death of the first wave, but they definitely are melodically ripe for instrumentals. Priscilla (Presley?) is a moody mysterious creeper, with jazzy changes and lines, showing the great versatility the band has. And the ride ends with Snowball, a romantic 6/8 stroll into the sunset. Overall, this album is a complete delight. It has been a pleasure to watch this band grow and gain confidence as songwriters and performers, and Roller Fink is a righteous landmark for a passionate surf band who can really deliver.


Tuesday, June 7, 2022

 I recently found this review that Ivan Pongracic (The Space Cossacks, The Madeira, Lords of Atlantis) wrote for Frankie and the Pool boys' "Spin the bottle" album. I'm parking it here for posterity.

June 6, 2018

I've been wanting to review Frankie & The Pool Boys' brilliant new CD "Spin the Bottle" (Double Crown Records) for a while now, but have just been too busy. I FINALLY got around to it - and as you can see, I had a LOT to say! 😁 For the short version of my review, just read this paragraph: it's Ferenc's best work to date, a true masterpiece, and my favorite surf album in years! At the center are the well-crafted and compelling songs which are also often surprising in the best ways possible, showing it is possible to STILL do something creative and new in this nearly-60-year-old genre. The musicianship by *everybody* involved is extremely high, all the songs expertly performed. Dusty Watson's production is dead-on, clear-but-warm, with a lot of small touches and details which keep the songs interesting and surprising long past becoming familiar with them - there's always something new to hear if you pay attention. It’s deep music but it doesn’t require deep listening to enjoy – though it certainly rewards it! It's an album that has a vibe and attitude and confidence which I think is rare - it knows it's a TON OF FUN and that if you give it a chance, you'll almost certainly fall in love with it!
Ferenc and I have been friends and even occasional collaborators for many years (twenty, I believe!), and that is not an accident. I have an enormous amount of respect for him. He always delivers. Every time he does something new it shatters my expectations and shows him to be a truly talented musician. So, I definitely am biased when it comes to his work, no question about it, but I think I'm biased for the best reason of all: I already know him to be an exceptionally creative person whom I admire a great deal, so my expectations are always high.
At the center of the album is Ferenc’s guitar playing which just keeps getting better with every new release. It has *always* been great, but he still continues to find a way to improve it! It is particularly full of fire and passion this time around, with a guitar tone has never sounded better - sometimes crunchy and aggressive, other times beautifully clean-yet-complex, with a lot of detail and warmth. (It must be the new brownface Bandmaster that he got at the SG101 Convention a couple of years ago from Danny Snyder. What a sound!) One remarkable thing about his playing on this album is that over the years he’s developed an uncanny ability to sound like a steel guitar, using the Strat’s tremolo arm. He’s really become an expert in that technique – which of course was Leo Fender’s original idea when designing the Strat’s vibrato/tremolo system in the first place, to allow the player to emulate steel guitar (which was highly popular in the early ’50s). Ferenc has done astoundingly well with that technique, and it’s not one I hear very often, so truly well done, my friend, very impressive!
I gotta also shower with kudos Jonathan on drums and Abe on bass, the rhythm section of the Deadbeats who have now also become the Pool Boys, and both sound *amazing*, like real pros, belying their young age. Abe is often playing lines that one would expect from a much more mature and experienced musician, and Jonathan sounds positively Dusty-like in many places of the album. They don’t only provide the solidity to the album, but lot of its fire, too, a remarkable feat!
Karen on the organ (and occasional piano) and Jono (formerly of Pollo Del Mar) on rhythm guitar are both highly competent and dependable, and play their parts with precision one would again expect from highly seasoned pros. Karen in particular shines in many places of the album, often trading leads with Ferenc or sometimes even taking over the lead completely! Both Karen and Jono are also very tasty players, as well, and know when to lay back and just support the song rather than vie for attention.
If I start seriously dissecting this album, I could write a short book - but I’m quite sure NOBODY wants that! 🙂 So, let me just mention a few of my favorites:
“Seafoam Angels” is grand and uplifting, and effectively sets the mood for the entire album (and what a fantastic title, love it!).
“El Valenciano” is a fantastic, Latino/Hispanic-influenced song with exceptional playing by everybody. It features a highly dynamic guitar performance, some of my favorite playing by Ferenc ever! (Though, I gotta say that the drum part played by Jonathan reminds me more than a bit of the drum part played by the Madeira’s Dane Carter on our song Sahar. Coincidence? Hmmm…. 😊 )
“Magic River” – I love the choice of the cover (one of the two covers on the album) of this obscure Surf Coasters song. Surprising and unexpected, but absolutely perfect for the band. It comes from the “L’esprit” album from 2002, one of the two ‘organ’ albums by the Surf Coasters, and it gives a chance to Karen to shine playing the upbeat melody over a groovy Bo Diddley beat. Ferenc gets to revisit the main guitar hook from his classic “Ewa on the Beach” song in the bridge of this song, which is a very nice touch. This really is a fantastic song, but one that only the most hardcore Surf Coasters fans would know (which Ferenc certainly is!), making it so much cooler!
“The Wet Season” is my absolute favorite song from the album, it's ‘pièce de résistance’, and in fact, one of my favorite new surf songs in years! It’s an incredibly dynamic song, with Ferenc’s possibly best-ever guitar playing (LOVE all the open-string pull-offs!), featuring a super-fat and yet sharp-and-cutting guitar tone that just exudes confidence and attitude. It actually reminds me a bit of some of the great songs from the classic “Searider” album from 2008 by the Swedish surf band the Barbwires, one of the all-time-great surf albums, as far as I’m concerned, certainly of the modern era. There’s a sense of epic scale and grand proportion with this song which matches or even outdoes the Barbwires. It also features one of the best bridges in a surf song I’ve heard in a long time. It really opens up the song, lifting it to the next level, reaching transcendence! Too few surf musicians exploit this songwriting device, as far as I’m concerned, but I personally think bridges are extremely valuable to keep a song dynamic and interesting. And Ferenc absolutely nails it here, it is just perfect. The song is also filled with many little details that make it so much fun to listen to, even if you’re not paying very close attention, you can still just pick it out ‘out of the corner of your ear’! I love the bits of feedback in the song; the wah-wah which works so incredibly well (I never would have expected that!) and which gives it a bit of that ‘70s-crime-movie feel; and then the final verse with the double-picked call-and-response guitars which eventually join into a cool harmony as the rhythm becomes increasingly syncopated, building towards a climax, with finally the lead guitar going off the fretboard, climbing higher and higher – what a perfect, even inspired touch! So, so great overall! Immortality earned, Ferenc (though you already got there with a few previous songs)!
“Summer cold” is an evocative, gorgeous ballad with ingenious playing by Ferenc. On the first few casual listens I honestly thought Ferenc had a guest player playing steel guitar, until I listened more closely and realized that it’s actually him making highly effective use of that Strat tremolo arm! So, so beautiful!
“Fast Loud Hard” is a hard-rockin’, even punky, tune which seems to have been influenced by the Surf Coasters. The beat, the guitar licks, the guitar tone, the overall energy and vibe, all scream the Surf Coasters to my ear – and the band completely does them justice, which is a pretty amazing thing if you know anything about the Surf Coasters!
“Tan Line Fever” is the most trad-surf song on the album, and is just SO much fun, a total blast! It really was the perfect choice for the flip-side of the “Ewa on the Beach” single recently put out by Hi-Tide Recordings. It features the signature Astronauts beat, their ‘booch’ rhythm guitar, and the lead guitar part played in their the muted single-line style, with wet reverb splashing all over the place! It also has a melancholy feel that surf music often so effectively turns into something upbeat and uplifting. But despite being traditional-sounding, it’s still completely unique, exuding Ferenc’s personality! Even when he’s trying to sound traditional, he still ends up sounding like himself, and that’s actually a GREAT thing!
“San Quixote” sounds to my ears as a bit of a tribute to Insect Surfers. I believe Ferenc has been quite open in the past about Insect Surfers being a big influence on him, especially back in the Pollo Del Mar days (for example see their great song “Insecticide”). I hear some of the same vibe and similarity of approach to lead guitar, the chord progression and the rhythm, to what I’m used to hearing on Insect Surfers records. And it’s a freakin’ KILLER tune – as are the next two, “Raise Hell”, another extremely pretty melancholy-but-happy quasi-ballad, and the sheer fun and energy blast of “Pool Boy Stomp”!! But then, I really think ALL the songs are killer, there’s no weak moment on this amazing album! It ends with the four bonus vocal versions of the songs which are a ton fun, but my heart lies with the instrumentals, so I better bring this review to a close. I’ve run out adjectives, anyway! A truly amazing job, Ferenc and the Pool Boys (and Girl)!!

Tuesday, January 4, 2022

Throwback 2011- Lazarus Longfellow joined The TomorrowMen

In September 2011, I joined The TomorrowMen. I was extremely excited to join the band, and in a burst of creative excitement, I wrote this official announcement for SurfGuitar101. I'm reposting it because I'm proud of this story, and also my time in this great band. I genuinely enjoyed playing with Danny, Tony and Steve. And, let's face it, Danny is a musical genius, and I went along for a wild ride! We played lots of shows, recorded their second album "Futourism," and toured Europe twice. If you haven't heard The TomorrowMen, please seek out the recordings at Bandcamp.



• Chapter 401, Who is Lazarus Longfellow? •

Lazarus was sad. His friends had left, again. He didn't know if he would see them in two weeks or two hundred years. The scientists, however, would surely be seeing Lazarus again almost immediately. He was always there for them. He'd get their message, show up at the appointed place (and time), and suss out the situation. He'd have a ground plan ready for the T-Men when they showed up, so they could quickly execute their research and move on.

This recurring scenario had become the story of his very long life. How long? He didn't care anymore, the decades and centuries had become a blur of boring politics, wars that solved nothing and lovers who withered while he remained, eternally, the same.

Laz describes his first real meeting with the TomorrowMen crew as accidental. He was hunting wooly mammoth, when four men appeared from behind a bush. They were ridiculously dressed in what he would come to know as pith helmets and canvas clothes that were better suited to a swamp safari in the 19th Century. Clearly they were lost, but he didn't know yet how badly. They asked him if this was Africa, and he mumbled, "I don't know, maybe." 

An odd green idol hanging around the neck of one of the men caught his eye, and he recalled that he had seen someone wearing the same thing years earlier, while watching a volcano explode. At that time, the man's clothes had matched his own.

Lazarus told the four men that he recognized them, but they said that was impossible, as they had never been in these parts before. He reminded them of the volcano and the shock registered on their faces..."How would you know about that? It happened almost one hundred years ago in a village far from here." said the leader, a man who introduced himself as Mycroft Eloi.

The last time Lazarus had told anybody his secret, he had been stoned, then drowned, and then burnt at the stake. When none of those tortures took, he escaped his village to explore the world, which was much bigger than anybody had imagined.

He decided to tell his story to the men, how he had outlived all of his family, and never grew grey hair, or felt a hunger in his belly. The madness didn't seem to scare them, and they whispered quietly amongst themselves for a minute. 

Dr. Kilometers took something sharp out of his pocket, scraped Lazlo's skin, and disappeared in a green flash, only to return seconds later. "It took a few weeks, but I had his DNA analyzed. Very peculiar, he seems to have perfect telomeres, so when his cells are reproduced they are without error. Imagine that his whole body is made out of stem cells. It's like he is constantly cloning himself". 

"He is, dare I say it," Dr. K paused dramatically, "Immortal!"

The man called Grommet X stepped forward, and told Lazarus to have a seat, what he had to say may make him dizzy. What a fantastic tale it was. They were time travelers, able to move about freely across the eons. "Scientists," he said, and another word, "Explorers," neither of which had any meaning to Laz. 

Then an offer: "We need someone like you. Someone who can be here when we arrive, and help us with our cover so we can move about freely and unquestioned."

"To make sure we're not dressed like dandies in the Pleistocene," interjected Quark Parsec.

"We need to make our observations without disturbing the people we study. If anybody found out about us or our ability, it would cause great harm to the time continuum" continued Eloi. 

Then Mycroft showed Laz a green idol (he called it a medallion) and put it around his neck. "When this lights up, it's us sending you a message. We'll tell you where we want to meet you, and what we need. Usually it's just some clothes or maps."

"Or guitar strings..." said the one called Dr. Kilometers. This phrase made no sense at all.

"And you must never tell anyone about us," intoned Skyles Angstrom with a measure of menace.

...So began the long working relationship between Lazarus (later Lazarus Longfellow) and the time traveling TomorrowMen.


For the Tomorrowmen crew, time was an exciting realm of exploration. Not so for Lazarus. Time equated abject boredom. He saw people make the same mistakes over and over. He had learned and used every sure fire pick-up line. He amused himself with current technologies. He had and kicked every possible bad habit. He saw the world. He invested a few dollars in every possible stock and never sold-- he made billions (and, yes, the T-Men slipped him a winning Lotto number now and then as payment for his services). 

Yet Lazarus Longfellow was utterly alone, unwilling to love again, and lay another to rest. His only excitement came when the medallion glowed green and coordinates appeared across the glass. Time, place, project. Laz flew into action, making preparations, travel arrangements, or learning a local language (sometimes the T-Men would give him 10 years notice!) He would show up and wait for them to appear, his old friends, including him once again in their scientific quest. On arrival, they'd be so familiar with him, as though they had just seen him, sometimes asking him about something he was interested in, but then remembering that it hadn't been invented yet. 

Lazarus would try to guess how much time had passed in their world. Of course the scientist aged; he had seen them with full heads of hair and bald heads as well. Laz and the T-Men had grown close over the years. After the tests were finished and the notes compiled, there was drinking and mayhem. Bonding like brothers, and then they were gone again, often leaving him only with a bar tab and a hole in his heart.

It was around the year 1960, by man's calendar, that the original TomorrowMen arrived in Southern California to study beach culture, specifically the great advancement in design of women's swim ware, known as the bikini. (This was the all important time trek where Dr. Kilometers and Gromit X first met Mycroft Eloi, who was working in a guitar shop. See Chapter 368 for details.)Lazarus was there, of course to facilitate their needs, and provide sunblock for the ultra pale scientists. But, the T-Men were more interested in the indigenous music of the local teens, known as "surf music". They were infatuated with it, and began to study it almost exclusively. Their meeting with Mycroft had changed everything.

Laz had never seen them so passionate about any other subject. They learned to play the instruments and songs. They bought the records and clothes, they did the "Surfer's Stomp" at the concerts. They seemed to forget about their mission, and wanted to stay in this time. Lazarus mulled a diabolical plan.

The TomorrowMen eventually had to leave and report their findings to whatever agency paid the bills for The Chronolab. As always, they promised to come back soon, and they craved more surf music. Laz would be ready. Unfortunately, they couldn't return until 2007, and by then, much had changed on Earth. Societal devolution and advancements in technology had taken much of the joy and fun out of music, and surf music was all but forgotten, of interest only to a small, underground group of fans. 

The T-Men were greatly saddened to see this when they arrived, and crest fallen, they vowed to leave as soon as possible. Laz had other ideas, and, quite literally, threw a monkey wrench into their plans, when he threw a monkey wrench into their time machine. It broke the Momentium tank, releasing all the precious fuel they needed to get back to their own time, the year 3000.

Mycroft and the crew were dumfounded when they saw what had happened, and yet, they never suspected their long time friend and crew member en honoraria was the culprit of the crime. He knew they were stranded, stuck, and not going anywhere until they could find Momentium, and element that wouldn't be discovered for a few centuries.

The T-Men were diligent in their research. They could not, however, work all the time, so they started playing their beloved surf music as a way to relax. Laz loved to listen to the group, and loved having his friends stay with him for an extended period. Eventually, two of the scientists, Quark Parsec and Dr. Kilometers had to leave to follow up Momentium research in other parts of the world, and the Tomorrowmen were in need of another guitar player.

Lazarus Longfellow's crafty plan finally came to fruition when Mycroft, Grommet X and Skyles Angstrom asked him to join their membership. He was incredibly happy, though his sickening greed gnawed at his gut. How long could he keep his black secret, while watching his friends toil away uselessly on their research?...

Stay tuned for the exciting next installment in the story of The TomorrowMen.