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.
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.
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.
