New Math

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Caught up with scenester Jim Buhlman (a.k.a. Del Rivers) last week; he shared with me a smattering of his treasure trove. Here’s a Dave Stearns article from January 16, 1980. While it centers on Penny Arcade’s “New Wave Mondays” it highlights New Math, Cappy and the Frenchmen, Bowery Boys and King Juke. Paul, I didn’t know you were in a band that wrote songs about French Poodles!

The Music Wave of the Future

You hear the music of the New Wave. Some people feel it, too. They talk about it, in its own language. To them, New Wave is no longer just a fad; it makes the earth move. Short hair and functional clothing are taking the place of the sprayed coifs and disco suits of the ‘70s and the long hair of the ‘60s. New Wave is streamlined for people with little money and lots of energy. Is this a music, a lifestyle for the ‘80s?
By DAVE STEARNS

Click here to read the article.

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L-R, Gary Trainer, Dale Solo, Paul Dodd, Robert Slide, & Kevin Patrick in front.

This photo was shot in the hallway at the Cox bldg around the corner from their second rehearsal room. Dale plucked the inspection tag off the fire extinguisher & hung it on his shirt. Back then Gary played guitar, as did Dale. Paul played drums, Robert played bass & Kevin sang.

They played shows that were months apart in those early days. Clubs didnt want them, they wanted Foreigner cover bands. The early version of the band with Paul Armstrong and Mark Schwarz was called White Riot, after the Clash single that was just out. They played one show in the hall of a dorm at R.I.T. that I recall being great, raw & raucus.

The first real New Math show was played in their rehearsal room. They played all 35 mins of what they knew in front of about 40-50 people for a show recorded & then played on WITR. (Anyone out there got that?) I still remember during the show Kevin calling out “Dale… Solo Lead guitar” at the solo of one song, as a cue.  And thats when Dale Mincey became Solo. Patti Smith was into her boxing phase so she was always talking about her “Trainer”. Gary taught Robert how to play bass, so Kevin used to put on his Patti Smith voice & say “thats his trainer…” Thats how Gary Tomaselli got named Trainer. Don’t recall the story about Robert getting Slide.

Before Scorgies, with its house sound & lights, you had to hump your PA & lights in & out of these clubs. The tiny elevator at the Cox used to close early, and so that meant carrying it all down & then back up 4 or 5 flights of narrow stairs. I don’t miss that. For sound, we had started with an amp hooked up to someone’s Bose living-room speakers and a 6 channel Teac tape recorder mixer, but then upgraded to heavy bass cabinets with horns that sat on top. In fact, looking at the photo above, I realize that it was lit with the stage lighting rig that Paul & I made in his basement.  5 floodlight sockets, nailed to a long board, with 5 wires running 50 ft to a little switchboard.  The club owners used to laugh at it when we set it up. It looks like we laid that socket board down in the hall & turned it on, resulting in those multi shadows growing behind them on the wall.

Scorgies was the only place to play, once that all got going. Those other clubs were something to get away from as soon as we could. Orange Monkey, yeeech! Penny Arcade? Who needed that? Big Daddy’s was a sort of mob disco, not a rock club at all.  They had a few shows, the Human Switchboard played 2 great nites there, with New Math opening. Electric Circus tried for a bit, having New Math a few times & also bringing in an early Pere Ubu show that was incredible.

Duane

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I grew up in Rochester but left for awhile. When I returned, I put a small ad on the wall of Record Archive which at the time was located in a small area next door to the Village Green on Monroe Avenue. I was looking for someone to play drums with and Gary Trainer and Kevin Patrick found my ad. The earliest version of New Math had Mark Schwartz on keys and Paul Armstrong on guitar. That lasted for a few gigs and the lineup changed. Gary and Kevin were always in charge.

New Math "Die Trying" cover - click for enlargement

New Math "Die Trying" cover - click photo for enlargement

The New Math single, “Die Trying”, got a lot of play on the Scorgie’s juke box. It was released on at least three labels and the photo above shows artwork for the 7 inch vinyl that was never used on any of the releases. If you click on the photo above you can can see a comp with the artwork pasted on a forty five. The double lines that arc over the hole created an optical illusion when it spun on the turntable. Without drugs you could see colors in the black and white label! I think you actually had to spin it faster than 78 to see the colors and maybe that’s why it was never used.

I was working as a graphic artist at Multigraphics (in the same block where KrudCo now is) so the artwork for the single fell into my lap. I think Kevin found the design that we used for the front cover in an old art book and I recreated it. In the photo you can see Robert Slide and someone else in one of the small photos on the desktop. I was thinking that Robert took this photo but it may have been Corrinne.

The back cover of the sleeve went through a few revisions and someone had the idea to have each person in the band contribute a two inch square piece of art. I seem to remember Dale never getting around to submitting his piece so Gary suggested that I put a zero in there. I could have that all wrong. Maybe someone else remembers.

The first release was on Reliable Records in England. Howard Thompson produced this single with Dwight Glodell engineering at PCI studios, across the street from East High. Howard went under the name “Howard le Canard” for the deed and he was instrumental in getting it released on this London label.

I had already decided to quit New Math before going into the studio but I waited until the recording was made before announcing my intentions. The same night we recorded these songs Peggi was at Max’s Kansas City for the Cramps and I really wanted to be there. Bryan Gregory was still in the band and we were crazy about them. All we had were two purple and green Vengeance singles (both produced by Alex Chilton) that we had picked up at the House of Guitars. The HOG kept the import and underground US singles in a locked cabinet upstairs in the hallway and you had to get Greg from the Chesterfield Kings to unlock it if you wanted to paw through the offerings. I remember picking up three early Pere Ubu singles and an early Devo version of Mongoloid and all sorts of great stuff .

I met Kevin for lunch and a Heineken at the old Manhattan restaurant near Midtown and told him I was jumping ship. I had a great time in this band but I wanted to do something different – like make music with my wife (you know what I mean). Peggi sings, plays sax and keys and we formed the Hi-Techs not long afterward but that is another story.

New Math Die Trying covers

New Math Die Trying covers

Die Trying was re-released on CBS in England with the same b side, “Angela”, and eventually Dick Storms released it in the US on Archive Records. This last sleeve was designed by Duane Sherwood and it had a different b side, a Dale Mincey song called “(I) Can’t Get Off The Ground”. New Math did a gig with Human Switchboard and Dale eventually married their keyboard player, Myrna.

New Math at the Orange Monkey 1978. Robert Slide - bass, Gary Trainer, guitar, Paul Dodd - drums, Kevin Patrick - vocals, Dale Mincey - lead guitar.

New Math at the Orange Monkey 1978. Robert Slide - bass, Gary Trainer, guitar, Paul Dodd - drums, Kevin Patrick - vocals, Dale Mincey - lead guitar.

A few weeks ago I was talking to Gary Trainer at the Village Gate Courtyard between Margaret Explosion sets and he was saying how lucky we were to have a place like Scorgies. We were trying to recall some of the places we played before Scorgies opened. The rock clubs mostly had commercial hard rock bands at the time and you needed a manager or booking agent to get you into the clubs. We worked with Jim Armstrong and even gave him credit on the single. He had some rock solid advice that stuck with me like “don’t let the crowd hear you tuning up (or playing anything for that matter) before you hit the stage because it spoils the performance”. NRBQ did this better than anyone by running on stage and starting as soon as they touched their instruments. Howie from Six String sales booked some club along the river and we did business with him too. Pelican booked bands at the time and Penny Arcade would book an original band but then have the bartenders wear t-shirts that said, “Punk Rock Sucks” or some such nonsense. Like they would know. They were in cahoots with the ultra conservative, formerly “underground” WCMF at the time and they did everything they could to hold back change eventually giving in to playing such “adventurous” new music as the Cars or the Pretenders.

New Math at the Electric Circus on Dewey Avenue in Rochester, NY

New Math at the Electric Circus on Dewey Avenue in Rochester, NY

We played the Orange Monkey out in Henrietta and the Electric Circus on Dewey and Big Daddy’s on Lyell and some place that Howie booked along the river. Scorgies was better than all these places by a mile. They had their own sound system and lights. All you need are these two things, an empty room and a bar and you have the perfect rock and roll club. I played with New Math for a year and a half and but had already left the band before they played Scorgies. The Hi-Tech and Personal Effects played there many times with New Math and we are all still friends today.

New Math got along fine without me. Bobby “Bam Bam” McCarthy played drums for a while and then Roy Stein joined. They released many more records and eventually changed their name to Jet Black Berries. When I saw Gary, he had a bunch of old New Math posters that he was giving Tom Kohn to scan for the Scorgies site. They should be up here soon.

Listen to Die Trying
[audio:http://scorgies.com/blog/mp3s/NewMathDieTrying.mp3]

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Jim Malley (of Mercury Posters) is putting together a band flier show at the Record Archive, opening September 4th. While going though my archives, I found this New Math handout; it dates back to the release party for New Math’s “They Walk Among You” on March 12th, 1982.

I guess if the reunion had actually happened I would have had to cut the coupon out of the bottom half. If I had actually put this in my wallet, it would have disintegrated!

Coupon passed out at Record Release Party for "They Walk Among You"

Coupon passed out at Record Release Party

And Duane, you’ll have to confirm this bit of trivia… wasn’t the video for “They Walk Among You” shot on the Pittsford Sutherland High School stage using the set from “Bye Bye Birdie?”

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Two of My Favorite Shows – The Cramps – Summer 1980, & Summer 1981

(above – stage plot & set list from Summer 1980 show)

The Cramps played Scorgies twice. In the summer of 1980 after their first album Songs the Lord Taught Us came out, and a year or so later for their 2nd album, Psychedelic Jungle.

Several weeks before the 1st show, their fuzz-lead guitarist Bryan Gregory had backed a truck up, loaded all the equipment into it, and disappeared into the night to join a cult in San Francisco. I think it was a long time before they saw him again.

They replaced their equipment and recruited a woman guitarist for the tour named Julian Griensnatch. The Scorgies show was her second gig in the band. The set list is reproduced here, along with the stage plot for their equipment. You’ll notice that the name of the lead guitarist is left blank, she probably wasnt hired yet when they drew it out.

New Math opened the show. Once the Cramps hit the stage, they lived up to all the rumors that had preceded them. Wild & furious, they played songs from the album as well as their Gravest Hits EP & indie singles.

At one point I yelled out a request, “Surfin Bird…!!”

“Surfin Bird??!” Lux immediately shouted back, “I’ll show you a Surfin Bird!!” and with that he pulled out his dick & swung it around for a second before tucking it back into his stretch pants. Pretty much shut me up from requesting anything else that nite.

Don Scorgie had just recently hung a new suspended ceiling in the whole club. Onstage however, the new ceiling was within striking distance of anyone raising their hands above their head. Lux punched straight up into the air once, and his fist went straight thru the ceiling, breaking a tile. That was all the invitation Lux needed & he began slowly pulling sections of it down by its thin metal frame while he sang.

Don stood at the side of the stage turning red with anger. He began punching the brick back wall of the club with his bare hands. The Cramps ended their show & Don bounded up onto the stage with fists clenched, daring anyone to applaud. Then he started punching the Cramps tom tom drums, trying to put his fists thru them. There was no encore.

Shortly after, Don removed the section of the suspended ceiling over the stage, which made it easier to hide the front stage lights.

That nite, Kevin & Gary from New Math invited the Cramps back to the house they had apts in on Merriman St. True to the Cramps legend, a bat flew into the apt while they were there. Lux caught it & humanely released it out the kitchen window. True story.

Eric Nelson got in touch after reading this, & emailed me the following great pic from the show. He reminded me that Lux had smashed 2 beer bottles together, shattering them & cutting himself on the chest. I remembered it immediately, and even recalled asking Ivy after the show if Lux was alright, with her replying “oh, he does that stuff all the time…” Thanks Eric.

Eric Nelson's Cramps pic 1980

Eric Nelson

++++++++++++

The second show, a year later in 1981, was another crazy event. I think the way it happened was Danny had originally booked the Cramps into some bar restaurant out in Henrietta that was starting to have bands. Something happened at the last minute and that place cancelled. Danny moved the show to Scorgies (I think he was also booking Scorgies at the time). Don wasnt very happy about The Cramps coming back to his club. The Cliches opened that show.

Having met them the year earlier, Kevin & I went down to Scorgies in the afternoon to see them soundcheck. They had arrived & their equipment was set up but the band was nowhere to be found. We stood in front of the club trying to decide what to do when the funniest site emerged. The Cramps had been up the hill & over on St Paul, so they were walking back to the club. During the Psychedelic Jungle tour, Lux wore his jet black hair combed & sprayed straight up like a voodoo god from a 1930s horror movie. It stood up over a foot above his scalp. The first thing we saw, looking up the hill from Scorgies, was Lux’s hair bopping up & down as they crossed St Paul. Everything else was out of view. We stared at it for a few seconds as the rest of Lux & the band appeared.

Their new guitarist was Kid Congo Powers, and he was sick. Not only in the Cramps sicko-rockabilly way, but intestinally as well. The stage was covered with fake cobwebs, burning votive candles, and deep green & blue light. There were skulls sprinkled around the drum kit. The brightest thing on the stage, tho, was Kid Congos bottle of Pepto-Bismal which was glowing bright pink as it sat on his amp. He was swigging it all nite.

The show was great, with that heavy druggy “Sit right down and make yourself uncomfortable” swamp vibe. Lux’s hair standing straight up & Kids hair standing straight out. Both effects courtesy of the case of industrial beauty parlor spray I saw in the dressing room. Big cans, like spray paint, totally toxic looking with a generic gray label. Ivy said they found them in a beauty supply wholesale place in the south.

They opened with Don’t Eat Stuff off the Sidewalk, and played most of Psychedelic Jungle, including The Natives are Restless, which they never play anymore. They did Drug Train, & a lot of earlier stuff.

That second show was also not without incident. Someone stole the bands new digital guitar tuner, and then their next day transportation plans to Ohio (the next gig) evaporated, leaving the band stranded in Rochester. Kevin let them use his credit card to rent a car and I took them shopping at a 1950s interior furnishings store I knew down by Bulls Head. That day cemented what became a long term friendship that resulted in Kevin signing The Cramps to his Medicine Label at Warner Records, when I worked there with him in the early 90s. We made the album Flamejob with them.

If anyone has great pix from this show, email one to me at info@click2vu.com & I’ll post it here.

Duane

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