Category Archives: The Bongos

As requested by W. a nice compilation of artists who have recorded for Fetish records. From funk-pop to industrial. WKGB: were Morris County’s resident electronic duo, playing energetic synth-rock at a time when compact discs, techno-raves, and ecstasy were still years away. They began in ’77 when David Goessling and Dennis Kelley began experimenting with Kelley’s electronics at his home. Bruce Grant, a dear friend of theirs, heard one of their early jams and encouraged them to take it to the stage. Grant became their sound-man and got them their first gig, at the Stanhope House, as the opening act for a certain other band he was doing sound for. With just two EMS synthesizers, a guitar, two amps and a tape echo unit, all of WKGB’s equipment fit neatly into the trunk of a car, enabling them to effortlessly transport their sound to the stage. The Bongos: were a pop band active in the 1980s. They formed in Hoboken, New Jersey. The group grew out of a band called, “a”, which had included the three original Bongos and Glenn Morrow, who later formed the The Individuals and helped found Bar/None Records. “a” were the first band to play Maxwell’s, a rock and roll club in Hoboken. The Bongos recorded their early singles and their well-received debut EP for UK-based Fetish Records. 8-Eyed Spy: was an early 1980s No Wave/Post-punk band featuring Lydia Lunch, Jim Sclavunos, Pat Irwin, Michael Paumgardhen and George Scott III. They covered the Swamp rock classic “Run Through the Jungle” by Creedence Clearwater Revival and Jefferson Airplane’s “White Rabbit”. Their music was infectiously rhythmic and visceral, using throbbing bass guitar, lugubrious saxophone playing and Lunch’s petulant vocals. The band recorded only briefly, and released a live album. 8-Eyed Spy broke up shortly after the death of bass player George Scott III (1953-1980), who died of a heroin overdose.Clock DVA: one of a batch of groups forming the so-called “industrial” scene of Sheffield in the early 80s, Clock DVA’s first release was, appropriately, on Throbbing Gristle’s Industrial label. The cassette-only (until its re-release in 1990) White Souls In Black Suits featured Adi Newton (vocals, ex-the Studs; the Future; Veer), Stephen James “Judd” Turner (bass, vocals, guitar, ex-Block Opposite), David J. Hammond (guitar), Roger Quail (drums) and Charlie Collins (saxophone). However, there had already been three previous line-ups, including synthesizer players Joseph Hurst and Simon Mark Elliot-Kemp. In 1981, the band (with new guitarist Paul Widger) offered Thirst, available through independent label Fetish. With the ground for such “difficult music” having been prepared by Throbbing Gristle, the press reaction was remarkably favorable. Nevertheless, the band disintegrated at the end of the year, and tragedy struck with the death of co-founder Turner. Newton kept the name while the three other surviving members joined the Box. By 1983, replacements had been found in John Valentine Carruthers (guitar), Paul Browse (saxophone), Dean Dennis (bass) and Nick Sanderson (drums). A brace of singles prefaced Advantage, their first album for Polydor Records. The following year Carruthers and Sanderson departed, and Clock DVA continued as a trio. Though it would be five years before a follow-up, Newton was kept busy with his visual project Anti Group, The (TAGC), and several singles. Buried Dreams finally arrived in 1989. By the time of 1991′s Transitional Voices, Browse had been replaced by Robert E. Baker, of TAGC. The departure of Dennis left the remaining duo of Newton and Baker to record a selection of material for the Contempo label in the middle of the decade. Z’EV: conceptual artist, dancer, musician, scholar and poet, Stefan Weisser began playing the drums at age 4. Moving to New York City from San Francisco in 1979, and adopting the name Z’EV, his work with performance/noise percussion broke new ground and drew the attention of rock symphonist Glenn Branca, dancer Simone Forti, guitarist Rudolph Grey and just about everybody related to the downtown scene. These recordings from the early nineties were created in New York with the assistance of long-time friends and collaborators Wharton Tiers and Glenn Branca. Stephen Mallinder: (born c. 1957, Sheffield) was a founding member of Cabaret Voltaire, Sassi and Loco and the Ku-Ling Bros. While in Cabaret Voltaire he contributed lead vocals and bass. The Bush Tetras: were part of the New York No Wave/ Post Punk era in the early 80′s. Mostly female, like ESG, their basic punky funk mixed with chaotic rough guitar riffs is now quite hard to find as their limited releases on ROIR and 99 records have been hunted by DJs worldwide. 23 Skidoo: early compatriots of Cabaret Voltaire and Throbbing Gristle on Britain’s experimental/industrial scene. Named after a mysterious Illuminati phrase that appeared in the work of Aleister Crowley, William Burroughs and filmmaker Julian Biggs. Formed 1979 in London. Throbbing Gristle: The first real industrial group, the founders of Industrial Records and one of the most important electronic music innovators of all time. Growing out of the extreme performance art group COUM Transmissions, TG redefined music and laid a large part of the groundwork for all electronic music that followed. The Last Testament was released on vinyl by Fetish Records (FR2011) in 1983. This was the last release of the label.

Tracks:

1. WKGB - Non-Stop
2. The Bongos - Nuts And Bolts
3. Perry Haines - What’s Funk?
4. 8 Eyed Spy - Lazy In Love
5. Clock DVA - The Opening (Live)
6. Genesis P-Orridge - Introduction
7. Z’EV - Wipe Out
8. Stephen Mallinder - Del Sol
9. Bush Tetras - Das Ah Riot
10. 23 Skidoo - Last Words
11. Genesis P-Orridge - Introduction
12. Clock DVA - Remain-Remain (Live)
13. Throbbing Gristle - Discipline (Live)
14. 23 Skidoo - Hawaii 5-0

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