The Show Before the Show

Sunday, March 16th, 1997

The chill groove strutted across the bar wearing a thigh length, camel colored, cordouroy top coat, wearing its lapel up, protecting its neck from the winter's chill. The groove's gait came across in measured steps, each punctuated by the beat; a rhythmic 4/4 on your metronome at home, Bone. The coat hung beautifully from this groove's muscled shoulders, drapping down the front concealing his defined chest. This acidic, dope-ass, trippin groove had a compact physique, ripped with muscle, vein, soul, and old school flavor.

1) Mysterious like Batman, the way Greazy Meal appears and disappears out of no where. The General put on some syncopation to compliment the beat from D.J Jezus' mix. Tommy's had a wand of insense sticking out of his mouth like a cigarette from a fancy holder. You can smell its spring, feminine-like fragrance spreadin' round the crib, proving that The Greazy Meal Experience appeals to all the senses (yes even taste, of which I'll prove later).

Jimmy steps to center stage enunciating himself and his basswork. Standing next to Papa G, Jimmy completes a jazzmatic duo. The band takes a changes up to a Hancockeque key. Herban Spices adds the soft keypad clap- in. Now listen a bit more closely and you hear Kenny's thap- tapping. Papa sounds great on the alto soulo, then Thomas Akeyness. Then I notice Straw's wick- shaka. Anton's bass sound steps forth with great presence. As a note to my fellow Greazies, and even all the wannabes, we didn't give enough props and support to the solos. Usually by mid- gig, when the 'Booze is more filled out, the show of support for solos is better. Unfortunately not enough people practice proper musical etiquette when our musicians are soloing. Applaud their efforts to entertain us, when their solo is through, especially if it was well done.

My curiosity and nosiness has the better of me as The General and Kenny C are conferencing 'bout somethin' during Anatomic's Space breakdown. What were they saying? Somethin' bout the groove, the gig, maybe Texas? The shit's got me wonderin'. Cool, futuristic space vox by Spicealitious Aluitious Jonesbaby, manipulating keys,synths, and pedals. Another great key change. I hear the rhythmic, metallic "Bonk" of the cowbell, and Tommy's keys are mooing "Weeerow". Jimmy cooks up a batch of "Shortbread", which he later informed me was modified straight from Ornette Coleman. The General and Kenny brokedown a little sumthin' (possibly the result of their conference?), then a few more biscuit bars from "Shortbread", only this time Greazy makes a great little ditty out of it. I'd be curious to know what Spicenvertux was saying into the synth vox amp?

Now Tommy, followed by the rest of the crew, follows Papa into a note- for- note romp. Check out the right hand side of the stage and you'll find "Strawfish and Spicey" (any Prince fans in the house?) with a smooth back-up dancing, straight out of Motown. Damn! Where, when, and how was this jam created? I ponder while Greazy breaks into The General's REAL showcase, very Bonhamesque in the sense that this drummer can carry a creative drum solo with all the melody a solo could ever need. We all know that shit ain't easy, but we all know that "it ain't easy bein' Greazy". Great solo Dave! Straw and Jimmy came in on great blues notes. Again, what's Spicy T saying into the voice amp? A couple more nibbletts of Shortbread, crumbs were still scattered, and the groove got right to it . . . .

2) Inner City Blues (Make Me Wanna Holler)- By Marvin Gaye

The slow-souled, spirit of this groove comes in as a trip. Julius is on tonight, and you can tell from the excellent height on his vox from "skyhigh" (as in "bills pile up"), and "send that boy off". Then Julius got the nerve to continue with great vox on the whole 2nd verse! There's another bridgin' key change, taken to a rock hard level. Papa had a great solo. Tommy tossed a doorbell- like chime into the last verse, as the Greazy grooved smoove into another rock hard chorus. I repeat, "Mars Needs Women!� And Jules has great vox! Tonight's lead vox feel passionate. Great vocal breakdown for song's ending.

3) The Fez- by Steely Dan

Great guitar work by Strawbecker. Vox sounded a touch south chorus' "Be your holy man". Coming in on top of the notes is so important for any vox, in order to keep from getting flat. Again a great solo by Strawbecker, and Tommy's got nice keys on the verse- post Straw solo. Then right into Papa soul from chorus. The keys give this tune showglam and showglitz/ "schmaltz" (That's literally "chicken fat", for all ya'll non-Yiddish speakers); just like Steely does it! That's how tough Greazy is. They cover the covers with respect to their origins, but giving it the Greazy flava' too. Jimmy followed notes really well on Papa's soul, and let me tell you, Papa was workin hard! His face was all red and puckered as he played his ass off.

4) Lovely Day - By Bill Withers

"Been a beautiful week for the Meal. 1-2-3 "Awwww" ." Nice bit of rappin' with the crowd by Dr.J right into the 1st verse. Great keys during verse, with the chords constantly moving. Great guitar follow chords after 1st line of 2nd verse. Nice move into Papa's solo. Vocally, souloy, and musical Philly-wise, this piece has immense strength. As we segue into the next jam, try to feel what the band feels, and what Greazy wants the Greazies to feel.

5) Got to Give the People - By The O' Jays

The band gets right to it, and I realize that fluidity from piece to piece has been noticeably absent the past few weeks. Maybe Greazy's exhaustion from the travel has forced them to strip down the show aspect, in favor of straight player playin'? Funny, but straight up is what "the people want". Well tonight, Greazy's givin' it. Curiously thinking to myself, what does each band member think of during this jam, and what does the songs symbolic significance mean? I just heard some reviewer on VH-1 talk about the songs's meaning to the black community during the early seventies, and how great the song was for capturing that mood with a pressing, soulful vibe. Tommy's electronic solo was just screamin'. As always, great vocal breakdown, into The General's snare builder, into lights coming alive (nice work, John!), into band coming alive with a flash!

6) Use Me - By Bill Withers

The General's up and outfront on the Cuban Fish, with Strawrimmer back on the set. Musically, Julius' vox sounded great, right on top, but the lyrics weren't enunciated very well. Then Julius called out "2nd time" to the band. And this meant? Drummer switch at 2nd verse. Man, everybody's funked out over this one, and color don't give a fuck neither! Great solo from Pops. Scorching! Beatbox and woodblox sound great, and Papa still wasn't done. The Grunts and "Keep on" by Dr. J sounded wonderfully primitive and natural as he's joined by backup "Keep on usin' me!!!" ("me" done with a little sly slide). Straw with a solo post- 3rd chorus. Hell, I didn't even notice Spicey on the extra set. Superbad, man. I mean the whole thing was just out- of- sight! Great ending with breakdowns.

7) Away Delilah - By Greazy Meal

Curious- what makes The General put a headmike on for this song? Vox, I guess. Funny, but before the gig, I was chatting with Kenny and he preempted me with his and Julius' nose colds. In spite of what that should do to his voice, Julius sounds as good as I've heard him, notewise, in quite some time. He's also feelin' it, which makes for Top Julidog. Nice blues solo from Straw; concise. Does Spicey's Cuban Fish sound great with percussion, or what? Great soliliquy about himself, by Julius, trippin' all kinds of soul. I love this band's tightness. Papa's smilin' huge because Julius is jumpin' high-fly away.

8) The Bullet - By Greazy Meal

Watch Julius' eyes. Tell me, am I imagining the despair in his eyes, sad from another child senselessly laid to the ground as another victim of gun- related violence? That's the emotional pitch you have to find in your gut to capture the mood of a song like this. Papa's got his hippin' groove on for the flute solo, as the tempo builds, pace picking up into "It used to be back in grade school" verse. Kenny picked skins over tamborine (say it like Prince) on the last "plant me in your garden" line. Julius' scream, during the last bridge ending, sounded unbelievably flutish.

How's this for democracy in Greazy America, Kazoos or not? Without the 'Zoos, we'll skip $$ and move into . . .

9) Ain't No Fun - By Graham Central Station

I love the vocalless section where they play the verse notes without vox. Tommy gets all phat, giving a nice twist to the solo section. Is this a different beat than usual, to the "sit down" section? Greazy Meal's puttin' on a jumpin' good show acrossed the stage. Julius says "Come on, now" before jutting his chin out in a menacing way, getting harder and tougher on the groove. Great ending, as we all got jumpin' up and down, and out of breath.

Set Break

10) Suicide Carpet Ride - By Greazy Meal

Are the first set of lyrics somethin' like "I want an answer when I call you"? Sharp harmony vox on the 2nd line of the 1st verse. It looks like the band has fun with this tune, as evidenced by Kenny wildly smashing The General's cymbal with his tamborine (by now, I expect you know how to say it). Great rimshot breakdown, into rock float section, pre- Tommy solo on synthesizer. Then Dave "The General Anania" went drum- nuts into the 3rd verse. Strobe lights, added to the musically frantic ending, was definitely suicidal.

11) Highlife - By Greazy Meal

"Welcome" to Kat Sway and The Mistress Interpretess. Hop scotch, sugar daddy shuffle by Pops, right into his solo. Nice rat,tat, tapping by Kenny C, leading into Kenny's solo. He's accompanied by Tommy on some fierce sinclavs. "Jimmy, take it Jimmy". Encouraged by Julius, The Atomic Anton thumped around leaving nothing but a musical, vibrating mushroom cloud in his wake. Then Julius got the crowd riled up with chants of "Jimmy" (said Ji-May on every beat to the measure), as Jimmy's solo gave way to Governor Papa G, moving furiously, in a hip- hoppin' rhythm for his constituency. Julius did a band leader's job bringing the crowd into Anatonic's solo, and then bringing Papa G into the mix.

12) Funkytown - By Lipps Inc.

Hey, nice glasses, Dirk. After the break into 1st chorus ( "talk about movin' ") Jimmy had this bass part where he fell up the neck of his guitar. Great rhythm on breakdown pre-sax hop around that jacks just before Spicey's rap. I remember a version of Funkytown from Sunday 3/2/97, also at the Cabooze, that lacked any energy or excitement about it. In contrast, tonight's energy was tremendous. The neon beer advertisements, the stage lights, the fans, and even the band seemed to pull their energy from the electric town where everybody funks. In retrospect, it was a perfect time for such a high- energy tune, as this evening's vibe was just getting started. Between songs, as the rhythm section for Greazy Meal laid down the tempo for the next song, Julius talked openly to the crowd about the journey to Texas for the

13) Pusherman - By Curtis Mayfield

Nice chicken grease and key skippin' during the 1st bridge, by Strawberry Barbarella, respectively. Cowbell and new tempo begins Kenny and Dave's solo with Kat and The Mistress. Jimmy was there too, ya know. Tommy pitched in on rice shaker. Great echo vox for props, by Julius, to Kenny. "He's takin' me high" falsetto echoes eerily from Juli, as does an all too cool conceit in "You know what I am!". Great Papa/Jimmy duo after last chorus. Tommy tossed in show keys straight from a funky bad, 70's Vegas show band. Damn! Superhard ending, boys.

14) Rich Girl - By Hall and Oates

Tommy's keys foretold of the coming greatness, from such a well- appreciated cover. Everybody in tha' place jumped on the melody vox from the very edge. Papa had a great solo. I see a dancer that's not a regular, yet she's taking stage as if she's gettin' paid to do it, the way Kat and The Mistress are gettin' paid to dance center stage. Is Greazy etiquette being breached? Maybe someone should write a Groovin' With Greazy Ettiquette manual.

15) Urban Herbalist - By Greazy Meal

Nice shift into key change at the chorus, pre- rap. Spicey's all bad lookin' as he raps about his blues gettin' to The Festival. Spoke 'bout his pride bein' lifted ever since he returned from Africa. "G-R-E-A-Z-Y, We are a part of the Sunday night tribe." Then Spicey and the band did a great job of gettin' the crowd enthusiastically supportive of the rap&rap-back section. I've never known what to think, but musically, what does the space section, post- rap mean to ya'll. What/Why was it 1)Put in 2)put in there? Johnny Straw rocked some Page-esque guitar jam that had a definitive tune, with a melody I don't remember much at all. All I know is that it led into . . .

16) Vitamin U - By Greazy Meal

Tha bass and the space is heavy-assed, man. This recommended dosage of "Vitamin U" is noticeably more rich in texture than previous versions that I've heard at the Cabooze and other venues. I think the result is from Spicey's voice-amped keys and Anton's space bass. "Old fashioned melodies" were particularly great vox by Jules. Also great short synth by Thomasino. Du Fontaine.

17) Old Soul Cafe - By Greazy Meal

Jimmy hit his Bassic free throw at pre- 1st "life was good . . .". And then the amplified voice came crackling across the stars through the old transistor radio, "Houston, We have contact!". I had made decisive visual contact with Julius, and possibly John Straws. These are two of the last three band members that I really don't have any kind of rapport with. My enthusiasm, "spastic" if you must say it, for Greazy and their vibealicious groove caught Julius' "performance attention", and Straw might have also seen me bouncing up and down, positively uncontrollable in stimulation from The Meal. So, Papa was soulo greazy into his grease rap, great fat raptrap by Spicealittle. Great solo it was, but again, Papa G didn't even attempt for the loose ball, much less dive for it. Meanwhile, Tommy's gettin' pretty damn tough. Great face- to face dance between Spicey and a kissy- faced Julius. At the end of the song, upon riotous approval from the crowd, and in recognition of our connection, Julius said "We see ya up there kid! The kid is up there." To which Kenny emphatically trumped "The kid is definately up there!". There was a pause as the band's members communicated something to each other. The result of their communication was . . .

18) Kid Charlemagne - By Steely Dan

I'm so overwhelmed with feelings of pride, gratefulness, excitement, and validation, that I can't even hope to capture the technicalities of Kid C. Straw took an excellent solo, this I know. Papa was smokin', pumpin' out notes from a perfect Charlemagnesque scale. Then The General? He added this extra drum fill; following the studio version so precisely and sharp. The last chorus bled into a great soulo by Tommy B. Really the whole ditty was fuckin' superior!

19) Unfaithful - By Greazy Meal

Great screech by Julius on 2nd line of first verse "HOW will you get where you wanna be . . .", as if he's almost unnerved by your faithlessness. The snare was used well by The Greazy General. My, my how I love all these damn flute flies.

20) I Can't Wait - By Greazy Meal

"Let the congregation say 'Amen' !" Tommy was playin' the shit that gets ya' high as an angel. Fast fingers and I believe, as supernatural as it may sound, Tom Tom and Juli spoke to each other on a plane we won't know this time. A moment it was, fleeting, from Greaze to Greaze. Fantastic vox by the crowd on the chorus pre- 1st verse. Great jazzhand (showhand) being rattled over Papa's solo, by Kenita Chastaina. Then we returned to the chorus, building a sweet-souled revival just of the banks of the Mississippi. It sounded like Kenny joined Dr. J on the lead vocals, breaking off from the harmony vox till the song's end. Just a wonderously Greazy response tonight.

Who can laugh most sinister? As each band member attempts his own sinistereo, Papa creatively fluttered a laugh through his flute into a great improvisational funky beat boxin' . . .

21) Beat - By Greazy Meal

Spacey Latin rhythm at the 1st verse, giving this tune such a punctuated texture. It's loose and decisive all at once. The groove paces awn nan awn, so perfectly danceable at the bridge ("Where's that confounded bridge?") "So the beat goes on". Great call and response chorus between Julius and the back up singers. Julius pushing everybody to "Beat up!" to which the back up chimes "Beat!". Just another example of the little things that give your listeners something to touch in at least every bar of every measure. Anywho, Tommy souled all over 'da house, scrubbin' 'the dishes, messin' the floor, you know, workin' it all out. Then Papa's flute pops in after Tommy with a new, spacier beat. Then we keep tempo, moving right into the 3rd verse. We got sum' great melody work by Strawdaw jukin' "benow, now, wow". The Straw was stirrin' hard and well (or is that shaken, not stirred?). "Beat" is just a great song, period. I'd love to know what the lyrics are, and then learn what they mean. Are all natural cycles the reason that "the beat goes on"?

Silence stood tall and proud in the darkness of The Cabooze, soaking in the crowd's noisy approval of Greazy's work.

22) One Man's Dream - By Greazy Meal

Nice Bassic Antonoic start, mellow jazz guitar touchbrushes by Johnson Strawers, Shaka-"tamborine"- (Say it right!)laka- dirkwaka by Kenitronjenix. Super bad ALL around! Great short-sleeved chaka by Straw, and some amazin' vox by Juli. By the time I'm dun "Naw, naw-ing", I'm all out of breaf, super dopey, better than ice dream, tough assed evening, fellas.

The applause roared recognition and grovel all at once and Jay asked "Is this sincere?" ?? And all I could reply was . . . "Seriously?". I thought he was monkeyin' around, but I hadn't seen diddly yet.

23) Everybody's Got Something to Hide Except for Me and My Monkey - By The Beatles

Strobe was jumpin' oh so high! The Mistress was drawing more evil to nigh!

Jimmy plus Kenny hip- hopped into "America" from South Soul Riverside! A great Prince, I knew that it was! Patriotic but missed, 'cause it was too damn much! I dreamt saxes were thrax- axing, and Kenny hammered the last guitar waxing! A chord new someuntrue, plummeting down if we're through, I thought we were through, 'til . . .

24) Good Times, Bad Times - By Led Zeppelin

The Crazy Cushions Were Comin' OFF - By Spicey T
The Bass Was in My Face, in Displace - By Jimmy Anton
Straw Solo - By John Strawberrious Fields
Stripped Down, Julius Was Jus', Plain, Nasty! - By Julius C. Collins III

The Doctor was done! Dr. J dropped the mike authoritatively, as if he had no problems admitting what an "undeniably wonderful show it was tonight! Any questions? Well, think long and hard about this evening . . . and sit on it, sucker!" And what was the exiting schtick tonite? Spontaneously strum, kick, bump, or jolt Straw's final guitar chord, prolonging the groove for just a bit longer as each band member exited the stage? 'Tis truly, as they say, "Greazy Meal. . . the force that pulls you closer" (They=Michelle&Gay).

Much love and respect,

Kid Charlemagne