User:Thesteamingpigs

https://www.bitchute.com/thesteamingpigs/

https://www.youtube.com/channel/UCFXRsvDsK9jp6lIM8Tmv5Qg

The Steaming Pigs are an audio artists collective designed by its members and funded through contributions. Its primary input sources from nine different artists who spend their money buying gasoline, subway tokens, train tickets, toll fees,  jet fuel and electricity, bagels, doughnuts and bow-ties, hummus, vegan cream cheese and sausages to make The Steaming Pigs happen.

Ancillary disbursements towards consensual human reproduction, nourishment expenses, repairs, materials, repairs, strings, equipment, party favors, housing, creative spaces and communications, cannot be estimated due to cost overruns incorporated with lifestyle designs. For example, Richie O collects rare musical instruments for fetishment, recording and resale. He travels thousands of car miles to find his stash and may jet to Alaska from NYC as needed. Thick Stick Johnson utilizes airport food and pumps rumps frequently. He travels on a planetary scale.

Slackmaster G insists on Irish Tape technology, travels thousands of miles to bring home the bacon. Pork Bottom Jones initiates grilling and feeding through home-made food construction. KB enjoys snowmobiling. Fishfoot collects and reads rare books, and Funkenstuff provides intangibles, hikes Haleakala every day. These characteristics fuel the artistic motivations that become the music.

The Steaming Pigs do not record their audio using the internet. All tracks are recorded at the respective studios of each participant, in real time with occasional punch in technology. This projection utilizes none sharing of devices, in order to delineate the capabilities of each individual studio. Some instruments are brought to different sessions, but are infrequently shared or used by guests. The exception being Slacks’ Black 1972 acoustic Yamaha Guitar, the extremely rare but well received midi combinations of O and Stuff, and various snare drums. Almost all of The Steaming Pigs sonic output is entirely spontaneous and recorded autonomously, as whoever is engineering is also jamming.

There are many outside projects combined with The Steaming Pigs but core tracks are captured at Pigmeat South, Pigmeat North, Joan and Bobs, Pigmeat West, House of Squatch, House of O, Electrosound, Phils Pad, Se-Air 2& 3.0 and House of Pork. Various tracks have been recorded and worked to completion at Criteria, Gung Ho, Coconuts, Sprout City, Studio Apocalypse and The Plumb Boys. Additional sessions in various NYC rehearsal studios have also been captured and then edited.

Most of the post production is done at House of Slack and House of Squatch and House of O. If something is sitting in the can it may get revisited, but there are no business directions or acting big oversights running the output.

Johnny Blade administered primordial production in various top notch studios and he was indelible with protocol regarding what are acceptable edits and outtakes from sessions..

His dismay at Pork asleep on top of Joan’s washing machine is legendary. One cue from Blade and Pork seamlessly popped back in to the time space and flawlessly outpoured the vocals for “We Aint Got No Hope”, before Blade could engage the record button.

There is no chronology to the Pigs released output, as different sessions worked with different amalgamations. Sausage experiments worked within the music to coalesce ideas from different sessions..

ORIGINS

The Steaming Pigs originated on the North End of the Florida Everglades in 1979.

The four founding members were working their way through gym class in the local public high school, decided that toking up at lunchtime and then pumping curls and carrying one another fireman style up and down staircases to receive a passing grade was a poor substitute for smoking Cannabis, experimenting with Led Zeppelin covers, Mahavishnu aspirations, and freshly produced LSD.

Primordial Slackmaster G gift wrapped his own excrement and surreptitiously placed the highly perfumed yet still funkily wafting package on his teachers’ desk. He was escorted from public education shortly thereafter and received a general education diploma.

Thick Stick Johnson continued to carry Pork Bottom Jones fireman style up and down three flights of stairs and received an honorable discharge/diploma.

Pork Bottom Jones denies that he did not carry Thick at times, but that is in dispute. Pork graduated honorably and left the United States to pursue an artistic career in the country of Panama.

Johnny Blade also left the public school system and received a general education diploma.

In the interim of youth, The Primordial Steaming Pigs were in separate entertainment acts, designed several musical entertainment avenues and impressed the local populace with sonic  light shows that culminated with the local police beefing up for a crackdown and shutdown of Porks’ residency at The Prado.

Pork supplied a bullet pointed memo defining The Prado Act- Times Edge- as an outgrowth of his bassistry and vocalization of psychedelic covers, accompanied with guitar by Rick from Chile- and later Pork expressed a band named Exodus with Tracy on guitar-highlighting a series of drummers including “Rick the Dick”.

Scarlet Rex incarnated post Pork and initiated Blade, Thick and Slack infused intensity. The Black Rows was the actual primordial Steaming Pigs, but Pork was let go. So, the band changed its name.

Blade swapped rhythm guitar for bass and Scarlet Rex began the acting big prognostication that outlined human advancement through sonic intensity. Ideas began to manifest and the outgrowth became the comfort zone of a realized artistry. According to Pork, these were friendly times without competition or animosity. Getting high was more important than quantifying chop infested avenues throughout Technical Town.

Soon after The Black Rows parted, Pork and Tracy were busted for hash and had to do community service. Scarlet Rex would find Blade and Thick busted for pici. Slack lived with a Cop and experienced daily HEAT JONES madness.

Some of the named entertainment ideas presented and swirling in the backwater, deeply rural scene are redacted due to lameness. Von Segerens Band and the odd moments with Duyos are welcome in the Historical Records of Pigmeat, although TSJ dislikes the memory of ill fitting publicly displayed accouterments upon Duyos.

Thick matriculated into bigger and badder venues, heating his Mitch Mitchell riffs to get with Steve’s girlfriend, unsuccessfully.

But in the freeform style of the times there was no cohesive identity that got big time sonic commercial recognitions.

In the last days of Scarlet Rex, sanguineous violence erupted around the lackluster performance. THE HEAT came down, breaking the social interactions, and Pork was mugged on the way home from the show. Only to be chastised by his parents for deserving to be clipped by a truckload of ruralites-due to his level of inebriation.

This seemingly benign way to get freeked out and laid reality, intercepted by redneck monster truck  mobiles full of violent ruralites and HEAT JONES that crawled through tall weeds to bust kids smoking hash, paved the road for future public expressions by The Steaming Pigs.

FIRST RECORDINGS

The very first recording of The Steaming Pigs was done at Miami Dade Community College as a school project for Johnny Blade. Pork, Thick, Rick from Chile, and Dorothy sessioned with Blade to get Porks’ ideas recorded. There is no known copy of those times, although Blade probably has one stashed somewhere.

Pork travelled to New York City and hit the record shops, picked up obscure vinyl including Syd Barretts solo releases and returned to the swamps of Northern Southern Florida. In unity, the core of The Steaming Pigs renounced public expression, checked in to spiritualism, studied vinyl, tripped, and in the last days of youth performed tributes to Syd Barrett while giving free LSD at the door to the show.

In time, other shows came and went, but the core experience of being able to simply Freek Out had been done.

In the defining years, Primordial Slackmaster G and Primordial Thick Johnson recorded “Boogie On The Streets” as a seminal expression of their pre pubescent friendship-today, the recording exists in Slacks laboratory and is studied by research assistants to determine the molecular connections of DNA, Irish Tape and the effluvium of discharge running beneath the streets of PigMeat City.-

Primordial Slack and Primordial Thick each received music lessons from aged masters, studied vinyl records and toked hard throughout their progressions into post primordial awarenesses. They worked with several bassists and performed with various local musicians. Pork may or may not have studied music with a teacher. He remembers four paid lessons of which one of them was learning how to carry his teachers guitar to a friends’ house where they played music and drank aguardiente on the front porch -but he did toke, studied vinyl, wrote songs and poetry, played guitar and bass and explored the visual arts in his free time.

Pork fell into the mix when Slack spotted him carrying a bass guitar while Pork was walking in the streets of Kendall Lakes. Slack invited Pork to the house of TSJ. –Johnson remembers that Pork nailed The Lemon Song and Symptom of The Universe at the audition, but failed the overall stage presence and was rejected-Slack determined that Pork had intuitive spiritual chops and would be welcome in the act. Pork would be seen rolling his bass amp for a mile on the hot streets, wearing down its wheels, whilst earnest about his projection in big time relativity at the house of TSJ. Pork remembers that pici was a factor in the experience. Johnson remembers, “That Kid Had Heart!”

Pork, Slack and Blade left the Northern Everglades shortly after high school and moved to other endeavors. Thick remained.

Pork extenuated his solo career in Panama City, Panama- cover acting for materialistically entertained inebriated seamen who called the port on their way back from fighting in the Iran/Contra conflicts of Central America. The act was called Re-Lay-Her and covered Prog/Psychedelic numbers.

Pork became a protégé of Pico Baines and learned true greaziness and also studied visual arts. The Clap was running through the populace and Pork attributes this to his guitarist who nailed the wives of outsourced militants who were clandestinely propping up drug wars in Central America.

Slack renounced public expression, moved to New York City, after acquiring a Tascam Portastudio 4 track tape machine. He began to record his own material utilizing an echoplex tape loop, Irish Tape Technology and guitars.

Blade interned at Coconut Studios in Miami, working with various local musicians as a technician.

Thick has not delineated his course throughout these times, though it is indefensible that he was quite greazy.

In cryptic notes, Thick has confirmed that TC and the Moonshine Band was too anti-binary and pro pici to work with. Julio Ignatius rejected him for being too good looking and being more attractive than Julio himself. Getting winks from an overweight maraca vocalist in a wedding act and simply not having the time for all the hot meat, were paramount incentives for Thick getting back to his roots.

“The percussive stylings of TSJ” was the simple sign displayed in the window of the local music store. Thick tried teaching percussion and rejected the youth. “They’re all Brats” was his decision.

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